Displaying items by tag: Chicago events

Following a critically-acclaimed, sell-out run of Just For Us at Steppenwolf Theatre and around the globe, Tony and Emmy Award-winning comedian Alex Edelman returns with another hilarious and thought-provoking dissection of identity: What Are You Going to Do, playing five performances only August 12 – 16, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Tickets ($54* – $94*) are now on sale at steppenwolf.org or by calling the Box Office at (312) 335-1650. *includes $10 processing fee

This all-new show finds the Bostonian sweetheart asking different and more unsettling questions. Primarily, should he spend his time doing something else? Should he be saving lives like his physician father? Should he be trying to return to the sense of community he experienced growing up among Israelis and Palestinians? In a show that reckons with the effects of time spent in trauma, Edelman deftly weaves in and out of examinations of faith broadly – not just Judaism – and wonders if, perhaps, there might be better things out there for him.

Performance Schedules:

Wednesday, August 12 at 7:30 pm
Thursday, August 13 at 7:30 pm
Friday, August 14 at 7:30 pm
Saturday, August 15 at 7:30 pm
Sunday, August 16 at 3 pm

Artist Biography

One of the most critically hailed comedians of his generation, Alex Edelman is best known for solo shows that blur the line between his stand-up comedy roots and narrative-driven storytelling. His last offering, Just For Us, played more than 500 performances all over the world - including acclaimed runs off- and on-Broadway. It premiered as an HBO original comedy special in April of 2024, earning him a place on the Time 100 list, a Tony Award and an Emmy Award for Best Writing for a Variety Special. Edelman appeared in Jerry Seinfeld's directorial debut for Netflix, Unfrosted. Beyond stand-up, he writes regularly for TV and can be seen starring in Peacock's The Paper, a Greg Daniels-helmed spiritual successor to The Office. He also writes on the show as a Consulting Producer. 

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

Sponsor Information: 

United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul M. Angell Family Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, Walder Foundation, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Polk Bros. Foundation, Sacks Family Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the Illinois Arts Council and the City of Chicago Department of Cultural Affairs and Special Events.

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 50 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1975 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of young people in their teens and early 20s performing in the basement of a church. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

On the heels of an unprecedented Centennial Season, Goodman Theatre sets a bold stage for its second century. Walter Artistic Director Susan V. Booth and Executive Director John Collins announce the 2026/2027 Season line-up of world-class talent and first-rate artistry here at home, beginning this fall. With 12 productions—five world or Chicago premieres, a reinvestigated classic, a major musical revival of a generation-defining sensation, three long-running productions, plus two new plays for our youngest audiences (ages 0-5)—there is something for everyone, from longtime patrons to those discovering Chicago's largest not-for-profit resident theater for the first time.

"We are living in a moment of enormous catalysts. And while our self-preservation instincts tells us we ought to go numb, it's actually the most necessary time to feel big feelings. To be awake. To care deeply. To laugh loud and to cry hard so we stay fully human. We've strived to put together a season that evokes all of that—and more," said Walter Artistic Director Susan V. Booth.

Added Executive Director John Collins, "We launch our second century with a lineup of theatrical experiences celebrating Goodman's unparalleled scope and scale. We are excited to bring our 101st season of boundary-pushing theater to our beloved Chicago audiences."

Opening the 26/27 Season in the 856-seat Albert Theatre is the world premiere of The 7 Fingers' The Attic; Things I've Seen While Lying on My Back created and directed by Shana Carroll; next, Kimberly Belflower's Broadway smash sensation John Proctor is The Villain makes its Chicago debut, directed by Marti Lyons, produced in partnership with The Guthrie Theater; then, Marsha Norman's 'Night Mother appears in a major revival starring stage and screen actor S. Epatha Merkerson, directed by Michael Pressman; and Susan V. Booth directs a major musical revival of Green Day's American Idiot, music by Green Day, lyrics by Billie Joe Armstrong, book by Billie Joe Armstrong and Michael Mayer. The three-production series in the 400-seat flexible Owen Theatre begins with two world premieres: Dead Girl's Quinceañera by Phanésia Pharel, directed by Melia Bensussen, produced in partnership with Barrington Stage and Hartford Stage, followed by Calamity West's FEAST!, directed by Susan V. Booth; the Chicago premiere of Kemp Powers' The XIXth (The Nineteenth) directed by Carl Cofield rounds out the series. 

The 49th annual production of A Christmas Carol, directed by Malkia Stampley, sees a new Scrooge: Chicago titan Tim Hopper assumes the role for the first time. Building on its success, Theater for the Very Young will debut two new productions—created by Marisa Carr, Ellie Levine and Jamal Howard; and the New Stages Festival returns for its 22nd year, offering the first look at the newest plays. In addition, The Goodman proudly continues two highly acclaimed off-shoot enterprises—David Byrne and Mala Gaonkar's immersive Theater of the Mind, directed by Andrew Scoville (333 N. LaSalle), and Dennis Watkins' The Magic Parlour, heading into its 4th year in partnership with Petterino's (50 W. Randolph).

The 2026/2027 Season begins September 2026 and continues through August 2027. Memberships, including flexible packages, are now available for purchase starting at just $54. Call 312.443.3800 or visit GoodmanTheatre.org/2627. Single tickets go on sale for select productions beginning next month.

About the Productions in Goodman Theatre's 2026/2027 Season
Plays are listed in chronological order by venue

The Goodman is grateful to Allstate, JPMorgan Chase & Co., The Elizabeth Morse Charitable Trust, Northern Trust, Abbott Fund, Katten, PNC and Winston & Strawn LLP for their support of the 26/27 Season.

IN THE ALBERT THEATRE (856-SEAT PROSCENIUM STAGE)

The Goodman premieres The 7 Fingers'
The Attic; Things I've Seen While Lying on My Back
Written, Directed and Choreographed by Shana Carroll
September 5 – October 4 | A World Premiere 

The 7 Fingers is "pulse-raising magic" (The New York Times). 

From the primal vista of her childhood bedroom springs Shana Carroll's wildly imaginative, ground-breaking memoir that takes theater to new heights. Inspired by the Tony Award-nominated former trapezist's mesmerizing life story, a company of fearless performers transforms memory into daring aerial feats that are as moving as they are breathtaking. In the air, on the floor and from the heart, Montreal's multidisciplinary creative collective, The 7 Fingers, brings its "thrillingly modern brand of circus" (Time Out New York) to The Goodman in this moving new work that embraces the fear and courage of being human.  

49th Annual A Christmas Carol 
Adapted by Tom Creamer 
Directed by Malkia Stampley 
November 13 – December 31 | Starring Tim Hopper as Ebenezer Scrooge

"I will honor Christmas in my heart, and try to keep it all the year."  

Millions have rediscovered Dickens' classic at The Goodman over the past five decades—and know why it's "the best Christmas story ever told!" (Time Out Chicago). Follow the miserly Ebenezer Scrooge as ghostly intervention transforms his holiday disdain into delight one fateful Christmas night. Chicago favorite Tim Hopper—"for whom a furrowed brow and serious visage comes easily" (Chicago Tribune)—makes his debut as Scrooge. This timeless production, long heralded for its "first-rate cast and marvelous staging" (Chicago Sun-Times), is not to be missed. 

John Proctor is the Villain 
By Kimberly Belflower 
Directed by Marti Lyons 
January 23 – February 21, 2027 | A Chicago Premiere

The kids are not only all right, they're on fire. 

Fueled by pop music, optimism and fury, five young women are about to light up some of the darkest secrets of their one-stoplight town. The Chicago premiere of the Tony Award nominated Broadway smash sensation—hailed as "the new era of cool-girl theater" (BrooklynRail.org) "igniting its own cultural moment" (Variety)—pulses with humor and energy. Heroes, villains and who gets blamed when the hysteria starts are up for debate in this "vital, hilarious, thrilling and urgently necessary" (The New York Times) unflinching perspective of a generation staking its claim. A co-production with Guthrie Theater. 

'night, Mother
By Marsha Norman
Directed by Michael Pressman
March 27 – April 25, 2027 

How well do we know the ones we love most?  

Four decades after its astonishing debut, Marsha Norman's Pulitzer Prize-winning darkly comic landmark drama returns in a new, of-the-moment production—starring Emmy- and Golden Globe-award winner S. Epatha Merkerson (Law and Order, Chicago Med, the HBO film Lakawanna Blues, Broadway's Come Back Little Sheba). When a daughter makes a life-altering confession to her mother, their ordinary evening exchange gives way to a breathtaking roller coaster ride—gripping, profoundly relevant and "more harrowing than even its plot suggests" (The New York Times). With unblinking honesty, Emmy Award-winner Michael Pressman directs this profound reckoning about choice, care and what it means to be truly heard. 

Green Day's
American Idiot
Music by Green Day
Lyrics by Billie Joe Armstrong
Book by Billie Joe Armstrong and Michael Mayer
Directed by Susan V. Booth
June 18 – July 25, 2027  

"A global knockout" (Rolling Stone). 

Tune in, wake up, fight back! With urgent new creative force, Green Day's two-time Tony Award-winning smash sensation that defined a generation roars back to the stage—for the first time in Chicago in more than a decade—in Susan V. Booth's major new production. Three lifelong friends search for meaning in a world that never stops demanding it, each pulled deeper into chaos—of war, of responsibility, of escape. Every song from the band's eponymous Grammy Award-winning, multi-platinum album and hits from 21st Century Breakdown punctuate this high-octane, adrenaline-fueled experience about the ever-elusive promise of the American dream. 

IN THE OWEN THEATRE (400-SEAT FLEXIBLE STAGE)

Dead Girl's Quinceañera
By Phanésia Pharel
Directed by Melia Bensussen
September 26 – November 1, 2026 | A World Premiere

Detective skills: unverified. Determination: unmatched.  

FACT: Maria was last seen at her Quinceañera. FACT: The party ended early due to an unknown emergency. FACT: Maria has not responded to any messages in 36 hours. Now, her three best friends—armed with confidence, questionable clues, and zero adult supervision—are on the case, racing against the clock to find out what happened. Half-baked theories, big feelings and the pressures of Latine girlhood punctuate this joy ride through the power and pleasure of adolescent friendships—a comic thriller of secrets, sisterhood and solving crime. A Collective World Premiere with Barrington Stage Company and Hartford Stage. 

FEAST!
By Calamity West
Directed by Susan V. Booth
February 27 – March 28, 2027 | A World Premiere

Nothing spoils faster than pride. 

Carol has just been fired. Meantime, her husband Michael has bought and paid for her company's $12,000 dinner. Instead of canceling, they decide to go through with it to prove they still have a place at the table. But when no guests arrive, the evening unravels into a darkly funny collision of money and marriage that asks what we are prepared to normalize in exchange for belonging. Susan V. Booth directs this smart, searing new satire that serves up a slice of privilege and power from "one of the best playwrights in Chicago. Or maybe the country. Or the universe" (Chicago Reader). FEAST! is the recipient of the 2026 Laurents / Hatcher Foundation Award. 

The XIXth (The Nineteenth)
By Kemp Powers
Directed by Carl Cofield
April 17 – May 16, 2027 | A Chicago Premiere

"Visual pop, fleet pacing, muscular energy, welcome humor" (San Diego Union Tribune). 

In Mexico City, 1968, courage comes with a price. When two Black American sprinters deliver a protest seen around the world, what followed was more complex—and far more dangerous. With a blend of sharp wit and searing emotion, Academy Award-nominee Kemp Powers explores what it truly costs to speak out when everyone is watching in this gripping Chicago-premiere production. 

22nd Annual New Stages Festival
December 5 – 13

Offered free of charge, the annual New Stages Festival is designed to give playwrights an opportunity to experience their work in front of an audience. New Stages offers Chicago theatergoers a first look at dozens of plays, many of which have gone on to become successful full productions—including three plays featured in the Centennial season, Ashland Avenue, Revolution(s) and The Brief Wondrous Life of Oscar Wao—as well as Noah Haidle's Smokefall, Lynn Nottage's Pulitzer Prize-winning Ruined and more.

HERE, AROUND THE CORNER AND IN THE COMMUNITY

Theater for the Very Young Productions

In the Loop
Created and Directed by Jamal Howard and Ellie Levine
Co-Produced by The Wirtz Center for the Performing Arts, Northwestern University
January 30 – February 28, 2027 | Performed in the Alice Center and at locations citywide

Set aboard Chicago's trains and buses, In the Loop invites audiences on a playful journey across the city celebrating the sights, sounds and communities that connect our city's neighborhoods. In the Loop will also include a multi-week tour to classrooms and early childhood spaces across the city. On the heels of their successful collaboration with Splish Splash: A Day on the Lake, Jamal Howard and Ellie Levine reunite to create and direct this interactive production, developed in collaboration with Northwestern undergraduate students and 2- to 5-year-olds from Total Child Preschool in Evanston. 

A World Premiere "Theater for the Very Young" production
By Marisa Carr
Summer 2027 dates TBA

Next summer, The Goodman expands its investment in "Theater for the Very Young" with its first direct commission—a new production by award-winning playwright Marisa Carr, alum of The Goodman's 2020/2021 Playwrights Unit. 

Theater for the Very Young (TVY) programming offers immersive theatrical experiences—produced and performed by professional artists—designed for children ages 0–5 years old to experience alongside the grown-ups in their lives. Created in 2023 by Goodman Walter Artistic Director Susan V. Booth in response to research demonstrating the profound impact the arts can have on early childhood development and long-term learning outcomes, TVY introduces Chicagoland's youngest audiences to live theater through storytelling, music, movement and sensory-rich play produced and performed by professional artsts. Curated by Clifford Director of Education and Engagement Jared Bellot, TVY productions support early literacy, creativity and social-emotional learning while aiming to initiate a lifelong love of the arts. Over the past three years, TVY has served thousands of children and families in Chicago parks, theaters, schools and community spaces with productions of the plays Splish Splash: A Day on the Lake (2026); Book Up! (2025); The Lizard y El Sol (2024); and Pearl Cleage's In My Granny's Garden (2023). Schools, daycares and community organizations interested in bringing "Theater for the Very Young" programming to their spaces are invited to contact This email address is being protected from spambots. You need JavaScript enabled to view it. for pricing, scheduling and more information.

Theater of the Mind
Created by David Byrne and Mala Gaonkar
Directed by Andrew Scoville
Produced by Goodman Theatre at the Reid Murdoch Building (333 N. LaSalle)
TheaterOfTheMindChicago.com

Co-created by Academy, Grammy, and Tony Award-winning artist David Byrne and writer Mala Gaonkar, Theater of the Mind is an only-in-Chicago theatrical experience you'll see, feel, taste and hear.  Already a hit cultural attraction, Theater of the Mind is a 75-minute mind-bending sensory journey for 16 audience members at a time. Led by a Guide whose stories are inspired by the creators' lives, audiences explore how they perceive the world through sensory experiments derived from both historical and current neuroscience research that reveal the inner mysteries of the brain. Theater of the Mind debuted in March 2026 as a centerpiece of The Goodman's Centennial 25/26 Season and continues to amaze audiences at its River North location in the Reid Murdoch Building. 

Dennis Watkins' The Magic Parlour
Produced by Goodman Theatre and Petterino's (50 W. Randolph)
TheMagicParlourChicago.com

Step into The Magic Parlour, where the impossible becomes reality, right before your eyes—and sometimes in your own hands. ​Join award-winning magician Dennis Watkins as he delivers his signature blend of sharp sleight-of-hand, sophisticated mind-reading and personal storytelling to rekindle your sense of wonder. Now in year three at our cozy speakeasy theater, the premiere show offers brand new magic along with the return of Watkins' The Spirit Cabinet Halloween event, and some of the nation's greatest magicians as guest artists-in-residence. 

ABOUT THE GOODMAN

Since 1925, The Goodman has been a theatrical home for artists and a gathering space for Chicagoland, where bold stories spark connection, conversation and change. Now, as it enters its second century, The Goodman builds on that legacy with an eye toward the future. Under the leadership of Walter Artistic Director Susan V. Booth and Executive Director John Collins, the theater continues to champion new work—following hundreds of plays developed and a national reputation for commissioning and premiering original stories by living writers—while reimagining classics and produce large-scale musicals.

But The Goodman's reach today extends beyond its home in the heart of the Loop. From the intimate magic of The Magic Parlour, now in its third year, to the boundary-pushing world of Theater of the Mind—an immersive experience that blurs the lines between science, storytelling and sensation—and from citywide initiatives like 100 Free Acts of Theater to partnerships with artists and companies across Chicago and around the world, The Goodman is expanding what theater can be, and where it can live.

At its core, The Goodman is driven by a belief that a more empathetic, more connected city is built one story at a time. Generation-spanning productions and programs offer theater for a lifetime—from babies and young children to teens, adults and seniors—including Theater for the Very Young (ages 0–5) and the beloved annual A Christmas Carol, which has welcomed audiences for five decades. Education and Engagement programs, led by Clifford Director Jared Bellot and based in the Alice Rapoport Center, use the tools of theater to spark imagination, reflection and belonging—reaching thousands each year, the majority from underserved communities.

With nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman remains a defining force in American theater—and the first to produce all 10 plays of August Wilson's American Century Cycle. The theater also frequently serves as a production partner—from national and international companies to Chicago's Off-Loop theaters—to help amplify a wide range of theatrical voices.

Founded by William O. Goodman and his family in memory of playwright Kenneth Sawyer Goodman, the theater carries forward a legacy of artistic ambition and civic generosity. With the help of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—that spirit continues to shape its future as The Goodman expands its impact across Chicago and beyond. Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

Chicago Magic Lounge, Chicago's home for close-up magic, announces the return of world-renowned magician Ondřej Pšenička in a limited run of his hit show 52 Lovers, directed by Stepan Gajdos. Spend an evening with one of magic's most inventive contemporary voices in 52 Lovers, an intimate performance presented up close in Chicago Magic Lounge's Harry Blackstone Cabaret theater. Quirky, disarming, and brilliantly original, Pšenička blends offbeat humor with world-class sleight of hand in a style entirely his own.

52 Lovers plays Wednesdays at 7:00pm, July 1 – August 26, 2026. Tickets are priced $44 (Standard) and $50 (Front Row), plus applicable fees. Tickets for all Chicago Magic Lounge shows are available at the box office, (312) 366-4500 or online at chicagomagiclounge.com.

A true innovator, Ondřej combines original creations with expertly curated effects, delivered with a playful unpredictability that keeps audiences leaning in. With a subtle current of absurdism throughout, 52 Lovers is sharp, surprising, and delightfully off-center—showcasing expert technique with an effortless touch that makes the impossible look easy.

Each evening begins with close-up magic performed right at your table by Chicago Magic Lounge's talented house magicians. Between visits, guests can socialize, enjoy craft cocktails and small plates, and take in the vintage ambiance of the Harry Blackstone Cabaret.

About Ondřej Pšenička (pronounced ON-dray psheh-NEETCH-kuh)
Ondřej Pšenička is a world-renowned magician celebrated for his inventive approach to card magic and close-up performance. Hailing from the Czech Republic, he has performed on stages across the globe and is a regular at the World Famous Magic Castle in Hollywood, California. Known for his quirky humor, subtle surrealism, and technical mastery, Pšenička has baffled audiences worldwide, most notably fooling Penn & Teller three times on Penn & Teller: Fool Us. His creations blend originality, precision, and playfulness, making every performance unforgettable.

Also Happening at Chicago Magic Lounge

The Close-Up Show
Mondays at 7:00pm
Tickets: General Admission $35 - $37

The Showcase
Tuesdays at 7:00pm
Tickets: Standard: $37.50 - $39; Front Row: $42 - $44

The Signature Show
Thursdays-Sundays at 7:00pm, Fridays & Saturdays at 10pm
Tickets: Front Row $89.50 - $103, Premium Main Floor (main floor banquette and main floor cabaret) $76.00 – $95.00, Standard (rail and elevated banquette) $68.50 - $84, Mezzanine $55.00 – $68.00

Tickets for all Chicago Magic Lounge performances are available at the box office, (312) 366-4500 or online at chicagomagiclounge.com. Chicago Magic Lounge is a 21+ venue. Ages 16+ allowed to ticketed evening shows with a legal guardian.

For a complete schedule of performances and more information about Chicago Magic Lounge, resident and guest performers, and more, please visit chicagomagiclounge.com.

Porchlight Music Theatre is proud to announce the return of its free summer concert series Broadway in your Backyard, July 6 - September 19, sponsored by Chicago Free For All Fund. Broadway in your Backyard is directed by Artistic Director Michael Weber, music directed by Linda Madonia and starring Tafadzwa Diener, Nik Kmiecik, Juwon Tyrel Perry and Bethany Thomas. For more information go to PorchlightMusicTheatre.org.

Now in its sixth year, this free to the public summer series has become one of Porchlight’s most popular offerings with thousands of people enjoying Porchlight favorite artists performing hits and beloved songs from the Broadway and Hollywood musical song books including Hello, Dolly!, Mary Poppins, Willy Wonka and the Chocolate Factory, Toy Story, The Wiz and others. 

The 2026 Broadway in your Backyard season is 

Monday, July 6 at 6:30 p.m.

Northcenter Town Square,  4100 N. Damen Ave.

This appearance also includes a performance from students of The Chicago Academy for the Arts. 

Tuesday, July 7 at 6:30 p.m.

Welles Park,  2333 W. Sunnyside Ave.

This appearance also includes a performance from students of The Chicago Academy for the Arts. Additionally, audiences may join Porchlight’s Education as they host a “Kids’ Day” at Welles Park with activities and treats for children, while supplies last. 

Monday, July 13 at 6:30 p.m.

Berger Park,Waterfront Cafe, 6205 N. Sheridan Rd.

This appearance also includes a performance from PMTeens, Porchlight’s teen performers enrolled in its summer education programming.

Tuesday, July 14 at 6:30 p.m.

Washington Square Park, 901 N. Clark St. 

This appearance also includes a performance from PMTeens, Porchlight’s teen performers enrolled in its summer education programming and Porchlight Young Professionals Associate Board hosting a “Picnic With PYP” at the performance. “Picnic With PYP,” additional details to be announced. 

Navy Pier, STAGE TBD, 600 E. Grand Ave.

Saturday, Sept. 19 at 12:30 p.m.

Porchlight Music Theatre presents its popular Broadway in your Backyard program of family-friendly showtunes as it joins more than 110 artists and organizations for Navy Pier’s the annual celebration of Chicago’s vibrant arts and cultural community. 

Performance dates and venues are subject to change.

ABOUT PORCHLIGHT MUSIC THEATRE

Porchlight Music Theatre, in its 31st season, is the award-winning center for music theatre in Chicago. Through live performance, youth education and community outreach, we impact thousands of lives each season, bringing the magic of musicals to our theatre home at the Ruth Page Center for the Arts in the Gold Coast and to neighborhoods across the city. Porchlight has built a national reputation for boldly reimagining classic musicals, supporting new works and young performers, and showcasing Chicago’s most notable music theatre artists, all through the intimate and powerful theatrical lens of the “Chicago Style.” 

Porchlight's history over three decades includes more than 70 mainstage works with 15 Chicago premieres and five world premieres. 

Porchlight's education and outreach programs serve schools, youth of all ages and skill levels and community organizations. Porchlight annually awards dozens of full scholarships and hundreds of free tickets to ensure accessibility and real engagement with this uniquely American art form. 

The company’s many honors include 178 Joseph Jefferson Award (Jeff) nominations and 50 Jeff awards, as well as 44 Black Theatre Alliance (BTA) nominations and 15 BTA awards. In 2019, Porchlight graduated to the Large Theatre tier of the Equity Jeff Awards and has been honored with seven awards in this tier to date including Best Ensemble for Duke Ellington’s Sophisticated Ladies (2019) and Best Production-Revue for Blues in the Night (2022). 

Through the global pandemic, Porchlight emerged as one of Chicago’s leaders in virtual programming, quickly launching a host of free offerings like Sondheim @ 90 Roundtables, Movie Musical Mondays, Porchlight by Request: Command Performances and WPMT: Classic Musicals from the Golden Age of Radio. In 2021, Porchlight launched its annual summer series, Broadway in your Backyard, performing at parks and venues throughout the city. 

If you’ve ever worked in an urban coffee shop, chances are you’ve encountered at least one ultra-paranoid kook who believes the government is spying on them. Often they’re filling out long journals or manifestos. Or perhaps that one crazy uncle we all seem to have who believes in way too many conspiracy theories. These loveable, but disturbed weirdos commonly refer to themselves as “targeted individuals.” 

Hanna Kime’s new play The Targeted makes its world premiere at A Red Orchid Theatre. In it, she empathetically explores the lives of these folks and what draws them to their beliefs. Though it is at times humorous, Kime’s play is not exploitative. Rather, she builds an entire ecosystem for not only those affected by this kind of thinking, but the ways in which others profit from it. 

Grace Dolezal-Ng directs a bonafide dream cast of some of Chicago’s best actresses. They turn the main stage at The Chopin into a woodsy, weekend retreat called The Solidarity and Truth Summit. Rhonda (Kirsten Fitzgerald), Didi (Natalie West) at first seem very nice and chummy when welcoming newcomer Sherry (Sadieh Rifai), but as the weekend wears on, fractures begin to form. Rhonda is immediately mistrustful of Mia (Stephanie Shum), another newbie who is very upfront about not being a believer in government tracking conspiracies; she’s only there to support her misguided younger brother Eric (Glenn Obrero). The power structure becomes more complicated once the organizer of the summit, Jeff (Lawrence Grimm), starts giving whacky lectures.

In 95 minutes of quick-moving scenes, each character reveals how this affliction has sabotaged their personal lives. At the beginning, you can almost convince yourself these people are normal, just with some strange ideas. Sadieh Rifai plays Sherry with such naive conviction that you can’t imagine a simple, suburban housewife could ever be tempted by this rabbit hole. Through her character, Kime makes a thinly veiled parallel to the “Q-Anon” to “Trad Wife” pipeline. In contrast, Kirsten Fitzgerald’s Rhonda is hard as nails and her desire to control the weekends’ narrative speaks directly to just how dangerously persuasive conspiratorial ideology can be.

The central storyline presents itself in the relationship between Eric and Mia though. As a non-believer, Mia is outnumbered and it’s not long before she begins questioning her own sanity. Stephanie Shum plays the voice of reason with a quintessential authority. Her character’s demand for truth shows how frustrating independent thinking can feel in group settings.

While there is certainly a rubber-necking quality to the topic at hand, Kime never treats her characters as some sort of Netflix documentary sideshow specimens. Natalie West plays one of the weirder believers but her quirky softness makes her one of the show’s most endearing characters, even if she is hawking metaphoric snake oil for a living.

In the end, Kime lets the audience make up their own mind as to whether these folks actually believe what they’re talking about, or whether they’re just extremely lonely. It’s hard to criticize conspiracy theorists in an era in which almost every aspect of our federal government seems to be conspiring against its people. Kime builds a case for compassion with The Targeted.

Through June 21st at A Red Orchid Theatre. At Chopin Theatre. 1543 W Division St. 773-278-1500.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Marking Rocky’s 50th anniversary, Rocky in Concert arrived at the Auditorium Theatre in a highly anticipated Auditorium Philms presentation featuring the Chicago Philharmonic Orchestra performing Bill Conti’s score live. The setup is simple but effective: the film plays above the stage while the Philharmonic brings new clarity and presence to a soundtrack audiences know by heart. What emerges is a familiar story given a fresh sense of scale, where the music’s live energy adds texture without overwhelming the film’s grit, humor, and underdog charm.

At its core, Rocky remains one of the most enduring underdog stories in American cinema. The film follows Rocky Balboa, a small-time Philadelphia boxer and part-time debt collector who drifts through life with more heart than opportunity. When heavyweight champion Apollo Creed needs a last-minute opponent for a New Year's Day exhibition bout, he plucks Rocky from obscurity as a publicity stunt, figuring that "the Italian Stallion" makes for a good headline. What begins as a novelty match becomes a personal turning point: Rocky trains with a new sense of purpose, steadied by the quiet support of Adrian, the shy pet-store clerk who becomes the emotional anchor of his climb. The plot is simple, but its sincerity, its belief in small steps, second chances, and self-respect, has kept it resonant for fifty years.

The film's cast is a major reason it works as well as it does. Sylvester Stallone's performance is unvarnished and deeply human, capturing Rocky's mix of awkwardness, humor, vulnerability, and stubborn grit. Talia Shire brings a gentle, lived-in warmth to Adrian, charting her transformation from withdrawn to self-possessed with remarkable subtlety. Burt Young's Paulie is volatile but never one-note, and Burgess Meredith's Mickey, raspy, relentless, and unexpectedly tender, became one of the most iconic mentors in film history. Carl Weathers, as Apollo Creed, delivers a charismatic, razor-sharp performance that elevates the film's stakes; he is not a villain, but a showman whose confidence forces Rocky to rise to the moment.

Behind the scenes, the story of how Rocky came to be is almost as compelling as the film itself. Stallone wrote the screenplay in just a few days after watching the 1975 Muhammad Ali vs. Chuck Wepner fight, where Wepner, a heavy underdog, managed to knock Ali down and go nearly the full fifteen rounds. United Artists loved the script but wanted a bankable star in the lead; they offered Stallone a substantial sum, with reports ranging from $250,000 to $350,000, for the screenplay alone. At the time, Stallone was nearly broke, living in a small apartment with his wife and dog, and had only a handful of minor acting credits. Turning down that kind of money was, by any rational measure, a terrible idea. But he refused to sell unless he could play Rocky himself. Eventually, the studio relented, slashing the budget to under $1 million and agreeing to cast Stallone on the condition that the production stay lean and fast.

The gamble paid off beyond anything anyone expected. Rocky became a critical and commercial phenomenon, winning three Academy Awards, including Best Picture, and launching Stallone's career. But the deeper truth is that the film's authenticity is inseparable from Stallone's insistence on embodying the character he created. Rocky Balboa was not just a role; he was a reflection of Stallone's own belief that the long shot is still worth taking.

When Rocky reached the 1977 Academy Awards, it proved just as formidable as its title character, earning ten nominations and walking away with three major wins. The film claimed Best Picture, Best Director for John G. Avildsen, and Best Film Editing, beating out heavyweight contenders like Network and Taxi Driver. Sylvester Stallone received nominations for both Best Actor and Best Original Screenplay, a rare double honor that underscored how deeply his creative fingerprints shaped the film. Talia Shire, Burgess Meredith, and Burt Young all earned acting nominations, and Bill Conti’s propulsive score was recognized as well. For a low‑budget production made on less than a million dollars, Rocky’s Oscar run remains one of Hollywood’s most remarkable underdog victories.

The Chicago Philharmonic Orchestra, led by conductor James Olmstead, played Bill Conti’s legendary Rocky score with a precision and vitality that made the music feel newly alive. Those familiar fanfares, string surges, and brass punches carried a thrilling immediacy when performed by musicians you could actually watch working – bows flying, percussionists locking in the heartbeat of the training montages, trumpets cutting cleanly through the hall. Part of the fun for the audience was seeing just how much craft goes into a soundtrack they’ve heard for decades; every cue landed with crisp timing, and the orchestra’s energy fed directly into the crowd’s excitement. What emerged was more than accompaniment – a full‑scale performance that underscored just how essential the score is to the film’s spirit.

For all the strengths of the orchestra and the film, the evening wasn’t without a few technical hiccups. The film wasn’t cued up at the start, so the orchestra began playing before the movie rolled, leading to an awkward pause before things fully got underway, and once the screening began, the movie’s volume sat noticeably low for the first five to ten minutes. The fix came in the opposite direction, with the sound pushed so high that the dialogue became distorted, making it difficult to catch some of the film’s key lines or even hear the ringside announcers clearly calling the big fight finale. The imbalance proved distracting, especially in an otherwise strong presentation. Still, having seen other Auditorium Philms productions, I’m comfortable chalking this up as an outlier. Their track record is solid, and one uneven sound mix doesn’t diminish the ambition or appeal of the series.

Outside of the technical issues, one programming choice stood out as particularly curious: the musical director’s decision to feature “Eye of the Tiger” both after intermission and again at the end of the film. It’s an undeniably crowd‑pleasing anthem, but it belongs to Rocky III, not the 1976 original, and for Rocky loyalists it felt like an odd fit within a celebration of the first film’s legacy. With Bill Conti’s score already doing the heavy lifting, the addition of a theme from a later sequel created a momentary disconnect in an otherwise faithful presentation. However, many audience members cheered on the Survivor hit, so even if purists bristled, the moment still connected with a good share of the crowd.

Bottom line: even with a few mishaps and an unexpected music choice along the way, as someone who counts Rocky among my all‑time favorite films - a movie I revisit a couple of times each year - seeing it paired with a live orchestra was an experience that felt both familiar and entirely new. Hearing the Chicago Philharmonic bring Bill Conti’s music to life in real time added a dimension I didn’t know I was missing, and it made this 50th‑anniversary screening feel genuinely special. Auditorium Philms’ “In Concert” productions have already built a strong track record with their film‑in‑concert events, including recent presentations like Raiders of the Lost Ark and Harry Potter and the Order of the Phoenix. Their upcoming slate is just as appealing, with titles such as Top Gun: Maverick, Edward Scissorhands, and Home Alone 2: Lost in New York on the horizon.

In the end, Rocky in Concert proved that when a timeless film meets a live orchestra, the result is a reminder of why these stories stay with us.

To find out more about upcoming events at The Auditorium Theatre, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Timeline Theatre unveils their chic, new Uptown home with its inaugural production–Henrik Ibsen’s ever-relevant “An Enemy of the People”. A streamlined text by acclaimed playwright Amy Herzog cuts right to the bone in this fast-paced version straight from Broadway.

It shouldn’t come as a surprise that Timeline chose to open their new space with Ibsen’s classic play about a town that prioritizes economics over public health. History continues to repeat itself. Whispers of AI data centers seemed to be on everyone’s lips during the intermission as the modern day parallel is impossible to ignore. Timeline, who is known for their dramaturgical installations by Maren Robinson, doesn't shy away from the ugly reality that our Great Lakes are under attack from the tech billionaire class who aim to guzzle ungodly amounts of our fresh water. 

The play begins on a chipper note, an economically downtrodden town brims with excitement for their new spa and resort that is sure to boost local prospects. That is until plucky Dr. Thomas Stockmann (Will Allan) makes a chilling discovery about the contaminated water source. At first his friends at the local newspaper are behind his decision to inform the townspeople, but as his brother Peter, the mayor (Behzad Dabu), becomes involved support begins to waver. Soon his adult daughter Petra (Campbell Krausen) is his only ally. 

Petra Stockmann (Campbell Krausen, background from left), Hovstad (Grayson Kennedy), and Captain Horster (Charles Andrew Gardner) watch attentively as Dr. Thomas Stockmann (Will Allan, foreground) reviews shocking scientific revelations.

Herzog’s version is more akin to a chamber play than Ibsen’s, perhaps less grand in scale but certainly easier to digest. She also inserts some modern political flourishes that give more depth to the female protagonist Petra. With a slimmer cast and script, individual performances stand out and the intensity is more sustained. And by the second act, the audience becomes part of the cast in a way. This device works especially well because of the brilliant performances of this intimate cast.

“An Enemy of the People” becomes just as frustrating as Miller’s “The Crucible”. That infectious sense of outrage comes down to Will Allan’s devastatingly honest portrayal of a man who loses everything for the pursuit of truth. Allan has a gift for physicality, often interjecting some levity wherever possible. Audience participation becomes hard to contain as he’s continuously silenced by the newspaper staff and his greedy brother. Behzad Dabu opts for a more pragmatic interpretation of the mayor than straight up villain. In fact, there are moments where despite the poisonous water, you might find yourself agreeing with him, therein lies the danger. The emotional anchor of the show is Campbell’s Krausen’s Petra. Much like Allan’s performance, the shift from light to dark is heartbreaking.

Timeline’s glow up from Wellington to North Broadway is something to marvel at. Uptown has gained a Steppenwolf-level theater. Legendary Chicago director Ron OJ Parson brings a certain sophistication well deserving of this sleek 250-seat theater. Everything is just right here. John Culbert’s stylish set and stage magic really fills this gorgeous new performance space. Uptown really is quite lucky to have this wonderful new theater in its backyard. 

Through June 27 at Timeline Theatre. 5035 N Broadway. 773-281-8463 x1

This review is proudly shared with our friends at www.TheatreInChicago.com. 

The Oak Park Festival Theatre, Oak Park's premiere Equity theatre and the oldest professional classical theatre in the Midwest, today announced the casts and production teams for its Summer 2026 productions of William Shakespeare's HAMLET and Oscar Wilde's THE IMPORTANCE OF BEING EARNEST. Presented in repertory for the first time in company history, the productions run concurrently June 30 – August 15, 2026, at Austin Gardens in downtown Oak Park. 

Though radically different in tone, HAMLET and THE IMPORTANCE OF BEING EARNEST speak to one another in striking and unexpected ways. Together, the productions explore the tension between performance and truth, asking what happens when individuals are forced to navigate the expectations imposed on them by family, society, and power. 

Staged in repertory for the first time in company history, the season invites audiences to experience two master playwrights in conversation across centuries while watching Oak Park Festival Theatre actors tackle radically different worlds of comedy and tragedy throughout the summer. 

Directed by Oak Park Festival Theatre Producing Artistic Director Peter Andersen, HAMLET runs July 1 – August 15, 2026. Called home by his father's sudden death and his mother's swift remarriage, Prince Hamlet finds the court of Denmark transformed–and deeply unsettled. When a ghost appears with a terrible accusation, Hamlet is pulled into a relentless search for truth, testing the limits of loyalty, love, and revenge. 

The cast of HAMLET features Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger). 

Directed by Kathryn Walsh in her Oak Park Festival Theatre debut, THE IMPORTANCE OF BEING EARNEST runs June 30 – August 14, 2026. Jack Worthing leads a double life–one in the country, one in the city–while his friend Algernon Moncrieff has troubles of his own. When both men assume the name "Ernest" to win the affections of two very particular women, a web of mistaken identities, secret engagements, and delightful deceptions begins to unravel. 

The cast of THE IMPORTANCE OF BEING EARNEST features August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

The productions share a repertory creative team including Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager). 

Oak Park Festival Theatre's paid Apprenticeship Program, now in its 16th year, provides an educational, inspirational, and career-broadening experience for post-high school and undergraduate students in theatre arts. This season's apprentices are Archer Bart, Karla Valdez, Emily York, Avery Dulak, Anya Moeske, Jo Selmeczy, Jamille Calixte, Evan Ozer, and Ella Boyden. 

Season Pass packages ($70), which include admission to both productions at a discounted rate, are available now at www.oakparkfestival.com. 

HAMLET

Written By: William Shakespeare

Directed By: Peter G. Andersen

Cast: Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger)

Understudy Cast: Lucas Prizant (Hamlet), Avery Dulak (Laertes), Anya Moeske (Ophelia), Ben Crane (Rosencrantz/Guildenstern), Julia Rowley (Polonium/Gertrude), August Foreman (Claudius/Ghost/Player/Gravedigger), Jamille Calixte (Horatio).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Tessa Huber  (Stage Manager), Chrissy Roy (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Taylor Pfenning (Costume Designer) Duncan Hon (Master Electrician), Trent Jones (Scenic Painter), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: July 1 – August 15, 2026 (previews July 1, July 3)

Press Opening: Sunday, July 5, 2026

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

THE IMPORTANCE OF BEING EARNEST

Written By: Oscar Wilde

Directed By: Kathryn Walsh

Cast: August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

Understudy Cast: Gabriel Armstrong (Algernon), Pedro Jimenez (Jack), Olive Gallagher (Gwendolyn/Cecily), Evan Ozer (Merriman/Lane/Chasible), Belinda Bremner (Lady Bracknell), Julia Rowley (Miss Prism).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Chrissy Roy (Stage Manager), Tessa Huber (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Phoebe Boynton (Costume Designer) Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: June 30 – August 14, 2026 (previews June 30, July 2, July 4)

Press Opening:  Tuesday, July 7, 2026

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights at 111 W. Campbell St., is proud to announce its 2026-27 season launching with Ride the Cyclone, September 16 - October 18; followed by a Chicago-rooted holiday classic The Christmas Schooner, November 24 - January 3, 2027; an in-concert production of Disney's The Little Mermaid, January 27 - February 14, 2027; Chicago Premiere, The Match Game, March 3 - 28, 2027 and concluding with Rodgers and Hammerstein's masterpiece from music theatre's golden age, Rodgers and Hammerstein's Oklahoma!, September 16 - October 18, 2027.  Early bird discounted subscriptions are available now through June 5 at MetropolisArts.com/2627-season or by calling the box office at 847.577.2121, with single tickets available later this year. 

The 2026-27 season also includes a limited run of the beloved holiday tradition, A Christmas Carol, as part of the Metropolis Family Series Saturdays at 10 a.m. (December 5 - December 19) and a full-length production December 13 and 20 at 6:30 p.m. and December 24 at 2:00 p.m.

2026-27 Season Sponsors: The season show sponsor is Suburban Accents. The season Paint Sponsor is Marc Poulous Painting and Decorating. The season costume storage sponsor is Jennifer Burnidge, CLU, ChFC, RICP State Farm Agent.

All performances are held at the Metropolis Performing Arts Centre, 111 W. Campbell St. in Arlington Heights. The full Metropolis Performing Arts Centre's 2026-27 season includes, chronologically:

RIDE THE CYCLONE

September 16 - October 25, 2026

Book, Music, and Lyrics by Jacob Richmond and Brooke Maxwell

Directed by Lillian Castillo

A darkly comical musical about six teens bargaining for a second chance at life in this profound exploration of life, death, and knowing who you are. An added bonus to the Metropolis production features Director Lillian Castillo. Castillo is the original Constance on the World Premiere Cast Recording, and she also originated the role in the American premiere at Chicago Shakespeare Theater.

THE CHRISTMAS SCHOONER

November 24, 2026 - January 3, 2027

Book by John Reeger

Music and Lyrics by Julie Shannon

Directed by Patrick Tierney

A heartwarming Chicago-based musical that tells the dramatic true story of a Lake Michigan captain who risked his life to share the Christmas spirit.

A CHRISTMAS CAROL - LIMITED RUN

Metropolis Family Series: December 5 - December 19 at 10 a.m.

Full Length Production ONLY: December 13 and 20 at 6:30 p.m., December 24 at 2 p.m.

Adapted by Johanna McKenzie Miller

Original Music and Lyrics by Cory Goodrich

The holiday tradition returns to Metropolis for both the Metropolis Family Series and Metropolis Mainstage. 

DISNEY'S THE LITTLE MERMAID, a concert presentation

January 27 - February 14, 2027

Music by Alan Menken

Lyrics by Howard Ashman and Glenn Slater

Book by Doug Wright

Director to be announced

Originally produced by Disney Theatrical Group, this is a concert collaboration with Metropolis School of the Performing Arts and JAM Orchestra. Based on the Hans Christian Andersen story and the Disney film produced by Howard Ashman & John Musker and written and directed by John Musker and Ron Clements.

This in-concert production features professional and student actors backed by a full orchestra, allowing the music to shine.

CHICAGO PREMIERE

THE MATCH GAME

Written by Steven Strafford

March 3 - 21, 2027

Director to be announced

This new work, a hilarious and heartbreaking family dramedy, asks us to contend with truths we may be too afraid to name and to laugh at ones we can't change.

RODGERS AND HAMMERSTEIN'S OKLAHOMA!

April 28 - May 30, 2027

Music by Richard Rodgers

Book and Lyrics by Oscar Hammerstein II

Based on the play "Green Grow the Lilacs" by Lynn Riggs

Original Choreography by Agnes de Mille

Director to be announced

The classic, medium-defining musical. A high-spirited romantic comedy set against the backdrop of a tumultuous, yet hopeful, new era.

ABOUT METROPOLIS PERFORMING ARTS CENTRE
Metropolis Performing Arts Centre is a vibrant cultural hub that enriches the community through inspiring live performances, creative arts education, and impactful partnerships. It fosters artistic excellence, cultivates multi-generational connections, and offers inclusive experiences that engage and uplift all community members. Located in the heart of downtown Arlington Heights, Metropolis is not just a theatre; it is the cultural pulse of the area, surrounded by premier shopping, dining, and nightlife. Metropolis offers a dynamic year-round season of professional theatre, comedy, concerts, and cabaret performances along with engaging arts education for ages 3 to 85. Serving more than 65,000 patrons annually from across Chicagoland and beyond, Metropolis plays a pivotal role in the community. It provides arts education programs that support thousands of aspiring young artists, as well as community engagement initiatives like the Third Act Players (musical theatre for thespians over 50), Crescendo Chorus (for singers over 55), Flourish in the Footlights (for young artists with disabilities), and Clearbrook on Cue (for artists with disabilities). Metropolis is proud to partner with local organizations such as Endeavor Health, Arlington Heights Senior Center, and Clearbrook. Scholarships are available for students at the School of the Performing Arts to ensure access to the arts for all.

Ride The Cyclone is presented by special arrangement with Broadway Licensing Global, www.broadwaylicensing.com.

The Christmas Schooner is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, www.mtishows.com.

Disney's The Little Mermaid is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, www.mtishows.com.

Rodgers & Hammerstein's OKLAHOMA! is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization,  www.concordtheatricals.com.

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights at 111 W. Campbell St., is proud to announce its 2026-27 season launching with the return of Ride the Cyclone, September 16 - October 18; followed by a Chicago-rooted holiday classic The Christmas Schooner, November 24 - January 3, 2027; an in-concert production of Disney's The Little Mermaid, January 27 - February 14, 2027; the launch of a new work, The Match Game, March 3 - 28, 2027 and concluding with Rodgers and Hammerstein's masterpiece from music theatre's golden age, Rodgers and Hammerstein's Oklahoma!, September 16 - October 18, 2027. 

The 2026-27 subscription series includes Ride the Cyclone, The Christmas Schooner, Disney's The Little Mermaid, The Match Game and Rodgers and Hammerstein's Oklahoma!. Early bird discounted subscriptions are available now through June 5 at MetropolisArts.com/2627-season or by calling the box office at 847.577.2121, with single tickets available later this year.