Displaying items by tag: on stage

It is possible that Oak Park Festival Theatre’s production of Oscar Wilde’s 1895 “trivial comedy for serious people,” The Importance of Being Earnest, was suffering from some opening night jitters and that the actors will settle in and trust the verbal comedy in the script, but on this beautiful evening under the stars, there was too much mugging and nudging going on. Nevertheless, Wilde’s play, about two young men, Algernon (August Forman) and Jack (Chad Bay), who have both invented alibis - Algernon an invalid friend named Bunbury in the country and Jack a degenerate younger brother in town--to allow them to indulge their socially questionable whims, leading to the difficulty of having to explain why neither is Ernest, is still funny. And, despite the excesses on display, this staging still holds many delights for fans of Wilde, verbal comedy, and, particularly in the second act, some smartly choreographed slapstick. What is missing from much of the evening is earnestness. Many of the actors seemed to be in search of motivation and the stakes that propel them through this admittedly effervescent frolic.

Working with a talented cast of regional stage actors, director Kathryn Walsh has not created a secure world for her creative team to inhabit, resulting in an often funny but not dynamic production, with shrill delivery and broad physical comedy undermining human-scale relationships. The tone and gestures of the various characters range wildly, as do the design elements. The whimsical, vaguely Victorian costumes, while fun, support the cartoonish elements of the production, while not always clearly defining the characters. The lighting design by Devin Cameron is appropriately warm and effectively saturated but also deploys unnecessary flourishes to support the comedic business. The scenic design by Evan Frank likewise captures the locations of the play and allows the actors to find many levels - literally - as they shift allegiances and stratagems. Justin Cavazos’s sound design and compositions lend unobtrusive support, except for one hilariously developed cue that draws attention to itself in a good way. Overall, Walsh’s production would be better served by trusting the script and the audience, especially in the first act, when we are getting to know the characters and their desires. That said, both Walsh’s direction and her cast fully commit to the amorous and combative collisions at the beginning of the second act, which showcases the physical and verbal comedic gifts of all to uproarious effect.

As part of the Oak Park Festival Theatre's 51st season (left to right) August Foreman, Barbara Zahora, Aurora Pennepacker, Drew Bos, Sonia Goldberg and Chad Bay in The Importance of Being Earnest at Austin Gardens.

One of the things that makes The Importance of Being Earnest work is the moral certitude that the characters bring to their pronouncements, no matter how absurd they are or whether their actions correspond to their words. This certitude also grounds the characters in their truths and forms the foundation of their interactions, but too often the actors are checking in with the audience to see if they got the joke (especially when many of Wilde’s observations still resonate) or negotiating with the lines. By the middle of the second act, the characters begin to define themselves, but much opportunity for connection is lost in the first. August Forman as Algernon flings himself into the role with wild abandon and invites the audience along for the ride. An adept comedian, Forman’s strategy often pays off but undermines Algernon’s insecurity as he balances his needs with society’s demands. All that aside, his Algernon’s compulsion for muffins is not to be missed. As his friend Ernest, who is actually Jack, Chad Bay does a good job of playing the less self-aware of the friends and playing up the character’s completely unjustified horror at Algernon’s embrace of Bunburyism. As Jack’s romantic interest, and Algernon’s cousin, Gwendolen, Sonia Goldberg at times overplays her character’s pretensions, some of which Gwendolen is still struggling to master, making Goldberg’s characterization overwhelmingly self-possessed at times. Conversely, Barbara Zahora lacks the imperiousness of many Lady Bracknells, giving the character an interesting warmth, but making her power solely transactional, which could be an interesting choice if it were played more fully. Aurora Pennepacker as Cecily strikes the most effective balance between the verbal and physical comedy, making the most of the opportunities to show Cecily’s willingness to exploit others’ assumptions about her character and her real understanding of her powerlessness without this ability. In Jodi Gage’s performance, Ms. Prism is a refreshingly insightful tutor to Cecily, while doggedly hanging onto youthful romanticism. Gabriel Armstrong is a very youthful Reverand Chasuble, celebrating his sudden relevance in parish life. Drew Bos may be the youngest actor to play the dual roles of Lane and Merriman in a professional production and wisely focuses on the class commentary afforded by the butlers of their respective households. His droll Lane gives Algernon food for thought in Act I, while his Merriman, already suffering from the physical strain of servitude despite his youth, effectively times his long-suffering pauses at each new demand (though Bos may need a visit to a chiropractor after the run). The experienced cast expertly and clearly delivers Wilde’s witticisms, which are always worth revisiting and occasionally resonate with the current social dynamics.

As the run continues, the production will most likely settle in and allow the script to propel the pacing and action more fully, especially in the more expository first act. There is much to appreciate in Oak Park Festival Theatre’s The Importance of Being Earnest, including a smart cast who find both the verbal and physical humor inherent to the play. Director Kathryn Walsh and her cast also explore fresh takes on the characters, some more successful than others, but always welcome. For those unfamiliar with Wilde’s play, this production is a solid introduction.

The Importance of Being Earnest runs in repertory with Hamlet, through August 14, outdoors in Austin Gardens in Oak Park, Illinois. Visit Season 51 | Oak Park Festival Theatre or call (708) 300-9396 for tickets and more information. Note: a number of the actors perform in both Earnest and Hamlet, and Oak Park Festival Theatre is offering discounted tickets for audiences who want to see both.

Gary Gulman brings his new tour, 7th Hour: An All New Standup Show, to The Den Theatre, offering Chicago audiences a chance to see a comic who has spent decades refining the long-form, slow-burn style that has become unmistakably his. His five sold-out shows over the weekend are being recorded for an upcoming comedy special, giving each performance an added spark as he works through material with both confidence and care. Gulman’s comedy has always lived in the space between sharp observation and gentle self-reflection, and this latest set continues that progression with a mix of wry honesty and carefully shaped storytelling. His stop at The Den feels less like a routine tour date and more like a chance to watch a veteran performer stretch into new territory while still delivering the precision that has made him one of stand-up’s most quietly dependable voices.

The evening opened with Evanston’s own Sam Froum, whose set proved to be a sharp and genuinely funny warm-up for the night. He brought an easy confidence and a quick, clever rhythm to the stage, landing jokes with the kind of timing that immediately pulls a room in. It was a strong showing, and a fitting lead-in to Gulman’s tightly built headlining act.

Across 7th Hour, Gulman moves through a wide constellation of personal history, weaving together stories that span his depression, his admiration for his father’s unwavering integrity despite the loss of friends it may have cost him, and the realities of growing up with a single mother while navigating the rough edges of two bullying older brothers. His Jewish upbringing becomes a recurring thread, most notably in an extended, delightfully overthought retelling of the story of Moses - a bit that shifts from biblical epic to neurotic character study in a way only he can pull off. From there, he wonders aloud why Jewish people didn’t simply “like” Jesus so that Christianity might have evolved into an upbeat, colorful, pastel-tinted sect of Judaism, only to immediately challenge his own premise with the kind of self-correcting logic that fuels his best material. That exploration leads him into Jesus’ Sermon on the Mount, where he zeroes in on “do unto others as you would have them do unto you,” a phrase he deeply takes to heart, breaking it down with methodical curiosity as he imagines Jesus trying it out in front of smaller crowds at "open mounts" before delivering it on the big stage. Along the way, he has fun with the apostles - especially John and “Doubting” Thomas - treating them less as distant religious figures and more as characters he can analyze, tease, and reinterpret through his own gently overthinking lens. He even slips in a detour to Christian Bale’s Batman, acting out a hilarious gravel‑voiced exchange with Gary Oldman’s Commissioner Gordon that fits seamlessly into his stream of overthought observations.

He also devotes time to the values and education he drew from PBS, especially the steady presence of Mr. Rogers, whom he references with undeniable affection. Gulman lights up when recalling – and briefly singing – the closing song, “It’s Such a Good Feeling,” along with the simple but radical reassurance Mr. Rogers offered at the end of each episode: “I like you just the way you are.” He treats that sentiment with an earnest respect that shows how deeply it shaped him, even as he wonders aloud how anyone can truly live as their full, unfiltered self outside of a very small circle of people. He folds in humorous family stories tied to pledge drives, broadening the emotional palette of 7th Hour and grounding the comedy in the cultural touchstones that helped him make sense of the world long before he ever stepped onstage.

Gulman’s humor is a distinct blend of long-form storytelling, analytical overthinking, gentle self-examination, and slow-burn observational detail. He builds jokes the way essayists build arguments - layering premises, revisiting ideas, correcting himself mid thought, and letting the comedy emerge from the precision of his logic as much as from the punchline. His style is warm, meticulous, literary, and deeply human, often turning small moments from childhood, religion, or pop culture into sprawling, carefully engineered comedic set pieces.

And in 7th Hour, he brings that entire toolkit with him - sharper, fuller, and more emotionally grounded than ever. The show feels like Gulman operating at the height of his powers, shaping personal history into comedy with a confidence that suggests he knows he’s building material worthy of an upcoming special. What stands out most is how fully he leans into that mastery; 7th Hour plays like a comic working with total clarity of purpose and delivering exactly the kind of work only he can create.

Gulman’s career has been shaped by a steady run of smart, carefully built specials that highlight his gift for long-form comedy. From Boyish Man and In This Economy? to the critically praised It’s About Time and The Great Depresh, he has assembled a body of work defined by warmth, clarity, and an almost literary sense of structure. His stand-up has also been a reliable presence on late-night television, with memorable sets on Conan, The Late Show with Stephen Colbert, Jimmy Kimmel Live, and The Tonight Show, each showcasing his ability to turn everyday frustrations and cultural quirks into slow-building, sharply observed stories. Together, these appearances have cemented him as one of the most consistent and quietly influential voices in contemporary stand-up.

If you get the chance to see Gulman live, take it. 7th Hour shows a comedian in full command of his craft, delivering work that is thoughtful, funny, and unmistakably his. It’s the kind of performance that reminds you why stand-up, at its best, feels both intimate and expansive at the same time.

Suffs is a musical about history, yes, but more importantly, it is a musical about momentum: who creates it, who resists it (and why), who gets left behind by it, and what it costs to keep pushing it forward.

Set during the height of the women’s suffrage movement in the 1910s, the show follows a group of young suffragists led by Alice Paul, the real-life founder of the National Woman’s Party. Together, they organize, protest, clash with political leaders, become political prisoners, and (spoiler alert) eventually help gain women the right to vote through the 19th Amendment. But Suffs is not content to frame that victory as clean or uncomplicated, or to pretend that, even a century later, the battle is anywhere near over. The musical is just as interested in the fractures within the movement itself: the younger, more aggressive activists pushing against the older, more “respectable” wing of the Suffrage movement, and the women of color forced to fight for a movement that still asks them, again and again, to wait their turn.

That is where Suffs feels most relevant. It is not only a story about the past, but about the way progress still happens now: through generational disagreement, imperfect coalitions, strategic compromises, moral failures, and the constant fear that too much change too quickly might provoke as much backlash as liberation. Shaina Taub’s book, music, and lyrics do an incredible job balancing real history with theatrical fiction, making the politics legible without flattening the people involved into saints or symbols.

Marya Grandy (Carrie Chapman Catt) and company in SUFFS.

Under director Leigh Silverman, the first national tour’s production is just as anchored by its remarkably talented cast as it is by history; the entirely female company takes on both women and men throughout the story. Maya Keleher is excellent as Alice Paul, bringing both vocal strength and exactly the right kind of young, audacious drive to the role. Her Alice has the spunky determination of a character like Newsies’ Katherine, but grown up: sharper, more self-assured, and driven by something deeper than ambition. She is unabashedly devoted to her cause and makes it clear that, no, it’s not just because she’s young.

Playing opposite her are historical figures Carrie Chapman Catt (Marya Grandy), the mature and strategically tactful leader of NAWSA, and President Woodrow Wilson (performed by u/s Merrill Peiffer). Grandy’s dynamic with Alice Paul is one of the production’s strongest relationships, the two women foiling each other beautifully as they reveal different forms of conviction, compromise, and care. Peiffer’s handling of the presidential role was especially smart: funny and pointed, but never so exaggerated that it breaks the world of the show.

A special shoutout also has to go to the trio of Ida B. Wells (Danyel Fulton), Mary Church Terrell (Trisha Jeffrey), and Phyllis Terrell (Victoria Pekel). Multiple times, the energy in the theatre seemed to shift the moment the three of them took the stage together. Their scenes carried a stillness and gravity that made the room go quiet in the best possible way.

Brandi Porter (Dudley Malone) and Jenny Ashman (President Woodrow Wilson) in the First National Touring Company of SUFFS.

Suffs, which premiered Off‑Broadway in 2022 before its award‑winning 2024 Broadway run, continues to prove its power throughout its highly anticipated national tour. The score delivers some of the musical’s most defining moments, from the sharp, scene‑setting opener “Let Mother Vote” to the driving protest energy of “The March (We Demand Equality).” The emotional weight lands beautifully in “I Was Here,” a moving tribute to Ida B. Wells and Mary Church Terrell, while “Keep Marching” rises as the show’s breakout anthem, capturing the spirit of persistence that fuels the entire production.

If I have a critique, it’s that the show leans a bit too heavily into the idea of the production’s scale growing in tandem with the movement’s momentum. Conceptually, I love that choice. In practice, however, especially within the limits of a touring production, the early restraint makes the show take a long time to feel truly sweeping. The first act is good, but it was not until the second half of the second act that I found myself thinking, “Why haven’t they been singing like that, and dancing like that, the whole time?” The choreography has similar highs and lows: effective in moments, but not always as polished as it needs to be for the more intricate sections to feel truly stunning.

Still, by the end, Suffs lands exactly where it needs to. It leaves the audience empowered without pretending that empowerment is the same as change. The show understands that history is not something we revisit for comfort, but something we return to for instruction. Its final message, “your ancestors are all the proof you need / That progress is possible, not guaranteed,” is both a warning and a call to action. Suffs reminds us that the march is not over - and that the responsibility to keep moving belongs to all of us.

Recommended.

Presented by Broadway In Chicago, Suffs is running at CIBC Theatre through July 19th. Tickets are available here.

Oil Lamp Theater, currently presenting The Last Five Years, now extended through July 19, is proud to announce the cast and creative team for its next production, I Love You Because, August 14 - September 13, book and lyrics by Ryan Cunningham, music by Joshua Salzman and orchestrations by Larry Hochman, directed by Scott Shallenbarger and music directed by Aaron Kahn, at Oil Lamp Theater, 1723 Glenview Road. The schedule includes two preview performances Friday, Aug. 14 at 7:30 p.m. and Saturday Aug. 15 at 3 p.m., with an opening performance Saturday, Aug. 15 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Aug. 19 at 11 a.m. and 3 p.m.; Wednesday Aug. 26 at 7:30 p.m. (Understudy Performance); Wednesday, Sept. 2 at 11 a.m. and 3 p.m. and Wednesday Sept. 9 at 7:30 p.m. Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org.  

Modern dating is a mess. Sometimes to find Mr. Right you need to find Mr. Wrong – even if that means seeing someone stuck on their ex, awkward encounters of the intimate kind and lots of bad coffee dates. Opposites attract in this feel-good musical that will transport you into the heart of your favorite guilty pleasure rom-com. Created by acclaimed musical team Ryan Cunningham and Joshua Salzman and inspired by Jane Austen’s gold-standard romance novel “Pride and Prejudice,” this delightful modern musical will make you fall head over heels.

The cast of I Love You Because includes Aiden McCoy (any with respect, Austin Bennet); Maxwell J DeTogne (any with respect, Jeff Bennet); Hannah Kipp  (she/her, Marcy Fitzwilliams); Kristin Brintnall (she/her, Diana Bingley); Daria Koon (she/they, NYC Woman); Tommy Rothwells (he/him, NYC Man); Freddy Mauricio (he/him, Austin Bennet U/S); Nic Eastlund (he/him, Jeff Bennet U/S); Kaitie Bonds (she/her, Marcy Fitzwilliams U/S); Dominique Ruffalo (she/her, Diana Bingley U/S); Nikki Holladay (she/her, NYC Woman U/S) and Joe Dennis (he/him, NYC Man U/S).

The production team includes Scott Shallenbarger (he/him, director); Aaron Kahn (he/him, music director/accompanist); Bob Knuth (he/him, scenic designer); Devin Meseke (he/him, properties designer); Maya Reter (she/her, sound designer); Sara Segneri (she/her, stage manager); Danielle Reinhardt (she/her, costume designer); Conner Nicoson (they/them, technical director); Connor Windle (she/her, production manager) and Rose Leisner (she/her, company manager).

ABOUT SCOTT SHALLENBARGER, DIRECTOR

Scott Shallenbarger makes his Oil Lamp debut with I Love You Because. Representative credits include Miracle on South Division Street, I And You, Baby the Musical (Citadel Theatre); Les Miserables (Uptown Music Theatre Company); The Glass Menagerie, Six Degrees of Separation, The Road to Mecca, Hot L Baltimore, The Children’s Crusade (Raven Theatre); Jeffrey and Love, Valor, Compassion (Hubris Productions) and Skyscraper (Piven Theatre). Shallenbarger is a published playwright and teaching artist who would like to thank you, dear audience, for attending live theatre. 

ABOUT AARON KAHN, MUSIC DIRECTOR

Aaron Kahn is thrilled to be returning to Oil Lamp after previously working on the productions of It’s A Wonderful Life: A Radio Play and The Marvelous Wonderettes. Kahn is also a private voice teacher at the Christopher Laughlin School of Music in Northbrook and is a staff accompanist at Carthage College. Other favorite music and assistant music direction credits include: Fugitive Songs (Stagedoor Manor); Mel Brooks’ The Producers (Music Theater Works); A Little Night Music (Theo Ubique) and Spring Awakening (4 Chairs Theatre). 

MORE FROM FROM OIL LAMP THEATER

Dial M for Murder

October 2 – November 1, 2026

Adapted by Jeffrey Hatcher from the original play by Frederick Knott

Directed by Daniel King

Preview Performances: Friday, Oct. 2 at 7:30 p.m. and Saturday, Oct. 3 at 3 p.m. 

Opening Night: Saturday, Oct. 3 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Oct. 7 at 11 a.m. and 3 p.m.; Wednesday Oct. 14 at 7:30 p.m. (Understudy Performance); Wednesday Oct. 21 at 11:00 a.m. and 3 p.m. and Wednesday, Oct. 28 at 7:30 p.m.

Alfred Hitchcock’s adored, chilling thriller gets a modern twist that no one will see coming. A murderous misstep begins a high-stakes hunt for the real criminal as time is quickly running out. This captivating, heart-racing play leaves audiences on the edge of their seats while the mystery of the year unravels before their eyes. Will the clues unlock the right person, or will an innocent victim pay the price? The suspense is to die for…

It’s A Wonderful Life: A Live Radio Play

November 20 - December 27, 2026

Adapted by Joe Landry

Directed by Becca Holloway

Preview Performances: Friday, Nov. 20 at 7:30 p.m. and Saturday, Nov. 21 at 3 p.m. 

Opening Night: Saturday, Nov. 21 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Dec. 2 at 11 a.m. and 3 p.m.; Wednesday Dec. 9 at 7:30 p.m. (Understudy Performance); Wednesday Dec. 16 at 11:00 a.m. and 3 p.m. and Wednesday, Dec. 23 at 7:30 p.m.

The holiday tradition returns for its 13th year. Audiences may experience unmatched holiday cheer with Frank Capra's beloved classic, “It's a Wonderful Life,” reimagined as a captivating live radio play, complete with foley sound effects and set in our own WBFR radio studio.

Journey to Bedford Falls, where George Bailey's troubles lead him to wish he was never born. Clarence, an angel sent to intervene, steps in to make his wishes come true and George quickly learns just how many lives he has touched and just how blessed he really is.

*All productions, dates, creatives, etc. are subject to change.

ABOUT OIL LAMP THEATER

Oil Lamp Theater is a professional nonprofit performing arts organization in Glenview, Illinois, welcoming over 10,000 patrons annually from more than 225 communities—41% from Glenview and others from across the North Shore and Chicago. Since establishing its intimate 60-seat home in downtown Glenview in 2012, Oil Lamp has grown into a cultural beacon, earning recognition as “Best Live Theatre in the North Shore” for four consecutive years.

With more than 70 productions to date, Oil Lamp is known for its dynamic Mainstage season, special events and its resilience during the pandemic, when it innovated with drive-in performances and outdoor productions. Today, the theatre continues to foster connection, broaden horizons and illuminate the human condition through professional theater and year-round programming.

In addition to its productions, Oil Lamp Theater operates Oil Lamp Academy, its education branch dedicated to “Training for Life Through the Performing Arts.” In 2025 alone, the program served more than 230 students ages three to 97 years old, offering classes that use theater as a pathway to build confidence, creativity and lifelong skills.

This past September, Oil Lamp launched  Light The Way, a transformative fundraising campaign designed to expand arts education, strengthen essential staff and establish a larger performance venue with the goal of staying in downtown Glenview. Building on its roots as a scrappy storefront, Oil Lamp is evolving into a more robust organization—without losing the intimacy and warmth that define its theater experience. Oil Lamp Theater hopes this announcement inspires excitement throughout the community. Stay tuned as additional news is shared in the near future. For information or to support the campaign go to OilLampTheater.org/Light-the-Way or reach out to Oil Lamp at This email address is being protected from spambots. You need JavaScript enabled to view it..

Oil Lamp Theater, currently presenting The Last Five Years, now extended through July 19, is proud to announce the cast and creative team for its next production, I Love You Because, August 14 - September 13, book and lyrics by Ryan Cunningham, music by Joshua Salzman and orchestrations by Larry Hochman, directed by Scott Shallenbarger and music directed by Aaron Kahn, at Oil Lamp Theater, 1723 Glenview Road. The schedule includes two preview performances Friday, Aug. 14 at 7:30 p.m. and Saturday Aug. 15 at 3 p.m., with an opening performance Saturday, Aug. 15 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Aug. 19 at 11 a.m. and 3 p.m.; Wednesday Aug. 26 at 7:30 p.m. (which is an understudy performance); Wednesday, Sept.. 2 at 11 a.m. and 3 p.m.; and Wednesday Sept. 9 at 7:30 p.m. Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org.  

Great Lakes Operetta is delighted to present its first full-length, fully-staged operetta, Jacques Offenbach’s seminal work, Orpheus in the Underworld!

Originally premiering as Orphée aux enfers, this musical spoof of the Orpheus myth was the Hadestown of 1858’s Paris and had a cultural impact comparable to Hamilton or Phantom of the Opera. It is often considered the first operetta and inspired many other composers, most notably Johann Strauss Jr. The original book was written in part by Ludovic Halévy, of Carmen fame, and the score introduced the now world-famous “can-can” (known in the show as the “Infernal Gallop”). The show is raucous, wacky, and surprisingly modern, and the score is one of Offenbach’s best, ensuring its continued popularity.

Orpheus was initially controversial: in this version, Orpheus and Eurydice can’t stand each other and there is no moral redemption for anyone (although there is a singing bug, pictured below). Offenbach actively lampoons the tropes of classicism – both the original Greek myths and the revered operatic versions of those myths, such as Gluck’s Orfeo (which is even quoted musically in a very meta moment). Critics of the day felt Offenbach was disrespecting the Arts and Culture of the past – among other things – but Parisian audiences couldn’t get enough and allegedly the show only closed after running for 2 years straight (unheard of at the time) because the cast was exhausted.

20 years later, Offenbach released what might now be called a “Special Edition” version, turning the original 2 act show into a 4 act extravaganza with multiple new ballet numbers, more characters, and special effects. Most modern productions, including Great Lakes Operetta’s version, are 2 act versions with some elements of the 1874 production retained.

Great Lakes Operetta’s production will be in a new (premiere) English translation by Francis Lynch, who has translated three other French operetta works for Evanston Chamber Opera. The production will be directed by GLO Artistic Director SarahAnn Sutter, music directed by Lindsey Baer, assistant music directed by Anna Therese George, and produced by Kristin Weed. The production will be fully staged and presented with a small chamber ensemble.  Tickets are on sale now and are available here; tickets will also be available at the door (while supply lasts).

Cast & Creative Team

Great Lakes Operetta’s Orpheus in the Underworld is presented by two outstanding casts, as follows. Whichever cast you choose to watch, you are in for a treat! (And you might enjoy it all so much that you come back to watch the other cast!)

Orpheus: Mason Montuoro  (All dates)

Eurydice: Gabrielle Goudard (July 11, 17, 19); Gabrielle Haigh (July 10, 12, 18)

Public Opinion: Jennifer Barrett (July 11, 17, 19); Isabella Daltoso (July 10, 12, 18)

John Styx: Solamada Pando Girard (All dates)

Pluto: Jonathon Joseph Larson (July 11, 17, 19); Sasha Tomasevich (July 10, 12, 18)

Jupiter: Alexander Quackenbush (All dates)

Diana: Halle Rosemond (July 11, 17, 19); Catherine Larson (July 10, 12, 18)

Cupid: Hillary Esqueda (July 11, 17, 19); Abigail Greer Arcomona (July 10, 12, 18)

Venus: Alexandra Kassouf (July 11, 17, 19); Val Beck (July 10, 12, 18)

Mercury: Kristin Weed (July 11, 17, 19); Kelly Killorin (July 10, 12, 18)

Minerva: Allison Mann (July 10, 11, 12); Eugenia Bouboudakis (July 17, 18, 19); 

Juno: Katarina Bakas (All dates)

Mars: Jonathan Rodney (All dates)

Bacchus: Lucas Gassmann (All dates)

Vesta: Solamada Pando Girard (All dates)

Location

Great Lakes Operetta is proud to present its first full-length, fully-staged production on the stage of the Beatrice Theatre at the beautiful Bramble Arts Loft in the Andersonville neighborhood of Chicago. Located on the second floor the historic Capital Garage building (with an ADA-accessible elevator!), this lovely, intimate space is one of Chicago’s newest performing arts venues.

For tickets, click here.

Goodman Theatre’s Iceboy! arrives as a gleefully off the rails musical that blends Broadway glamour, Neanderthal chaos, and theatrical myth making into one of the most delightfully strange premises to hit Chicago in years. It’s a satire, a love letter to showbiz, and a playful reimagining of how Eugene O’Neill might have found inspiration for The Iceman Cometh - if history had taken a wildly different turn.

Set in 1939, Iceboy! or The Completely Untrue Story of How Eugene O’Neill Came to Write “The Iceman Cometh” follows Broadway superstar Vera Vimm, who purchases the newly thawed 40,000‑year‑old Neanderthal after he’s discovered in the Arctic. An orphan herself, Vera risks the last of her money because she sees in Iceboy not just a curiosity, but the possibility of a son. Once he thaws, “Iceboy” unexpectedly becomes a theatrical sensation, charming Manhattan and quickly rising to stardom. His meteoric fame threatens Vera’s own spotlight, creating a comic rivalry as she scrambles to maintain her status.

Meanwhile, playwright Eugene O’Neill - stuck in a bout of severe writer’s block - becomes fascinated by Iceboy’s sudden cultural impact. In this fictionalized retelling, Iceboy’s presence and persona inspire O’Neill to write The Iceman Cometh, intertwining the Neanderthal’s improbable celebrity with one of American theatre’s most iconic works. The musical plays as a satirical backstage romp - part showbiz fable, part absurdist comedy - where ambition, ego, and theatrical legend collide, all delivered with a cheerful, madcap sensibility that feels straight out of the Mel Brooks playbook. The tone is broad, cheeky, and joyfully irreverent, embracing the kind of anything goes comic mayhem Brooks perfected in The Producers and Young Frankenstein.

Megan Mullally as Vera Vimm and Nick Offerman as Eugene O'Neill in Iceboy! at Goodman Theatre. Photos by Todd Rosenberg.

To appreciate just how boldly Iceboy! reframes O’Neill’s legacy, it helps to remember what The Iceman Cometh actually is.

O’Neill’s future Pulitzer Prize offering inspired a four-hour film that’s essentially a parade of drunks in a dim bar, each clinging to dreams they’ll never pursue - the bar itself a metaphor for their inability to move forward, trapped in the same place both physically and emotionally. The 1973 film adaptation centers on the down and out patrons of Harry Hope’s saloon in 1912 Greenwich Village. These men - alcoholics, former revolutionaries, disgraced professionals - spend their days drowning in booze and clinging to “pipe dreams” of future redemption.

Their routine is disrupted when charismatic salesman Theodore “Hickey” Hickman arrives - sober, zealous, and determined to force everyone to abandon their illusions. Hickey’s mission to strip the barflies of their comforting fantasies leads to emotional unraveling, bitter confrontations, and ultimately a chilling confession about his own past. The story is a tragic, philosophical exploration of hope, delusion, and the brutal cost of facing reality.

All of that brooding, booze-soaked existentialism makes Iceboy!’s approach even more refreshing. Where O’Neill’s world traps its characters, this musical unleashes its own with joyful abandon - led by an ensemble so charismatic and so sharply funny that the show vibrates with life.

Guiding the production is director Marc Bruni, who shapes the show with crisp timing and a clear sense of comic architecture, keeping its wild premise buoyant without letting it unravel. The music by Mark Hollmann gives the story a light, upbeat foundation, and the lyrics by Hollmann and Jay Reiss add steady humor throughout. The book by Erin Quinn Purcell and Reiss keeps the tone approachable, offering just enough structure for the characters to play within. Joann M. Hunter’s choreography provides simple, well‑placed movement that supports the show’s comic rhythm without calling attention to itself.

It certainly helps that Iceboy! is powered by an outrageously talented and instantly likeable ensemble. Husband and wife duo Nick Offerman and Megan Mullally make a dynamite team - Offerman is superb, bringing his signature deadpan charm to Eugene O’Neill, the same understated precision and dry, unflappable humor that’s made him beloved in Parks and Recreation, Devs, and The Last of Us. Mullally, best known for her Emmy winning turn as Karen Walker on Will & Grace, her unforgettable Tammy II opposite husband Nick Offerman on Parks and Recreation, and her Broadway run in How to Succeed in Business Without Really Trying, delivers a riotously funny, razor sharp performance as Broadway titan Vera Vimm. She tears into the role with fearless comic bravado and vocal firepower that reminds you she’s a true musical theatre pro - her belt is thrilling, her phrasing wickedly playful, and her comedic musicality is a show in itself. Few performers can time a sharp aside with Mullally’s precision.

(L-R) Melanie Brezill, Shawn Pfautsch, Megan Mullally, SarahStiles and Grey Henson in Iceboy!

Cedric Yarbrough, best known for Reno 911! and Speechless, is terrific as Floyd Richards, Vera’s devoted lover and perpetually stressed playwright. He brings a warm, rumpled charm to the role, layering Floyd’s desperation with impeccable timing, sly vocal humor, and a steady stream of perfectly landed one-liners. His presence gives the show a grounded comic pulse that keeps the chaos humming - and his baritone is impressive.

Chicago favorite Alex Goodrich is a delight as Frankenstein, one of Vera’s long-suffering caretakers, layering the role with buoyant physical comedy and a wonderfully off-kilter energy that fits the show’s boisterous comic verve.

As Iceboy or “Jeff,” Grey Henson is a revelation - wide eyed, instinctive, and musically explosive. He plays the Neanderthal with such innocence and uninhibited theatrical gusto that the audience can’t help but root for him. He’s a genuine surprise as well, offering several scene-stealing moments that deepen the show’s comic momentum and give its wild energy an extra spark.

And Sarah Stiles, as Lambert, Vera’s whip‑smart, perpetually overwhelmed assistant, makes every appearance count with her explosive comedic instincts and razor‑precise delivery. Her timing is immaculate - every flustered aside, every clipped retort, every moment of mounting panic lands with such clarity and control that she elevates even the smallest beat. Stiles has a way of shaping a line so it hits with both intelligence and impact, turning Lambert’s exasperation into one of the show’s most consistently funny throughlines.

Together, this ensemble - Offerman, Mullally, Yarbrough, Henson, Stiles, Goodrich, and a bench of other strong players rounding out the cast - forms an ecstatically silly comedy machine, a group so talented and irresistibly likeable that the laughs never let up and every performer feels essential to the show’s delirious momentum.

The musical numbers are wonderfully fun. Songs like the opening number “Historic Find,” the gloriously unhinged “Can You Call Me ‘Mama’?,” and the full company showstopper “Hooray for Iceboy!” set the tone for the musical’s raucous spirit. Each one is packed with sharp wit, big Broadway energy, and the kind of gleeful absurdity that keeps the audience laughing long after the button. “Historic Find” opens the show with a clean burst of discovery‑driven momentum, “Can You Call Me ‘Mama’?” makes full use of Mullally and Henson's sharp comic instincts, and “Hooray for Iceboy!” brings the full company together for a lighthearted, good‑natured celebration. This sample size of songs highlights how musically nimble and consistently funny Iceboy! is - a score that shifts easily between cleverness, silliness, and moments of heightened theatrical play.

One of the funniest musical numbers in the show is “Marry Me,” sung with perfect comic contrast by Grey Henson and Sarah Stiles. In it, Iceboy proposes to Lambert with disarming sincerity, offering what he believes are tender declarations of affection - only to fold in a series of prehistoric “courtship traditions” drawn from his caveman understanding of romance. Throughout the song Iceboy sings to her, “I want to take you from behind,” his way of saying he'd like to marry her. The result is a wonderfully off‑balance duet that lands as one of the show’s most genuinely hilarious moments.

Adding to the show’s irresistible charm is the fantastic Art Deco set designed by Paul Tate Depoo, which instantly places us inside Vera Vimm’s lavish living room - all gleaming lines, bold geometry, and glamorous period detail. Depoo’s design captures the theatrical excess of 1939 Broadway while giving the actors a playground of visual delight. On each side of the stage, Eugene O’Neill’s writing desks sit like dueling stations of inspiration and frustration, a clever touch that keeps his presence woven into the action. And, true to O’Neill’s legacy, there’s always a bottle within reach, a sly nod that becomes both a running joke and a thematic anchor. It’s a smart, stylish environment that supports the comedy while grounding the show in a richly imagined world.

Iceboy! or The Completely Untrue Story of How Eugene O’Neill Came to Write “The Iceman Cometh” is an outrageously inventive, joy-charged burst of musical comedy that proves Goodman Theatre can still surprise us in the best possible ways. With its fearless cast, sharp writing, and deliriously fun score, it’s the kind of show that sends you out grinning and grateful for the sheer imagination on display. Iceboy! runs through August 9th at Goodman Theatre and stands as one of the most riotously entertaining nights out you’ll find this summer.

Very highly recommended.

Now extended through August 16th. For tickets and/or more show information, click here.

Opera Festival of Chicago continues its season with two mainstage productions - La Bohème and Adriana Lecouvreur - each featuring the Opera Festival of Chicago Orchestra and Chorus and performed at the George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie. 

I had the chance to see Giacomo Puccini’s La Bohème, directed by Festival General Director Sasha Gerritson and conducted by Sir Emanuele Adrizzi, and it proved to be an outstanding, deeply felt evening of music and drama.

Giacomo Puccini’s La Bohème unfolds in the chilly garrets and bustling cafés of 1830s Paris, where a group of young artists survive on charm, wit, and the fragile hope that beauty might be enough to sustain them. The opera begins in a drafty attic shared by the poet Rodolfo and the painter Marcello, whose playful banter masks the hunger and hardship of their bohemian life. Everything shifts when Mimì, a shy, dreamy seamstress with a failing candle and failing health, knocks on their door. Her tender connection with Rodolfo ignites instantly, carrying them into the vibrant chaos of Café Momus, where Marcello’s fiery former lover Musetta steals the spotlight with her flirtations and razor‑sharp instincts.

But as winter settles in, the opera’s warmth gives way to harsher truths. Only the rich are safe and well fed in this cold bleak landscape of artistic poverty. Mimì’s illness worsens, and Rodolfo’s fear of losing her fractures their love, even as they cling to moments of sweetness. Both Mimì and Rodolfo are swept up in the sudden, poetic rush of feeling that sparks between them during their first meeting over her extinguished candle, a moment Puccini shapes with irresistible warmth. Their ensuing duet, “O soave fanciulla,” is written as a rush of idealized, almost dreamlike love - sung here with such radiance that it feels too perfect to endure, and tragically it doesn’t, as the briefness of their time together becomes one of the opera’s most heartbreaking truths. 

By the final act, the bohemians reunite in their attic, trying to conjure laughter out of scarcity, until Musetta arrives with the gravely weakened Mimì. What follows is one of opera’s most devastating endings: a quiet, intimate vigil as Rodolfo realizes too late that the love he tried to protect has slipped beyond saving. Puccini shapes this world with music that aches, soars, and ultimately reminds us how fiercely we hold on to joy, even as life insists on its fragility. Puccini also paints a world in which artists of every stripe are routinely exploited by the comfortable classes - the dull rich, who commission work and then pay only sporadically, as if deprivation were somehow a necessary ingredient of genius. In reality, it is the indifference of these wealthy patrons that forces the bohemians into constant hardship, driving them to beg, borrow, and even steal simply to keep food on the table and have their housing bills covered.  

(L to R) Alexandra Razskazoff, “Mimi” and Nathan Granner, “Rodolfo” in LA BOHÈME. Photos by A.Deran Photography.

This La Bohème features a cast whose vocal and dramatic instincts sharpen Puccini’s world into something immediate and deeply felt. Alexandra Razskazoff’s Mimì is nothing short of luminous - her soprano glowing with warmth yet edged with delicacy, embodying a young woman whose softness hides a life lived perilously close to the margins. A rising artist with an increasingly international footprint, Razskazoff traces Mimì’s arc with such emotional transparency that her final moments land with quiet, devastating force. Opposite her, tenor Nathan Granner brings a beautifully burnished tone and an instinctive musicality to Rodolfo. Long admired for his expressive phrasing and crossover versatility, Granner sings with a poet’s sensitivity; his Rodolfo is impulsive, romantic, and heartbreakingly human, especially as love and fear begin to pull him apart.

Catherine Antonia Samartin lights up the stage as Musetta, her bright, agile soprano and irresistible charisma making every entrance feel like a spark catching fire. Musetta is also the victim of this us versus them world where her beauty and charms are commodified on the older wealthy man she is forced to keep company with in order to receive her beautiful wardrobe and warm home to live in. Her scenes with Kenneth Stavert’s Marcello are especially electric. Stavert, with his rich, grounded baritone and wonderfully lived‑in ease, brings both humor and heart to the painter whose bravado barely conceals his vulnerability. Anthony Reed’s Colline provides a beautifully resonant counterweight to the lovers’ volatility - his “Vecchia zimarra” delivered with a quiet, dignified ache that speaks volumes about loyalty and sacrifice. Jonathan Wilson brings quicksilver energy and crisp comedic timing to Schaunard, shaping the role with warmth and buoyancy, while veteran bass William Powers steals scenes with effortless charm as both Benoit and Alcindoro, reminding audiences why he remains one of American opera’s most reliable character treasures. David Greene adds a welcome burst of color as Parpignol, enriching the Act II bustle with a touch of whimsy. This ensemble shapes a Bohème that feels vividly inhabited and emotionally true, a testament to what Puccini’s world becomes when every performer contributes with such specificity, generosity, and heart.

One of the production’s most striking assets is its massive, 50‑plus‑member chorus, whose sheer presence reshapes the entire world of La Bohème. Their sound adds a thrilling sweep to Puccini’s score, amplifying the emotional stakes and giving the bustling Parisian scenes a vivid, lived‑in texture. In Act II especially, the sheer size and vocal richness of the ensemble create a sense of overwhelming festivity, making the Christmas Eve Café Momus tableau feel like a city bursting with life. But the chorus also deepens the opera’s more intimate moments, surrounding the central lovers with a sonic landscape that underscores both the joy and the fragility of their world. It’s a rare gift to hear a chorus of this scale in a production of Bohème, and here it elevates the performance into something grander, more immersive, and undeniably unforgettable.

(L to R) Kenneth Stavert, “Marcello;” Anthony Reed, “Colline;” William Powers, “Benoit;” Nathan Granner, “Rodolfo” and Jonathan Wilson, “Schaunard” in LA BOHÈME from Opera Festival of Chicago. Photos by A.Deran Photography.

The set itself is perfectly workable and the large video boards truly animate the space, supplying shifting imagery of snowfall and other atmospheric touches throughout the evening. Because the opera is sung in Italian, overhead supertitles - crisply projected and easy to follow - add a modern presentational layer that supports the storytelling without ever competing with Puccini’s world. 

This La Bohème resonates with honesty, heart, and thrilling musicality, carried by a cast and chorus performing at the height of their powers. It’s a standout achievement for Opera Festival of Chicago - and a compelling reason to experience not only this production but also their Adriana Lecouvreur, by Francesco Cilea, directed by Shifra Werch and also conducted by Sir Emanuele Andrizzi, which promises its own dramatic and musical rewards.

Recommended.

Performances are held at the North Shore Center for the Performing Arts in Skokie. 

La Bohème - Friday, June 26 at 7:30 p.m., Wednesday, July 1 at 7:30 p.m., and Sunday, July 5 at 2 p.m. 

Adriana Lecouvreur - Sunday, June 28 at 2 p.m. and Friday, July 3 at 7:30 p.m.

Tickets range from $25 to $150 and are available at  www.OperaFestivalChicago.org.

Marriott Theatre’s in‑the‑round intimacy turns A Little Night Music - which premiered on Broadway in 1973 and later became a 1977 film - into a quietly seductive swirl of glances, secrets, and second chances, the kind of production where the waltz feels like its own character. Under the soft glow of perpetual twilight, Sondheim’s lovers and liars circle one another with equal parts longing and restraint, and the space itself heightens every stolen look and half‑spoken truth. It’s a show built on emotional undercurrents, and Marriott’s staging lets those currents ripple right through the audience.

Stephen Sondheim’s A Little Night Music unfolds like a slow-turning dance that keeps tightening its circle, drawing its characters closer to the truths they’ve been avoiding. Set in a turn‑of‑the‑century Sweden where manners are crisp but desires run hot, the story follows lawyer Fredrik Egerman, a man trying to convince himself he’s content. He’s recently married Anne, a porcelain‑delicate young bride who’s still clinging to her innocence, while his son Henrik broods in the corner, nursing both a cello and an unspoken crush.

Everything tilts when Fredrik reconnects with Desiree Armfeldt, the actress he once loved and never quite got over. Desiree, ever the pragmatist, is juggling her own complications - namely Count Carl‑Magnus Malcolm, a swaggering dragoon whose jealousy burns hotter than his intellect. When Desiree attempts to untangle her romantic knots, she invites everyone to her mother’s country estate for a “quiet weekend,” which of course becomes anything but.

Alan H. Green in Marriott Theatre's A Little Night Music.

What follows is a weekend of mismatched couples, misread signals, and emotional truths finally spoken aloud. Under the glow of the perpetual Nordic twilight, partners shift, illusions crack, and the characters discover that love - in all its foolishness and ache - is rarely tidy but often exactly what they need. By the time the final waltz resolves, hearts have realigned, old wounds have softened, and the night has delivered its promised wisdom.

Sondheim’s score remains the production’s quiet spellbinder - a latticework of turning phrases, reprises, and melodic ironies that reveal as much about the characters as the book does. Songs like “Now,” “Soon,” and “Later” braid together with clockwork precision, exposing the emotional stalemates everyone is too polite to name, while “A Weekend in the Country” bursts with layered wit and rising chaos. And when the music finally slows into the aching simplicity of “Send in the Clowns,” the entire evening seems to exhale. Marriott’s staging lets these songs land not as showpieces but as confessions, each one circling closer to the truths the characters have been dancing around all night.

Under Nick Bowling’s beautifully calibrated direction, A Little Night Music moves with a clarity, elegance, and emotional intelligence that allows every waltz, glance, and confession to land with quiet precision.

Marriott’s production finds its center of gravity in Alexandra Silber, whose Desirée Armfeldt glows with the practiced sparkle of an actress slightly past her prime who knows exactly how she’s perceived and used by the married men who adore her - and the bruised vulnerability of someone who’s finally tired of the performance. Silber calibrates every beat with care: the sly asides, the brittle composure, the ache that flickers just beneath the surface. When she reaches “Send in the Clowns,” it doesn’t arrive as a grand gesture but as something far more intimate - a truth about the “bread crumbing” type of love she’s accepted as a traveling working actress that she’s been circling and battling for years. Opposite her, Andrew Samonsky gives Fredrik Egerman a beautifully worn‑in charm, the kind of man who hides his longing behind polite smiles and a touch of self‑mockery. His Fredrik isn’t a fool; he’s a man quietly unraveling, caught between the mature love he’s built and the young carefree one he still imagines he can achieve with his much younger bride. Samonsky’s performance is both sensual and frustratingly narcissistic. One example of this is when Fredrik apologizes to Desiree - as he leaves her heartbroken yet again - for confessing the tempting truth that her very presence is his safe haven… even though he has no intention of ever being saved by her.

I absolutely adored every delicate moment between lovers, friends, and husbands and wives in this gracefully performed piece, which reveals how men and women are still, even now, navigating the ever‑shifting moods of the partners in their lives in order to sustain lasting relationships.

Alan H. Green makes a vivid impression as Count Carl‑Magnus Malcolm, swaggering through the role with puffed‑up bravado and razor‑sharp comic instinct. Veronica Garza matches him effortlessly as Charlotte, her barbed wit and impeccable comedic timing turning bitterness into something unexpectedly funny and deeply human. Addie Morales gives Anne a shimmering, anxious innocence that feels grounded, while Eldon Warner‑Soriano lets Henrik’s turmoil simmer until it finally breaks open into something raw and affecting.

The singing voices of every single member of this talented and attractive cast are of true opera quality, and paired with the astoundingly modern, lyrical poetry of Sondheim’s evergreen script, I found myself leaning in to catch every word from their lips like a bee sipping nectar from flowers. Across the board, the vocals are rich, expressive, and beautifully attuned to the intricacies of Sondheim’s score.

From there, Carmen Roman anchors the evening with a magnetic, unhurried authority as Madame Armfeldt, delivering Sondheim’s sharpest observations with the cool precision of someone who has cataloged every shade of heartbreak and delicious, luxurious romance from men of great standing throughout her long life. She brings down the house with superbly dry one‑liners like, “Don’t serve them the best champagne - I’m saving that for my funeral!”

Veronica Garza, Andrew Samonsky and Carmen Roman (rear) in A Little Night Music at Marriott Theatre. Photos by Justin Barbin.

Madison Uphoff brings Petra a bold, earthy vitality - a reminder that desire belongs to everyone, not just the elegantly miserable. Together, this ensemble moves through Sondheim’s bittersweet waltz with nuance, confidence, and a clear understanding of the emotional architecture beneath the score.

Scenic Designer Regina García shapes the evening with a clean, elegant visual world that proves how little is needed to conjure an entire emotional landscape. The stage remains mostly bare - a chaise lounge here, a writing desk there - yet the details she chooses carry real poetic weight: a graceful two‑person swing drifting down from the rafters like a shared memory, a balmy moon casting its soft glow across the space, and strands of hanging lights and flowing ribbon that give the in‑the‑round theatre the feeling of a summer night suspended in time.

Associate Choreographer Katie Johannigman threads movement through this environment with a light, intuitive touch, while under Brad Haak’s baton, Sondheim’s score unfurls with clarity and warmth. Sally Dolembo’s costumes superbly wrap the production in period elegance. Dolembo’s designs resemble modern ballet costumes and express the unique sensuality and sexuality of both the male and female characters in a most tasteful and expressive way that makes your eye want to follow their every move especially the graceful way they make love to one another. The delicate, mostly pastel costumes emote a subtle erotic beauty without overwhelming each character’s emotional and comedic shifts as the night deepens and the whirl tightens its hold.

Marriott Theatre’s A Little Night Music unfolds on the perfectly intimate size of their theatre in the round stage, and the production’s emotional reach is anything but small. What emerges over the course of the evening is a circling dance of sensual longing, unrequited love and unexpected grace - a reminder of how Sondheim’s work can pierce straight through the heart when handled with this level of care. By the time the final notes fade and the lovers step back into the soft glow of twilight, the production has delivered something quietly luminous: a story about desire and forgiveness told with wit, tenderness, and a deep understanding of the ways men and women walk the tightrope of love and pride, playing love like a game of egos until they realize true love is the one thing they truly cannot live without. 

Highly recommended.

For tickets and/pr more show information, click here.

The musical Water for Elephants, presented by Broadway In Chicago and based on Sara Gruen’s 2006 novel, is the rare touring Broadway production that feels like two forms of live entertainment fused perfectly. It is a sweeping musical, yes, but it is also a full-blown circus spectacle – and, more impressively, it manages to blow you away on both fronts.

Told through the memories and ghosts of an elderly Jacob Jankowski, Water for Elephants follows a young Jacob who, under unfortunate circumstances, follows the age-old childhood dream of running away with the circus. The show brings to life the complicated realities behind that fantasy: the idea of stumbling into a secret, self-contained world where danger, wonder, chosen family, and reinvention all exist under one big top. From the moment Jacob enters that world, the audience is drawn in with him.

Particular standouts in the principal cast were Zachary Keller as Jacob Jankowski, whose vocal talent and charisma are matched only by Robert Tully as Older Jacob – the perfect pairing across time. As Marlena, Helen Krushinski commanded the theatre like a pure-of-heart ringmaster, capturing our attention both on trapeze and vocally. However, no one made the audience laugh harder than Tyler West as Walter, the gritty, spunky clown and knife-thrower whose physical comedy was unmatched, projecting every larger-than-life expression to the backs of the theatre.

The show’s creative engine fires on all cylinders: a soaring score from the acclaimed PigPen Theatre Co. (The Tale of Despereaux), a sharply crafted book by four‑time Tony Award nominee Rick Elice (Jersey Boys, Peter and the Starcatcher), and tour direction by Ryan Emmons, faithfully re‑creating Jessica Stone’s Tony‑nominated original staging (Kimberly Akimbo).

(left-right) Connor Sullivan, Helen Krushinski, and Zachary Keller in Water for Elephants. Photos by Matthew Murphy for MurphyMade. 

The most immediately astonishing element of this production is, unsurprisingly, the circus work. The show features a truly impressive range of skills, including aerial hoop and silks, Spanish web, trapeze, and dozens of genuinely death-defying acrobatic tricks and stunts. These sequences are not treated as decorative flourishes or occasional spectacle breaks; they are woven directly into the fabric of the show, pulling us behind the scenes of how the circus breathes, moves, celebrates, and survives.

Aside from their incredible acrobatic talent, it is the ensemble’s acting and collective presence that really bring the Benzini Brothers Circus to life. They do not just perform like a group of talented individuals; they feel like a community. Their presence gives the spectacle a lived-in quality, as if we are getting a glimpse into a strange, beautiful little village that existed long before Jacob arrived and will continue on after he leaves. The choreography only deepens that feeling, filling the stage with constant motion that still somehow feels purposeful, like the well-oiled machine behind a traveling circus, rather than chaotic. Even in the busiest moments, there is a sense of shared rhythm and collective trust among the ensemble that’s impossible to fake.

That trust extends beyond performance and into the technical construction of the show itself. Throughout the production, the cast quite literally assembles and dismantles the world around them. The big top is built, broken down, reconfigured, and rebuilt in front of us, using artistry to turn scene transitions into their own kind of performance. For a concept that presents so many obvious challenges – live animals, circus-scale theatricality, and the limitations of a traveling production, to name a few – Water for Elephants meets each obstacle with remarkable creativity and a steady grounding force.

The touring cast of Water for Elephants.

The production design is especially successful because it knows when to lean into abstraction. Rather than attempting to make every element literal, the show often suggests the world of the circus through movement, fabric, shadow, structure, the bodies of its performers, and some of the most beautiful puppets I’ve seen on stage. The amount of thought that went into creating something cohesive, theatrical, and fully transportable - without dulling any of its magic - feels less like standard Broadway stagecraft and more like a feat pulled off by a traveling chosen family.

All of this authenticity, however, at times feels at odds with the musical’s book and score. The ensemble feels so natural, so physically and emotionally connected to one another, that a few of the more dramatic scenes begin to feel noticeably staged by comparison. That is not a question of the principal cast’s talent, but rather a limitation of translating this story from novel to musical. There are moments when the circus – and even the puppets – feels startlingly real, and moments when you are reminded that you are very much watching a musical. Neither approach is inherently wrong, but the gap between them can be jarring. Still, that critique feels small compared to the scale of what the production accomplishes. It is also worth noting how vocally balanced the ensemble remains despite the wide range of performers on stage. In a show that combines musical theatre performers with circus and acrobatic artists, maintaining that level of cohesion is both a performance achievement and a technical one.

Water for Elephants captures the exact feeling it is chasing: awe. It is dangerous, romantic, inventive, and deeply theatrical, with a company that makes the impossible look effortless.

For anyone who has ever wanted to run away with the circus – or simply be reminded of what live performance can do when artists push it to its limits – Water for Elephants is running at James M. Nederlander Theatre through July 5th. Tour information and tickets are available at https://waterforelephantsthemusical.com/.

Overshadowed Theatrical Productions announced their 2026-2027 season entitled “Ordinary People, Extraordinary Moments,” which includes five main stage productions and special events.

Kicking off the season is an original play written by Artistic Director Reba Hervas entitled “Flame of Fire.” The story is inspired by "Operation Auca," a mission to make peaceful contact with an Ecuadorian tribe. Remembering the events 70 years later, this dramatic play follows missionaries Jim Elliot, Nate Saint, Pete Fleming, Ed McCully, and Roger Youderian and their wives as they bravely prepare for what would change their lives forever. Auditions for this empowering tale will be held on Tuesday, July 28.

For the Christmas season, Overshadowed will present the beloved “It’s a Wonderful Life,” adapted by Jason LeBlanc from the film by Frank Capra. This cherished story follows George Bailey as he discovers the most precious gift thanks to some heavenly help by a quirky angel trying to earn his wings. The film turns 80 years old this year.

In January, the season continues with the family-oriented “James and the Giant Peach (TYA).” Adapted from Roald Dahl's book, this musical follows the adventures of a young boy and his strange new friends as they travel in a giant peach to New York. Book by Timothy Allen McDonald with music and lyrics by Benj Pasek and Justin Paul, known for "Dear Evan Hansen."

The spring will feature a rare Agatha Christie mystery, “The Stranger.” Considered a lost play until 2019, this intriguing tale will have audiences on the edge of their seats as a woman’s whirlwind romance takes a turn when she discovers something about her husband’s past.

The season wraps with the Tony Award-winning “Titanic” with music and lyrics by Maury Yeston and a book by Peter Stone. This beautiful musical delivers powerful emotional moments and soaring songs that bring history to life.

The season will also include the return of Shakespeare on the Grass, a partnership with the City of Itasca. “A Midsummer Night's Dream” will be presented on August 15 at 1 p.m. and 4 p.m. at 201-261 S. Walnut Street, Itasca, in the newly renovated gazebo. The event is free and will feature food and beverages for purchase from local vendors.

In February, Overshadowed will also present its annual Valentine’s Day show with a special performer to be announced at a later date.

Season subscriptions are available for purchase on Overshadowed’s website or by calling the box office at (630) 634-2100.

Production Dates:

• “Flame of Fire”: September 18 – October 10, 2026
• “It’s a Wonderful Life”: November 27 – December 19, 2026
• “James and the Giant Peach (TYA)”: January 22 – February 6, 2027
• “The Stranger”: March 12–20 and April 1–10, 2027
• “Titanic”: July 9–31, 2027
• Shakespeare on the Grass: “A Midsummer Night's Dream”: August 15, 2026 (1 p.m. & 4 p.m.)

About Overshadowed Theatrical Productions

For over 20 years, Overshadowed Theatrical Productions has provided high-quality, family-friendly theater that entertains, inspires, and promotes a Biblical message while fostering a positive community atmosphere. The company is also dedicated to training and encouraging the next generation of performers and theater technicians.