In the sharp-tongued world of Sarah Burgess’s Dry Powder, presented by Gwydion Theatre Company at the Greenhouse Theater Center, the pursuit of money is a blood sport. The play centers on a high-stakes private equity firm caught in a massive public relations nightmare after laying off thousands of grocery store workers the same week its co-founder threw a flashy engagement party featuring an elephant – but it was just one elephant!

All hope isn’t lost for their reputation, however. A potential way out comes thanks to a struggling, American-made luggage company that believes the firm can save them. Of course, as the firm weighs the acquisition, their definition of “help” may not align with the company’s. At the helm is Rick, the ultimate decision-maker, who has two distinct angels on his shoulders: Seth, the optimistic partner who brought the deal to the table, and Jenny, his cold-hard-cash counterpart. From Seth’s perspective, the deal is a perfect fit; they can rescue an American brand without layoffs and emerge as heroes. For Jenny, this luggage company is just baggage—unless it can be downsized, moved overseas, and engineered into something it once stood against.

Directed with precision by Ellie Thomson, Dry Powder completes Gwydion Theatre’s season, which has explored themes of class, money, and power, and how all three can entangle the soul. The production asks what happens to our humanity when everything is reduced to a column on a balance sheet.

The production thrives on the electric, friction-filled chemistry of its cast, anchored by a series of standout performances.

Carol Kelleher delivers a masterclass performance as Jenny. Playing the de facto villain of the piece, Kelleher crafts a remarkably complex and compelling performance that is utterly enjoyable to watch. She doesn’t just play the role; she completely becomes the character, infusing Jenny’s brutal, unrelenting perspective of greed with a sharp humor. Her performance ensures that even at Jenny’s most calculating, you cannot look away.

As the firm’s head, Rick Yaconis turns in a powerful performance, deftly striking the balance between a paternal mentor and a greasy titan. He shifts effortlessly between a ruthless opponent and a pat-you-on-the-back salesman. 

Grayson Kennedy, a founding member of Gwydion Theatre, brings immense depth to Seth, the firm’s supposedly earnest, morally grounded partner. His clean-cut delivery fits the role perfectly. 

Tommy Thams, co-founder of the theatre company, rounds out the dynamic as Jeff, the CEO of the targeted luggage company. Thams infuses Jeff with the relaxed, easygoing charm of an old buddy, making the audience root for the company’s success and feel genuinely betrayed by what unfolds in the final act.

Burgess’s script is complex, mining dark humor from the shifting dynamics and war of words between these characters. 

Ultimately, Dry Powder leaves the audience reflecting inward. It might be easy to dismiss this play if we aren't personally in a position to dismantle - or attempt to save - a multimillion-dollar company, but the narrative transcends the boardroom. The play holds up a mirror and forces us to look closely at ourselves: Are we good or are we just being nice?

As Jenny pointedly notes, she never lies to the client. Her emotions, her greed, and her hawkish nature are never disguised. Seth, conversely, hides behind a comforting “nice guy” persona, genuinely believing he occupies the moral high ground. But in trying to appease both sides – a greedy firm and a company that needs help – is he actually better or just deceiving himself?

It’s these thought-provoking questions that make Gwydion Theatre’s production a gripping triumph that lingers long after the final blackout.

Dry Powder plays at the Greenhouse Theater until July 26. Tickets and show information here.

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.

Sandbox Theatre Collective has announced their production of William Shakespeare’s Henry IV, Part 1. Directed by Alex Albrecht and running August 14th-30th at Mrs. Murphy & Sons Irish Bistro in North Center, the new Sandbox Theatre Collective Member Project explores the web of loyalty and expectations in the classic play. Tickets are available online.

Set on the brink of war, Henry IV, Part 1 combines action with high family drama in an intimate exploration of political pressure, personal reality, and the cost of investment in a system that betrays you. Mrs. Murphy & Sons Irish Bistro will serve as the Boar’s Head Tavern, Royal Court, and battlefields of Shrewsbury as the new production investigates the relationships that have been captivating audiences for more than 400 years.

“Henry IV, Part 1 reflects what it means to live through a time of political frustration and fractured identity,” says director Alex Albrecht. “As we search for the ability to cope in a turbulent world, its characters wrestle with the same pressures we do and fight to overcome them on their own terms.”

The production features an ensemble cast of locally acclaimed and award-winning actors, including LJ Bullen as Hotspur, Katherine Damisch as Worcester, Robert Howard as Falstaff, Caleb Ryan Jones as Northumberland/Bardolph/Glendower, Nathan Keiller as Poins/John of Lancaster, Khnemu Menu-Ra as Sir Walter Blunt, Helena Scholz-Carlson as Prince Hal, Julia Stemper as Henry IV, and Michaela Voit as Mistress Quickly/Lady Hotspur.

The production team includes Samantha Flipp (Stage Manager), Becca Schwartz (Fight and Intimacy Director), and Laura Bouxsein (Costume Designer). Tickets are “pay what you want” and shows run on August 14th, 15th, 21st, 22nd, and 29th at 7:30pm and August 16th, 23rd, and 30th at 3:00pm.

Buy Tickets Now

About Sandbox Theatre Collective:

Founded in 2022, Sandbox Theatre Collective began as a small group of Chicago artists looking to create a space where theatre-makers of all backgrounds could show up and create their own work. Since that first day, they have embraced a non-hierarchical leadership structure, put their focus into new and reimagined works, and created opportunities for as many local artists as possible. In the past three years, they’ve mounted full productions, performed in living rooms and local businesses, produced multiple new play development workshops (and a new musical workshop!), and they’re just getting started.

Break out your Burn Book and mark these dates: Aurora’s Paramount Theatre is launching its 15th Broadway Series with the Chicago-area premiere of Mean Girls,
August 26-October 11, 2026. Opening Night is Friday, September 4 at 7 p.m.

Nominated for 12 Tony Awards, including Best Musical and Best Original Score, Mean Girls is the Broadway sensation that’s so fetch, it rules the school. 

Based on Tina Fey’s iconic Paramount Pictures film, Mean Girls is the story of Cady Heron, a sweet and smart new girl who’s just moved from Africa to Chicago’s North Shore. When she enters the wild world of North Shore High, she quickly finds herself tangled up with The Plastics, the school’s most popular - and ruthless - clique led by queen bee Regina George. As Cady tries to fit in, she learns that popularity comes with a price. And revenge can get ugly fast.  

With a book by Tina Fey, music by Jeff Richmond, and lyrics by Neil Benjamin, Mean Girls gets an A+ for big laughs, bold, campy style, unforgettable pop-rock songs, and a message that is surprisingly honest. It’s a fresh, colorful must-see for anyone who’s ever tried to find their place in the crowd. So grab your friends, wear pink (on Wednesdays, of course), and experience the non-stop, fun-loving musical that proves even the fiercest frenemies can find redemption.

Devon Hayakawa, after serving on the directing teams of South Pacific, Come From Away, Cats, and Disney’s Frozen, makes their Paramount solo directing debut with Mean Girls. Their top-tier creative team includes choreographer Kasey Alfonso (Come From Away, Jeff Award-winner, Cats), veteran Paramount Broadway Series music director and conductor Kory Danielson, set designer Milo Bue (Come From Away) and costume designer Kotryna Hilko (Peter and the Starcatcher). 

On stage, Cady Heron will be played by Elizabeth Stenholt, familiar to Paramount audiences as Olive in The 25th Anniversary Putnam County Spelling Bee (Jeff-nominated, Performer in a Supporting Role), Medium Alison in Fun Home (winner, Jeff Award, Performer in a Supporting Role), and Dorothy in The Wizard of Oz. 

Dariana Mullen, coming off The Great Gatsby at New York’s Broadway Theatre, makes her Chicago debut as Cady’s arch nemesis, Regina George. The cast also features Angel Alzeidan as Gretchen Wieners, Julia Hope Budd as Karen Smith, Diego Vazquez Gomez as Aaron Samuels, Lucy Godinez as Janis Sarkisian, Steven Klenk as Damian Hubbard, Ben Mathew as Kevin G, Veronica Garza as Mrs. Heron/Ms. Norbury/Mrs. George, and Austin Nelson Jr. as Principal Duvall. 

The ensemble includes Tola Abitogun, Jeremiah Alsop, Matty Bettencourt, Anna Louise Bramlett, Nicole DiSandro, Ben Dow, Tiyanna Gentry, Joshua Messmore, Hannah Remian, Nataki Rennie, Morgan Schoenecker, Jacob Simon, Abby C. Smith, Amanda Walker and Elaine Watson. 

Ticket information
 

Mean Girls begins previews Wednesday, August 26. Opening Night is Friday, September 4 at 7 p.m. Performances run through October 11: Wednesday at 1:30 p.m. and 7 p.m.; Thursday and Friday at 7 p.m.; Saturday at 2 p.m. and 7 p.m.; Sunday at 1 p.m. and 5:30 p.m. (Exception: No matinee Wednesday, August 26.) Single tickets to Mean Girls are $34-$109 when purchased in-person. Additional fees apply for phone and online orders.

Any Mathlete knows it’s smarter to save money with a Paramount Theatre 2026-27 Broadway Series subscription. Four-show packages start at just $73, including Mean Girls, a world premiere adaptation of The Christmas Carol (November 11, 2026–January 3, 2027), Stephen Sondheim and James Lapine’s Sunday in the Park with George (February 10–March 28, 2027) and an 80s-inspired Joseph and the Amazing Technicolor Dreamcoat  (April 28-June 13, 2027).

That’s the same “Buy Two Shows, Get Two Shows Free” offer Paramount has offered since it launched its first Broadway Series in 2011, and has since grown to be the largest subscription theater in the U.S. Think of it as four Broadway-quality musicals for less than the price of one show downtown. Plus, Aurora boasts easy, affordable parking and a host of new restaurants all around. 

Paramount Theatre is located at 23 E. Galena Blvd. in downtown Aurora. For tickets or subscriptions, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount box office Monday through Saturday, 10 a.m. to 6 p.m., and until show time on show days. For group discounts, contact Melissa Striedl, This email address is being protected from spambots. You need JavaScript enabled to view it. or (630) 723-2461. 

Paramount: Making live theater accessible to all

Paramount will offer two Pay What You Can previews Thursday, August 27 at 7 p.m. and Saturday, August 29 at 2 p.m. See ParamountAurora.com/Pay-What-You-Can for details. 

Paramount will offer open captioning Wednesday, September 30 at 7 p.m. and American Sign Language interpretation Friday, October 9 at 7 p.m. 

Paramount offers free assistive listening devices  at all performances, including new Auracast technology that connects to blue tooth earphones. Check in at the coat room before the show to borrow a device. If you require wheelchair or special seating or other assistance, please contact the box office in advance at (630) 896-6666 or This email address is being protected from spambots. You need JavaScript enabled to view it..

What’s on the minds of Chicago’s youth?

Find out when Collaboraction Theatre’s 2026 The Light Youth Ensemble brings their talent, fused with a strong passion for positive social change, for free performances at several key Chicago events this summer. 

Now in its fifth year, Collaboraction’s The Light empowers Chicago high schoolers to become professional artists and thoughtful leaders in their communities. The youth are paid to create and perform pieces for peace around the city, making the program part performing arts, and part, creative workforce development. Collaboraction’s 2026 ensemble – 19 Chicago high schoolers from all over the city, intent on becoming both skilled performers and positive social change makers – is the company’s largest ever, and they’re ready to share their youthful exuberance, artistry and calls for positive change. 

Meet Collaboractions’ 2026 Light cohort, and see the social change themes reflecting Chicago youth concerns today:

Aisling, 17, Lincoln Park, healthcare access 

Anna, 17, Mount Greenwood, education
Ari, 17, Humboldt Park, homelessness/mental health

Bella, 16, Humboldt Park, women’s rights/mental health

Cami, 15, Galewood, mental health

Christian, 16, Portage Park, queer acceptance in religion

Isabel, 17, Bucktown, gun violence and LGBTQ rights 

Jonathan, 18, Dolton, depression/poverty

Khloe, 16, Austin, drug abuse/mental health

Kristian, 16, Lincoln Park, mental health

Lucy, 17, Lincoln Square, eating disorder awareness

Marquise, 16, Englewood, gun violence
Maya, 18, Belmont Cragin, women's rights/representation

Quentin, 17, Calumet City, individuality/pride

Riley, 17, Auburn Gresham, anti-deportation

Rhylan, 15, Bucktown, women’s/queer rights
Sammy, 17, Hermosa, gun violence/classism

Sophia, 16, Brighton Park, queerness and ethnicity

Story, 16, Austin, internalized racism 

Fresh off appearing at Logan Square Arts Festival this past weekend, look for The Light performing live at festivals and events around Chicago in the coming months including:

Fresh Fest

At Navy Pier
Friday, July 10, 12 p.m.

Kidzapalooza at Lollapalooza

Grant Park
July 30 - August 2, multiple times

The Light Up

Collaboraction 

Kimball Arts Center, 1757 N. Kimball Ave. in Humboldt Park 

Saturday and Sunday, August 8 and 9, 3 p.m. 

Followed by The Luminaries’ new show at 7:30 p.m.

The Utopian Ball
Collaboraction’s annual gala fundraiser
Venue West, 221 N. Paulina St. in West Town
Saturday, October 3, 6 p.m.

For the latest information and more performances TBA this summer, visit collaboraction.org/the-light.

Step Into The Light

In addition to performing across the city, The Light is currently meeting three days a week at Collaboraction’s new House of Belonging in Humboldt Park, where they’re learning about the intersection of live performance and social change while devising original, solo and ensemble works rooted in their own, personal social justice causes. 

In keeping with Collaboraction’s Pay Equity policy, each member earns equitable pay while participating in The Light, including meetings, rehearsals and performances. After completing the program, students receive professional headshots, video documentation, and continued access to creative resources and mentorship.


Lucy DiMaio, Chicago’s New Youth Poet Laureate and a returning member of Collaboraction’s The Light,
performs “Evil Eye” at the Logan Square Arts Festival on June 27, 2026. Photo courtesy Collaboraction.

Lucy DiMaio, 17, a resident of Lincoln Square and an incoming senior at Walter Payton College Prep, is a returning member of The Light, where last summer, she devised a visceral, original spoken word piece “Evil Eye” about women’s safety on public transportation. Since then, Lucy was named the 2026 Chicago Youth Poet Laureate, a program of Young Chicago Authors, who will spend the next year presenting Lucy as Chicago's youth voice through performances and civic engagements across the city. 

“The Light members are always so supportive of each other, and that support was so necessary in creating ‘Evil Eye,’” said Lucy. “Since we all create art about difficult topics that often affect ourselves personally, there was a very important understanding that my piece was difficult for me to write and sometimes perform. All Light members were so incredibly considerate of that sensitivity and still managed to give helpful and insightful feedback. Additionally, getting help from established artists was absolutely invaluable, as they helped me consider how the piece would function as a true performance.”

Many past members of The Light have gone on to remarkable success, including two earning full college scholarships, two competing on America’s Got Talent, one starring in an Apple TV show, one self-producing and releasing an album on Apple Music, and another attending the CLI Conservatory for elite dance training. Several have also joined The Luminaries, Collaboraction’s youth continuing education program for graduates of The Light. This program, for ages 18 to 23, equips professional college-aged performers with the skills to create meaningful, socially driven work.

Antonio Mendoza, Collaboraction’s Lead Teaching Artist, directs The Light. Chicago music artist Linda Sol leads The Luminaries. Collaboraction company members, staff, and artists also bring real-world experience to youth training. Outside mentors past and present include actress and playwright Sandra Delgado, rock musician Nicholas Tremulis, actor and director Cheryl Lynn Bruce, Collaboraction leaders Darlene Jackson and Anthony Moseley, and more. 

Members of The Light pose with Chicago rock music legend and guest mentor Nicholas Tremulis (center) after he helped them write an original song in Collaboraction's new office space at the Kimball Arts Center in Humboldt Park. Credit: Collaboraction

Pre-, mid- and post-training self-assessments by last summer’s Light cohort underscore the program’s positive influence across all metrics, starting with career readiness, leadership and creativity/artistry. Surveys also point to the participants growing more comfortable applying the arts to social change and increased practicing of self-care strategies over the course of the program. Click here for the full report. 

The Light is made possible with the support of the Marc and Jeanne Malnati Family Foundation, and the Illinois Arts Council.

About Collaboraction

Now fully activated, Collaboraction Theatre Company’s new House of Belonging in the Kimball Arts Center, 1757 N. Kimball Ave in Humboldt Park, is a sleek, 4,000-square foot space featuring a new 99-seat flexible studio theater and a 50-seat cabaret with cafe and bar.

Celebrating its 30th anniversary in 2026, Collaboraction is an award-winning Chicago theater company that uses the power of art and storytelling to cultivate healing, empathy, and equity across communities. Across all platforms, Collaboraction uses its KEDA methodology - Knowledge, Empathy, Dialogue, and Action - to spark changes in behavior and attitudes that manifest social change.

Collaboraction’s past work includes NBC Chicago’s three-time Emmy Award-winning The Lost Story of Emmett Till: Trial in the Delta, the resulting live stage play film, Trial in the Delta: The Murder of Emmett Till, live productions of Crime Scene, Moonset Sunrise, A Blue Island In the Red Sea, its annual Peacebook and Sketchbook festivals, and its youth ensemble, The Light.

Collaboraction is led by Darlene Jackson, Chief Executive Officer and Executive Director; Anthony Moseley, Chief Programming Officer and Artistic Director; and a dedicated board, company members and staff. For more information, visit collaboraction.org or follow Collaboraction on Facebook, Instagram, YouTube, TikTok and Bluesky.

Babes With Blades Theatre Company's (BWBTC) 2026 season opens with a world premiere, yo ho., by playwright SMJ, directed by JD Caudill and fight choreography by Carly "CB" Cason, July 19 - August 29 at The Edge Theater Off Broadway, 1133 W. Catalpa Ave. The running time is approximately two hours (including intermission). Preview performances are Sunday, July 19 at 3 p.m., Thursday, July 23 and Friday, July 24 at 8 p.m. The performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Aug. 15 at 8 p.m. and Sunday, Aug.16 at 3 p.m. and Thursday, Aug. 20 and Friday, Aug. 21 at 8 p.m.. The sensory friendly performances are Sunday, Aug. 2 and Sunday, Aug. 9 at 3 p.m. and  with the fully masked audience performances, Sunday, Aug. 9 and Aug. 16 at 3 p.m. Streaming dates for yo ho. will be announced at a future date. Tickets are $28 for students and seniors, $35 for general admission and are on sale now at BabesWithBlades.org.

yo ho. charts the journey of Anne Bonny and Mary Read, two pirates aboard a campy, sexually charged ship facing immediate threat from the crown. Equal parts historical fantasy and introspective sexual and gender exploration, this play is a deeply emotional reimaging and reminder of queer history.

"This hilarious and saucy comedy is perfect for the summer," states Artistic Director Hayley Rice. "In many ways yo ho. is exactly the kind of show you would expect from BWBTC: swashbuckling swordfights between moments of illuminating the lost stories of marginalized identities. This script is also fresh, exciting and perhaps a little steamier than Babes' offerings of the past."

The ensemble cast of ten, in alphabetical order, features Stef Brundage (they/them, Calico Jack); Sierra Buffum (they/them, Mary Read); William Delforge (he/him, Chad/James); Schnaude Dorizan (she/her, Vanessa U/S); Stephanie Fongheiser (she/her, Anne Bonny U/S); Cris King (she/her, Calico Jack U/S); Rachel Sleek Bañuelos (she/her, Anne Bonny); Makenna Van Raalte (they/she, Mary Read U/S); Jacob Watson (he/they, Chad/James U/S) and Brittani Yawn (she/her, Vanessa).

The production team includes BWBTC ensemble members Line Bower (they/them, technical director); Jennifer Mohr (she/her, costume designer); Payton Shearn (she/they, production assistant) and Laura J. Wiley (she/her, lighting designer) as well as Carly "CB" Cason (they/she/any, fight choreographer); JD Caudill (they/them, director); Kat Coyl (they/them, assistant director); Amy C. Gilman (she/her, scenic designer); Rose Hamill (she/her, production manager); Alex Kingsley (they/them, sound designer); Meme Matteson (she/they, assistant fight choreographer); Grace Mealey (she/her, stage manager); Alyssa Vera Ramos (she/her/ella, intimacy designer) and SMJ (they/them, playwright).  

ABOUT SMJ, PLAYWRIGHT

SMJ is a mixed-Latiné, non-binary and New York City-based playwright, theatermaker and educator originally from Mount Vernon, OH. They are proud to be the executive director of Andy's Summer Playhouse, a professional children's theater in Wilton, New Hampshire, that specializes in creating world premiere work with local children and emerging professional artists. They were a 2022-2023 Dramatists Guild Foundation Fellow. As a writer, their work has been seen in various forms with Ars Nova, Lincoln Center, The Kennedy Center, Eugene O'Neill Theater Center, New York Stage and Film, Latinx Playwrights Circle, The Orchard Project, Latiné Musical Theatre Lab, Carnegie Mellon University, New York University, Otterbein University and Manhattanville University. SMJ has been a finalist for the Princess Grace Award in Playwriting at New Dramatists and a semifinalist for the 2024 Samuel French Off-Off Broadway Short Play Festival as well as the O'Neill's National Playwrights Conference (multiple times). They are a member of the Dramatists Guild and Ring of Keys. 

ABOUT JD CAUDILL, DIRECTOR

JD Caudill is a queer director, literary manager and music director. Their recent direction credits include The SpongeBob Musical (Kokandy Productions; Bowling Green State University), Sofa King Queer (Nothing Without A Company), Hedwig and the Angry Inch (Haven Theatre), I Promised Myself to Live Faster (Hell in a Handbag), After the Blast (Broken Nose Theatre) and Southern Comfort (Pride Films and Plays). They've also directed for Bechdel Fests 4-6 + 8 and Book of Shadows (Broken Nose Theatre) and other plays at The New Colony, Haven Theatre, The Runaways Lab Theatre, New American Folk Theatre, Hobo Junction, 20% Theatre, Paragon Theatre, Otherworld Theatre, Arc Theatre, 16th Street Theatre, Stage Left, The Syndicates and Red Theatre. They have been a proud ensemble member of Hell in a Handbag for ten years, and served as an ensemble member and literary manager of Broken Nose Theatre for seven years. They are driven to make theatre because of the unique sense of community it creates by bringing people together in person to experience imaginative stories of hope and catharsis. As a director, their mission is to create queer art for everyone; they want queer audiences to experience new stories of authentic representation while helping non-queer audiences cultivate empathy for the LGBTQIA+ community. 

ABOUT CARLY "CB" CASON, FIGHT CHOREOGRAPHER

Carly Belle is a founder of Counterfeit Combat, head acting coach with Model Act Studios and is thrilled to be swashbuckling with this great group of pirates! With roots deep in the heart of Texas, they have more than a decade of training and experience in combat for stage and screen. Other Chicago credits include: Bloodbound (Auriel Productions), Fencers of Panache (Fair in the Field), And They Were Shipmates (Counterfeit Combat) and Leap of Fate (Nonsense Productions).

ABOUT BABES WITH BLADES THEATRE COMPANY

Babes With Blades Theatre Company, for more than 25 years and moving into the future, strives to develop and present scripts focused on complex, dynamic (often combative) characters who continue to be underrepresented on theatre stages based on gender. Babes With Blades Theatre Company uses stage combat to tell stories that elevate the voices of underrepresented communities and dismantle the patriarchy.

In each element of its programming, BWBTC embraces two key concepts:

1)     Folks of marginalized genders and underrepresented communities are central to the story, driving the action rather than responding or submitting to it and

2)     Everyone is capable of a full emotional and physical range, up to and including violence and its consequences.

The company offers participants and patrons alike an unparalleled opportunity to experience every person as heroes and villains; rescuers and rescues; right, wrong and everywhere in between: exciting, vivid, dynamic PEOPLE. It's as simple and as subversive as that.

LAND ACKNOWLEDGEMENT STATEMENT:

Babes With Blades Theatre Company produces theatre in venues located on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa, and Potawatomi Nations. Many other tribes such as the Miami, Ho-Chunk, Menominee, Sac and Fox also called this area home. This region that we now commonly refer to as "The Chicagoland Area", has long been a center for Indigenous people to gather, trade and maintain kinship ties. Today, one of the largest urban Native American communities in the United States resides in Chicago. Members of this community continue to contribute to the life of this city and to celebrate their heritage, practice traditions and care for the land and waterways.

Babes With Blades Theatre Company's (BWBTC) 2026 season opens with a world premiere, yo ho., by playwright SMJ, directed by JD Caudill and fight choreography by Carly "CB" Cason, July 19 - August 29 at The Edge Theater Off Broadway, 1133 W. Catalpa Ave. The running time is approximately two hours (including intermission). Preview performances are Sunday, July 19 at 3 p.m., Thursday, July 23 and Friday, July 24 at 8 p.m. The performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Aug. 15 at 8 p.m. and Sunday, Aug.16 at 3 p.m. and Thursday, Aug. 20 and Friday, Aug. 21 at 8 p.m.. The sensory friendly performances are Sunday, Aug. 2 and Sunday, Aug. 9 at 3 p.m. and  with the fully masked audience performances, Sunday, Aug. 9 and Aug. 16 at 3 p.m. Streaming dates for yo ho. will be announced at a future date. Tickets are $28 for students and seniors, $35 for general admission and are on sale now at BabesWithBlades.org.