Displaying items by tag: Steppenwolf Theatre

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

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

Performance Schedules:

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

Artist Biography

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

Accessibility:

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

Sponsor Information: 

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

About Steppenwolf Theatre Company:

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

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

Direct from an acclaimed run at Edinburgh Fringe and two sold-out Off-Broadway engagements, Steppenwolf Theatre is pleased to present Laura Benanti: Nobody Cares, a one-woman comedy show from the mind of Tony Award winner Laura Benanti, playing five performances only August 6 – 9, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Tickets ($79* – $125*) are now on sale at steppenwolf.org or by calling the Box Office at (312) 335-1650. *includes $10 processing fee

Known for her dazzling Broadway performances and razor-sharp wit, Benanti takes the stage to share her hilarious, heartfelt and sometimes brutally honest takes on motherhood, people pleasing and the joys of aging. Blending side-splitting storytelling with original songs, New York Times Critic's Pick Nobody Cares is a love letter to recovering people pleasers, mothers and anybody working on themselves.

Nobody Cares is created by Laura Benanti with songs co-written by Todd Almond and direction by Annie Tippe. The Steppenwolf presentation marks the first stop on a national tour for the project following a summer run at London's Underbelly Soho this July, with further stops to be announced. For more information, visit nobodycaresisacomedy.com.

Performance Schedule:

Thursday, August 6 at 7:30 pm
Friday August 7 at 7:30 pm
Saturday, August 8 at 3 pm & 7:30 pm
Sunday, August 9 at 3 pm

About the Artists

Laura Benanti (Star and Creator):

"The divine Laura Benanti appears to have reached a point where there's nothing she can't do..."

–Hollywood Reporter

Tony Award winner Laura Benanti is a highly celebrated stage and screen actress. Ms. Benanti debuted her critically acclaimed comedy show Laura Benanti: Nobody Cares at the Minetta Lane Theater in NYC. Ms. Benanti created, wrote (songs co-written with Todd Almond) and starred in the show, which earned rave reviews and was chosen as a New York Times Critics' Pick. The show then had a sold out run at the Edinburgh Fringe Festival in 2025 with encore performances in London and Berkeley. 

Ms. Benanti can currently be seen as a series regular in the role of 'Cindy' on the acclaimed Paramount+ series Mayor of Kingstown, starring opposite Jeremy Renner. Ms. Benanti co-starred in the hit comedic film No Hard Feelings with Jennifer Lawrence and Matthew Broderick. Ms. Benanti's iconic impression of Melania Trump on The Late Show with Stephen Colbert has earned praise from across the industry. Other comedic work includes regular appearances on Elsbeth and Inside Amy Schumer. In television, Ms. Benanti has played dynamic characters in Younger, The Gilded Age, Nashville, Supergirl and Gossip Girl. Ms. Benanti earned rave reviews for her portrayal of a grieving widow in Netflix's film Worth, starring opposite Michael Keaton, Stanley Tucci and Amy Ryan.

In the theater, Ms. Benanti has been nominated for 5 Tony Awards. She took Broadway by storm at the age of 18 as Maria in The Sound of Music and has subsequently starred in ten more Broadway shows (musicals, straight plays, comedies and dramas), including Into the Woods, Nine, (opposite Antonio Banderas), Gypsy (for which she won a Tony Award), She Loves Me, My Fair Lady and Steve Martin's Meteor Shower opposite Amy Schumer and Keegan-Michael Key.

Todd Almond (Songs Co-Writer) is an acclaimed performer, songwriter and playwright. His solo show I'm Almost There was hailed by The New York Times as "a work of wonder," and his recent Broadway performance in Girl from the North Country was praised as "stunning" by The Washington Post and "roof-raising, uplifting, and invigorating" by The Hollywood Reporter. Almond co-wrote the songs for and music-directed Audible's hit comedy Laura Benanti: Nobody Cares, and also appeared opposite Ms. Benanti as Gideon Wolfe in the HBO Max reboot of Gossip Girl. His musical adaptation of The Odyssey, produced at Shakespeare in the Park's Delacorte Theater in Central Park, was hailed by The New York Times as "brash, funny and heart-stirring." Todd recently toured the U.S. in his original musical Kansas City Choir Boy, co-starring rock icon Courtney Love; Rolling Stone called the piece "awesome, slyly punk rock." He also starred in three of his original musicals at the Delacorte Theater in Central Park: The Tempest, The Winter's Tale and The Odyssey. His musical Girlfriend, based on the Matthew Sweet album of the same title, has become a perennial favorite for theater companies across the U.S. and in Japan. His past collaborators include Sarah Ruhl (Melancholy Play: A Chamber Musical), Jenny Schwartz (Iowa), Laura Benanti (In Constant Search for the Right Kind of Attention), Sherie Rene Scott (Piece of Meat), Kelli O'Hara (Live at Carnegie Hall) and Andrew Rannells (Live from Lincoln Center). As a composer and orchestrator, Almond has written and arranged music for Noises Off on Broadway, Iowa at Playwrights Horizons, Fcking A* at Signature Theatre, How to Transcend a Happy Marriage at Lincoln Center Theater and the film adaptation of Michael John LaChiusa's Hello Again. Other New York acting credits include Stage Kiss by Sarah Ruhl at Playwrights Horizons, People Are Wrong at the Vineyard and Law & Order: SVU.

Annie Tippe (Director) is an award-winning director and creator of new work, music theater and film. Off-Broadway: Octet (World Premiere; Signature. Lortel Award: Best Direction, Best Musical), Three Houses (World Premiere; Signature. Lortel Award: Best Musical), Ghost Quartet (World Premiere; Bushwick Starr. Norton Award: Best Visiting Production), Magnificent Bird / Book of Travelers (Playwrights Horizons), Your Own Personal Exegesis (LCT). Regional: HUZZAH! (World Premiere; Old Globe), Life After (Ed Mirvish CAA; Goodman, Jeff Award Nom), COWBOY BOB (World Premiere; Alley), Cult of Love (World Premiere; IAMA), POTUS (Berkeley Rep). Film: Help Me Mary (Lower East Side Film Fest; Best Narrative Short), Egg Timer (Austin Film Fest). Former Ars Nova Director-in-Residence, Drama League Directing Fellow, Williamstown Directing Corps. Upcoming: Cyrano at Old Globe; Babysitters Club with Mark Sonnenblick and Kate Weatherhead. annietippe.com

Nobody Cares is produced by rigor + ruckus, Jenny Gersten and Ashley Melone & Nick Mills in association with LD Entertainment, Avadon Broadway LLC, Creative Partners Productions and Steve and Cindy Chao. To learn more about other cities to see Nobody Cares, visit nobodycaresisacomedy.com.

Based on Laura Benanti: Nobody Cares, an Audible Original.

Accessibility:

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

A show somewhere between a play, standup act, memoir, and PowerPoint presentation. A show so chaotic you think it could never work. A show only Brendan Hunt could so perfectly pull off. Hunt’s solo performance is as hilarious as it is unexpectedly emotional, striking a balance between humor and trauma that only a child of divorce could pull off.

Hunt begins in 2022 with the story of the impromptu opportunity he had to meet Paul McCartney. Despite getting the opportunity by virtue of being a celebrity himself, Hunt – a lifelong, second-generation Beatles fan – was starstruck and wanted to tell Paul everything. He refrained, however, and thus The Movement You Need was born: a show where, instead, Hunt tells you everything he wanted to tell Paul. What unfolds is less a traditional narrative and more a kind of extended, often chaotic, and retrospective confession that uses that near-miss encounter as a framing device. It’s a clever but risky structure that gives the show both direction and elasticity, allowing Hunt to bounce between stories, timelines, and emotional registers (as well as lean into his personal neuroticism) without ever letting us forget that he’s fangirling to Sir Paul McCartney.

Loosely structured like a memoir, the show traces Hunt’s life from his earliest memories through adulthood and into fatherhood. Along the way, he paints a picture of growing up as a child of divorce and the son of an addict, filtering those experiences through humor that feels both self-aware and disarmingly honest. The performance leans into its rough edges in a way that works in its favor – featuring remarkably bad impressions, authentically cringey home videos, and stories that range from deeply processed to intentionally brushed past. Often, the line between curated and embarrassing is difficult to walk well (and such is the risk of making art) but as both a writer and performer, under the incredible direction of Ashley Rodbro, Hunt does so perfectly.

The evening, however, actually included more than one Brendan: Brendan Hunt, an avid Beatles fan, and an audience member who we will refer to as Brendan #2 – the lone, brave audience member who admitted to not being a Beatles fan at all. Centering a play around a fandom, even one of the largest of all time, is a premise that, on paper, might seem limiting. And yet, while Hunt’s love for the Beatles is the backbone of the piece, it’s not the barrier to entry you might expect. The show ultimately isn’t about encyclopedic knowledge of the band; it’s about memory, identity, and the stories we carry with us, as well as the way that we use something – anything – to form connections with those around us, even in the hardest of circumstances.

Technically, the production is just as thoroughly considered as the writing. The set strikes a careful balance between cozy realism and subtle nostalgia, creating a space that feels lived-in without becoming cluttered. Design elements – from Meredith Ries’s scenic work to Nick Solyom’s lighting, Kate Marvin’s sound, and Stefania Bulbarella’s projections – support the storytelling without overpowering it. Under the direction of Ashley Rodbro, everything feels intentional, giving Hunt the space to carry the show while ensuring the world around him remains fully realized and reflects his theatrical background, but never overpowering his performance.

Brendan Hunt’s one-man play-comedy-memoir hybrid is, from its writing to acting to production, one of the most cohesive and well-executed pieces of art I have seen in a long time. One big creative risk, the result is a show that feels less like something you watched and more like something you experienced alongside him. It’s funny, yes, and often wildly so – but it’s the emotional honesty underneath that gives it weight, turning what could have been a niche concept into something far more universal.

The Movement You Need: An Evening with Brendan Hunt is running at Steppenwolf Theatre through May 10th. More information and tickets are available at https://www.steppenwolf.org/tickets--events/seasons-/2025-26/the-movement-you-need/.

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

Steppenwolf's LookOut Series is proud to unveil its lineup for Summer 2026, marking ten years of steadfast dedication to Chicago performing artists and companies across form and discipline.

Since launching in 2016, the LookOut Series has hosted 1,043 performances of 365 unique engagements spanning dance, drag, music, comedy, puppetry, storytelling, experimental work and theatre. Over 69,000 patrons have come through the doors of the 1700 Theater to witness the work of more than 3,200 local artists. And the series has injected nearly one million dollars directly into the wallets of the artists and companies that it bolsters.

From June through August, LookOut is throwing a summer-long party to celebrate! Of the 18 unique engagements announced, highlights include many returning acts, including: the homecoming of the cult-classic variety show Erik and Jessie and Everyone You Know (hosted by Erik Hellman and Jessie Fisher), an experimental blending of sound and myth from the indescribable artist collective Mocrep (returning to Steppenwolf for the first time since 2019), the 11th Steppenwolf-hosted iteration of the endlessly popular storytelling showcase You're Being Ridiculous and the triumphant return of local drag icon Bambi Banks with a two week run of an all new drag parody show.

But the summer wouldn't be complete without newcomers to the LookOut Series performing at Steppenwolf for the first time. First time performers include: the comedy show Women Off-Colour, complete with sketches, musical numbers and more, The Lizzie McGuire Movie: The Play fresh off a sold out run at Color Club, award-winning "Comic-To-Watch" in the Chicago standup scene Deanna Ortiz and the Chicago premiere of Forgottonia, a music and storytelling show about West Central Illinois.

Steppenwolf Creative Producer and Co-Founder of the LookOut Series Patrick Zakem comments, "As Steppenwolf nears the end of its 50th Anniversary Season, we're excited to mark another institutional milestone: ten years of the endlessly eclectic LookOut Series. When we launched this program in May 2016, we didn't really imagine that we would still be going ten years later. But over the last decade, LookOut's programming has grown to be a vital resource for Chicago artists of all stripes, from dance and drag to comedy and music. We can't wait to celebrate with old friends and new – see you in the 1700 Theater!"

All LookOut performances take place in Steppenwolf's 1700 Theater, an intimate and flexible venue nestled behind Front Bar, 1700 N. Halsted St. in Chicago. Tickets, which range in price from $13 – $50*, are now on sale by visiting steppenwolf.org/lookout or by calling the Box Office at (312) 335-1650. *Pricing includes a $3 fee

The full Lookout Summer 2026 Season (in chronological order):

You're Being Ridiculous: Plot Twist 
Dates: Thursday, June 4 – Saturday, June 6 at 7:30 pm; Saturday, June 6 at 3 pm 
Ticket Price: $30
Description: At You're Being Ridiculous, real people tell true stories about their lives. Each performance is linked by rotating themes, and by the desire to make you laugh... and, once in a while, cry. Our motto: Good stories are better than good times. We laugh at ourselves and laugh with each other. Everyone has a story to tell. What's yours? 

Softie 
by Tim Felton
Dates: Friday, June 12 & Saturday, June 13 at 7:30 pm
Ticket Price: $20
Description: Sometimes a dad is also a daddy. And sometimes that daddy is also a Softie. Chicago-based comedian, Tim Felton (picture the lovechild of Mr. Rogers Pee-wee Herman and Buster Bluth), invites you along in his journey as he figures out how to connect with people as he gets older... and softer.  

Jillian Ebanks: 
Who All Gone Be There? 
Directed by Kiley Fitzgerald 
Dates: Thursday, June 18 at 7:30 pm 
Ticket Price: $23
Description: Life for Jillian in her 30s has been one big, weird party, and all she has wanted to know is Who All Gone Be There? Come join Jillian for this live taping of new material as she explores the guest list of her life through comedy. 

Funny Slut 
A solo show by Deanna Ortiz
Dates: Saturday, June 20 & Sunday, June 21 at 7:30 pm
Ticket Price: $25
Description: Deanna Ortiz used to think her job was just posting thirst traps for porn stars. Turns out, it was also therapy... with a 401(k). In Funny Slut, Deanna tells the hilarious and unexpectedly heartfelt story of working in social media for the adult entertainment industry where she learned to embrace chaos, confidence and her inner hot girl. 

Mocrep Presents: 
I Live Every Day
Dates: Thursday, June 25 – Saturday, June 27 at 7:30 pm
Ticket Price: $13 – $53
Description: The "mostly performance, arguably music" Chicago-based collective Mocrep returns to the LookOut Series. I Live Every Day is a noisy yet mellifluous riff on twang, repetition, feedback and kitchen appliances simultaneously inspired by the myth of Narcissus and the music of Tammy Wynette. 

Women Off-Colour 
Featuring Anelga Hajjar, Alondra Rios and Mantra
Dates: Wednesday, July 1 – Friday, July 3 at 7:30 pm
Ticket Price: $23
Description: Ethnicities we've dated, ethnicities who've wronged us, dads (alive and not), older sister trauma, ethnic moms, cycles we want to break and growing up with curves. These are some of the topics Mantra, Alondra and Anelga muse on in Women Off-Colour. Featuring musical numbers, sketches and monologues, this show invites women to be offensive, wrong and unapologetic.  

Erik and Jessie and Everyone You Know: 
Past and Future
Dates: Monday, July 6 & Tuesday, July 7 at 7:30 pm
Ticket Price: $43
Description: Ten years ago, Erik Hellman and Jessie Fischer brought everyone they knew to celebrate the opening of the 1700 Theater. Now EVERYONE will return for two nights, TWO DIFFERENT SHOWS! Monday: we visit the PAST. Tuesday: we visit the FUTURE. Join us for either or both. 

Derek Begrudgingly Presents: 
The Lizzie McGuire Movie: The Play
Dates: Friday, July 10 & Saturday, July 11 at 7:30 pm; Saturday, July 11 at 3 pm
Ticket Price: $28 
Description: After two sold out runs at Color Club and winning runner up in Chicago Reader's Best New Play category, The Lizzie McGuire Movie: The Play is back to show you what dreams are really made of. Through dance, drag, a live band, over-the-top acting and giant DIY cardboard props, this parody production reimagines Lizzie McGuire's iconic trip to Rome in a way Disney would never allow and finally answers the question, "what the hell happened to Miranda??" 

Nervous Breakdown in G Minor 
by Lewis Rawlinson 
Dates: Friday, July 17 & Saturday, July 18 at 7:30 pm; Sunday, July 19 at 3 pm 
Ticket Price: $30
Description: How do you pursue an art form you love when you no longer feel you belong? In this solo show with live music, Lewis Rawlinson traces his journey through queerness, addiction and mental health. Nervous Breakdown in G Minor is a lyrical autobiography about growing up Mormon in Montana, training as a classical cellist and confronting the realities of pursuing a life in music.  

Dream Devis: The Death and Life Of 
Created by Abhijeet & Leha Salam
Dates: Thursday, July 23 – Saturday, July 25 at 7:30 pm; Sunday, July 26 at 3 pm 
Ticket Price: $33
Description: Dream Devis, Chicago's trans femme South Asian collective, return to Steppenwolf after their sold-out eponymous show last year. Join our Devis for an existentialist romp through time, history, mythology and pop culture through song, dance and comedy. 

The Real Time – Live! 
With Briana Bower, Ian Paul Custer, Kelan M Smith, Jack Morsovillo & Lior Shragg
Dates: Thursday, July 30 at 7:30 pm
Ticket Price: $23
Description: The Real Time is a Chicago-based female-fronted five-piece band specializing in unique original music. Their music blends multiple eras and genres resulting in their pop-rock-funk sound. They'll be sure to get you movin' and groovin' with their upbeat jams and four-part harmonies. Come rock out with them! 

Michiganderish 
Written and performed by Julie Ganey
Music by Mike Przygoda, Directed by Ann Filmer 
Dates: Saturday, August 1 at 7:30 pm; Sunday, August 2 at 3 pm 
Ticket Price: $15 – $50
Description: Julie Ganey finds a little place for her family to get away from it all in the Great Lakes State and discovers it's not that simple. Cue chainsaws, chipmunks, menacing deer and eco-heroes! Michiganderish is a solo show about apocalyptic nature, reaping what we sow and an examination of what it means to truly belong to a place. 

The Not That Late Show
Dates: Thursday, August 6 at 7:30 pm
Ticket Price: $23
Description: Blending news-driven comedy with late-night-style interviews, The Not That Late Show is a Chicago-based variety show that aims to create space for people to live, laugh, learn... and leave at a reasonable hour. A show for Chicago, by Chicago. 

Chris Vallillo Presents:
Forgottonia
Dates: Saturday, August 8 at 7:30 pm; Sunday, August 9 at 3 pm
Ticket Price: $25
Description: Forgottonia is a musical journey through the evolution of the people and places in rural Midwestern America as seen through the eyes of songwriter Chris Vallillo. Vallillo combines storytelling and live music with the images of award-winning rural photographer Tim Schroll to create an audio-visual love letter to the region's past, present and future. 

Dionna Griffin-Irons:
This is My Moment 
Directed by Anthony Irons with music by Alexander Burke
Dates: Thursday, August 13 – Saturday, August 15 at 7:30 pm
Ticket Price: $38
Description: Blending "theatricalized" essays, satirical songs and poetic prose, This is My Moment features the real life story of a woman who has experienced the best life has to offer – a kingpin lover from the past, a jail adventure that tests her faith and a comedy career that teaches the gift of saying "Yes." 

Carl Chadek: You're Not Right for That!
Dates: Wednesday, August 19 at 7:30 pm
Ticket Price: $38
Description: Carl Chadek: You're Not Right for That! is an old-school style cabaret with music from Broadway, the great American songbook, classic pop and just maybe a little comedy. Think dinner jackets, evening gowns and martinis. Nobody is right for everything, and auditioning can be, well, interesting.  

Claire Lochmueller:
CRACKS
A one-trans-woman dark comedy memoir 
Dates: Friday, August 21 & Saturday, August 22 at 7:30 pm
Ticket Price: $15 – $30
Description: Through a hybrid of storytelling, stand-up comedy and theatre, this one-trans-woman dark comedy memoir by Claire Lochmueller details a journey from a childhood in the Catholic Church/JROTC military school to a career as a multi-award-winning trans theatre-maker. CRACKS navigates topics of gender identity, substance abuse and finding joy in a story about how two lives, through laughter and tears, became one trans identity. 

Bambi Banks Presents: 
Clue University: A Drag Parody
By Neutral Gena 
Dates: Thursday, August 27 – Sunday, September 6; Thursdays, Fridays & Saturdays at 7:30 pm, Sundays at 3 pm
Ticket Price: $33
Description: Bambi Banks returns to the LookOut Series with Clue University, a slasher parody play that combines all the fun and whimsy of the game of Clue with the complicated world of a collegiate rush week. In this thrilling murder mystery, six Sorority Sisters must unmask a killer living amongst them, testing their bonds of sisterhood and bringing to light the question: is blood thicker than power? 

Accessibility:

Steppenwolf's 1700 Theater is equipped with an induction hearing loop and assistive listening devices (ALDs) are available upon request. Our building features wheelchair-accessible seating and restrooms, push-button entrances, a courtesy wheelchair, and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/plan-your-visit/accessibility or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information: 

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

About Steppenwolf Theatre Company:

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

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

The Chicago theater community is grappling with the sudden loss of Matt DeCaro, whose death early Saturday came as a shock to colleagues and audiences alike. A cause of death has not been made public. Only hours before, he had taken the stage at the Goodman Theatre, performing the role of Sturdyvant in Ma Rainey’s Black Bottom during Friday night’s show. His unexpected passing led to the cancellation of Saturday’s matinee, while the evening performance moved forward as a tribute to his decades of work and the impact he left on the city’s artistic landscape.

DeCaro’s career stretched across more than four decades and reached nearly every major stage in Chicago. His long association with the Goodman Theatre included roles in Heartbreak House, The White Snake, The Cherry Orchard, Night of the Iguana, Boy Gets Girl, Camino Real, Romance, Richard II, Spinning into Butter, and The Play About the Baby. He moved fluidly between companies and styles, portraying Winston Churchill in Drury Lane’s The Audience, stepping into Doc’s role in Marriott Theatre’s West Side Story, and earning a Jeff Award for his performance in Cat on a Hot Tin Roof. His work extended across the region as well, with appearances at Chicago Shakespeare Theater, Victory Gardens, Licoln Center, the Guthrie, and Asolo Rep. Beyond his extensive Goodman history, DeCaro built a substantial body of work across the city, including a standout turn in Steppenwolf’s Men of Tortuga - recognized by the Chicago Tribune as one of 2005’s most memorable performances - and a role in Victory Gardens’ Symmetry, further underscoring his versatility and command as a character actor.

His screen résumé was equally wide-ranging, with roles in Prison Break, The Office, Curb Your Enthusiasm, Chicago P.D., ER, U.S. Marshals, and Richie Rich. Yet for many, it was his presence on Chicago stages that defined him - steady, generous, and deeply rooted in the craft. Among the roles that left a lasting mark on those who followed his work, DeCaro’s Big Daddy in Cat on a Hot Tin Roof at Drury Lane stands out as a personal favorite. The mix of authority and raw vulnerability he brought to the character made the performance unforgettable - the kind that lingers in your mind long after the production has ended.

As tributes continue to emerge, the sense of loss is felt not only by those who worked beside him, but by audiences who witnessed his final performance just one night before his passing - a testament to how fully he remained devoted to the work until the very end.

In losing Matt DeCaro, Chicago loses one of the quiet forces that helped shape its stages for decades. His work was never about spotlight or spectacle - it was about craft, commitment, and the kind of presence that made every production stronger simply because he was in it. Even as the community mourns, the stories he told and the characters he embodied continue to resonate, a lasting reminder of an artist who gave everything he had to the world he loved.

Steppenwolf Theatre Company’s, Windfall arrives with all the promise its pedigree suggests. Written by Academy Award–winning ensemble member Tarell Alvin McCraney and directed by Awoye Timpo, the production aspires to be a pulsing, lyrical meditation on grief, justice, and the uneasy intersection of activism and capitalism. What unfolds instead is a work rich in intention but frustratingly elusive in execution.

The play centers on a protest encampment that erupts into violence, culminating in the shooting of Eli, a member of Never Wrestle Justice - a group of activists unafraid to raise their voices. In the aftermath, Marcus (Glenn Davis), who has transitioned, lingers alongside his aging adoptive father, Mr. Mano (Michael Potts). Mano is left reeling, unable to fully accept the reported death of his child, Eli (Esco Jouléy). It’s a potent premise: a father who refuses to confirm his child’s death, a government eager to offer a financial settlement, and a moral dilemma that questions whether survival can - or should - be measured in dollars. Tarell Alvin McCraney frames the story as a “chosen family” drama, but the emotional foundation never fully coheres.

Marcus urges Mano to identify Eli’s body and accept the settlement, arguing that “blood money is still money.” Yet Mano resists, clinging to the unbearable ambiguity of loss. The arrival of various state representatives - played with dynamic range by Alana Arenas as First Lady, Miss Second, and The Last One - pushes the narrative into increasingly surreal territory. These figures, along with Jon Michael Hill and Namir Smallwood in multiple roles, embody a bureaucratic machine that is at once apologetic, predatory, and opaque.

There are flashes of McCraney’s signature lyricism, particularly in the spectral appearances of Eli. Whether ghost, memory, or manifestation of guilt, Eli’s presence should anchor the play’s emotional core. Instead, it muddies the stakes. When Eli ultimately reappears - alive, defiant, and ready to fight - the revelation feels less like a cathartic turn and more like a narrative sleight of hand that the play hasn’t earned.

This points to the central issue: the characters are too thinly drawn to sustain the weight of the play’s ideas. We see Mano’s grief, Marcus’s urgency to settle, and Eli’s activism, but we rarely feel them. The stakes, which should be life-altering, register as curiously low. Even the moral dilemma - to take the money or resist the system - never fully ignites because the emotional investment isn’t there.

Timpo’s direction leans into the play’s abstraction, emphasizing its communal and ritualistic elements. At times, this works; the staging has a fluidity that suggests a world where reality and memory bleed into one another. But the lack of clarity ultimately undermines the experience. Confusion becomes less a deliberate aesthetic choice and more a barrier to engagement.

There is also the question of place. Though the play is set in Chicago, it rarely feels rooted there. References to Rainbow Beach or Pequod’s Pizza read as surface-level markers rather than lived-in details. For a story so deeply tied to protest, policing, and community, the absence of a tangible sense of Chicago is a missed opportunity.

Still, the performances strive to elevate the material. Arenas is the undeniable standout, bringing vitality and nuance to each of her roles. Whenever she takes the stage, the play briefly finds its pulse. Potts lends dignity to Mano, though the script gives him limited room to build a fully realized arc.

McCraney has proven himself to be a playwright of profound depth and clarity. Windfall gestures toward that brilliance but never quite achieves it. It is a communal experience, yes - but one that leaves you searching for emotional and narrative footing long after the final moment fades.

Somewhat Recommended

When:   Through May 31

Where:  Steppenwolf Theatre, 1650 N. Halsted

Tickets: $20 - $148.50

Box Office: 312-335-1650

www.steppenwolf.org

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

From the moment BOTH starts, the play demands attention. Flashing lights, sirens, and the sounds of heavy breathing build as Xochi (Paloma Nozicka) locks herself inside, trying to shut out the world. She just lost her twin brother, and nothing will be the same.

Co-presented by Teatro Vista Productions and Steppenwolf Theatre Company, BOTH is a gripping thriller that weaves humor, trauma, and terror. Is truth important, it asks, when a lie seems to be the fix?

Years after the tragedy, Xochi is now expecting a child with her doting boyfriend, Sam (Brian King) and anxiously awaiting the arrival of her family at her baby shower. Her relationships with her mother (Charin Alvarez) and brother (Eddie Martinez) are strained due to their loss and her “fictional” novel, which is actually a thinly veiled account of her rough childhood.

Xochi isn’t apologetic about it though. To her, you are either good, or you’re a liar. But her conviction is a bludgeon to those around her who need “their truth” to sugar-coat the past, their addiction, their motives, or the reality of what happened to Xochi’s twin - is he dead or only missing?

Xochi is confident that he died... until he crashes the party. Is this man (Yona Moises Olivares) actually Sebastian or someone pretending to be him?

As the lead and playwright, Nozicka is a commanding presence who gives her character intelligence and grit as she stands her ground as the walls close in on her. Olivares is a good foil for her, bouncing between sweet and sinister effortlessly, making one question what is real. What truly makes this piece work though is the intricate, flesh-out performances from the entire ensemble. Their complexity makes them feel tangible, perhaps even evoking one’s only family members.

One important character not mentioned yet is the beach house. The beach house set, designed by Sotirios Livaditis, is pristine and almost too perfect at first glance—an immaculate showroom of a life Xochi desperately wants to hold together. But as Xochi’s emotions spill over, the home takes on a life of its own. It serves as the perfect backdrop as black‑and‑white muddies into gray and control melts into chaos.

Georgette Verdin’s sure, intuitive direction threads humor, dread, and heartbreak together, allowing the play’s deeper emotional currents to resonate fully. BOTH is part Ordinary-People and part Rosemary’s-Baby. While the end does leave a bit to be desired given the play’s sharp execution, it still satisfies and leaves the audience questioning what the truth is as they unravel the mystery.

Teatro Vista and Steppenwolf have built a steady creative partnership in recent seasons, with Teatro Vista serving as a resident company in Steppenwolf’s 1700 Theater. The collaboration pairs Steppenwolf’s institutional reach with Teatro Vista’s commitment to Latine storytelling, resulting in annual productions that spotlight new voices and ambitious work. BOTH is yet another worthwhile entry in that partnership, reflecting the shared investment both companies have made in developing bold, ensemble‑driven theater.

BOTH runs at Steppenwolf Theatre until May 10, 2026.

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

Get ready for a summer of laughs as Steppenwolf Theatre Company welcomes award-winning performers Laura Benanti and Alex Edelman for two limited comedy engagements.

First up, direct from an acclaimed run at Edinburgh Fringe and two sold-out Off-Broadway runs comes Laura Benanti: Nobody Cares, a one-woman comedy show from the mind of Tony Award winner Laura Benanti, playing five performances August 6 – 9, 2026. Known for her dazzling Broadway performances and razor-sharp wit, Benanti takes the stage to share her hilarious, heartfelt and sometimes brutally honest take on motherhood, people pleasing and the joys of aging as a woman. Blending side-splitting storytelling with original songs, this New York Times Critic's Pick is a love letter to recovering ingénues, mothers and anybody working on themselves. Based on Laura Benanti: Nobody Cares, an Audible Original, Nobody Cares is created by Laura Benanti with songs co-written by Todd Almond and direction by Annie Tippe. The Steppenwolf presentation marks the first stop on a national tour for the project following a summer run at London's Underbelly Soho this July, with further stops to be announced.

Up next, following a critically-acclaimed, sell-out run of Just For Us at Steppenwolf and around the globe, Tony and Emmy Award-winning comedian Alex Edelman returns with another hilarious and thought-provoking dissection of identity: What Are You Going to Do, playing five performances August 12 – 16, 2026. This all-new show finds the Bostonian sweetheart asking different and more unsettling questions. Primarily, should he spend his time doing something else? Should he be saving lives like his physician father? Should he be trying to return to the sense of community he experienced growing up among Israelis and Palestinians? In a show that reckons with the effects of time spent in trauma, Edelman deftly weaves in and out of examinations of faith broadly—not just Judaism—and wonders if, perhaps, there might be better things out there for him.

Both shows will be presented in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. A special Steppenwolf member pre-sale begins Tuesday, March 31, 2026 at 12 pm. Tickets for both shows go on sale to the general public on Thursday, April 2, 2026 at 12 pm at steppenwolf.org or by calling the Box Office at (312) 335-1650.

Performance Schedules and Ticket Prices

Laura Benanti: Nobody Cares
Dates: Thursday, August 6 – Sunday, August 9, 2026
Performance Times: Thursday & Friday at 7:30 pm; Saturday at 3 pm & 7:30 pm; Sunday at 3:30 pm
Ticket Prices: $79 – $125 (includes $10 processing fees)

Alex Edelman: What Are You Going To Do
Dates: Wednesday, August 12 – Sunday, August 16, 2026
Times: Wednesday, Thursday, Friday & Saturday at 7:30 pm, Sunday at 3 pm
Ticket Prices: $49 – $84 (includes $10 processing fees)

Artist Biographies

Laura Benanti: Nobody Cares

Laura Benanti (Star and Creator):

"The divine Laura Benanti appears to have reached a point where there's nothing she can't do..."
–Hollywood Reporter

Tony Award winner Laura Benanti is a highly celebrated stage and screen actress. Ms. Benanti debuted her critically acclaimed comedy show Laura Benanti: Nobody Cares at the Minetta Lane Theater in NYC. Ms. Benanti created, wrote (songs co-written with Todd Almond) and starred in the show, which earned rave reviews and was chosen as a New York Times Critics' Pick. The show then had a sold out run at the Edinburgh Fringe Festival in 2025 with encore performances in London and Berkeley. 

Ms. Benanti can currently be seen as a series regular in the role of 'Cindy' on the acclaimed Paramount+ series Mayor of Kingstown, starring opposite Jeremy Renner. Ms. Benanti co-starred in the hit comedic film No Hard Feelings with Jennifer Lawrence and Matthew Broderick. Ms. Benanti's iconic impression of Melania Trump on The Late Show with Stephen Colbert has earned praise from across the industry. Other comedic work includes regular appearances on Elsbeth and Inside Amy Schumer. In television, Ms. Benanti has played dynamic characters in Younger, The Gilded Age, Nashville, Supergirl and Gossip Girl. Ms. Benanti earned rave reviews for her portrayal of a grieving widow in Netflix's film Worth, starring opposite Michael Keaton, Stanley Tucci and Amy Ryan.

In the theater, Ms. Benanti has been nominated for 5 Tony Awards. She took Broadway by storm at the age of 18 as Maria in The Sound of Music and has subsequently starred in ten more Broadway shows (musicals, straight plays, comedies and dramas), including Into the Woods, Nine, (opposite Antonio Banderas), Gypsy (for which she won a Tony Award), She Loves Me, My Fair Lady and Steve Martin's Meteor Shower opposite Amy Schumer and Keegan-Michael Key.

Todd Almond (Songs Co-Writer) is an acclaimed performer, songwriter and playwright. His solo show I'm Almost There was hailed by The New York Times as "a work of wonder," and his recent Broadway performance in Girl from the North Country was praised as "stunning" by The Washington Post and "roof-raising, uplifting, and invigorating" by The Hollywood Reporter. Almond co-wrote the songs for and music-directed Audible's hit comedy Laura Benanti: Nobody Cares, and also appeared opposite Ms. Benanti as Gideon Wolfe in the HBO Max reboot of Gossip Girl. His musical adaptation of The Odyssey, produced at Shakespeare in the Park's Delacorte Theater in Central Park, was hailed by The New York Times as "brash, funny and heart-stirring." Todd recently toured the U.S. in his original musical Kansas City Choir Boy, co-starring rock icon Courtney Love; Rolling Stone called the piece "awesome, slyly punk rock." He also starred in three of his original musicals at the Delacorte Theater in Central Park: The Tempest, The Winter's Tale and The Odyssey. His musical Girlfriend, based on the Matthew Sweet album of the same title, has become a perennial favorite for theater companies across the U.S. and in Japan. His past collaborators include Sarah Ruhl (Melancholy Play: A Chamber Musical), Jenny Schwartz (Iowa), Laura Benanti (In Constant Search for the Right Kind of Attention), Sherie Rene Scott (Piece of Meat), Kelli O'Hara (Live at Carnegie Hall) and Andrew Rannells (Live from Lincoln Center). As a composer and orchestrator, Almond has written and arranged music for Noises Off on Broadway, Iowa at Playwrights Horizons, Fcking A* at Signature Theatre, How to Transcend a Happy Marriage at Lincoln Center Theater and the film adaptation of Michael John LaChiusa's Hello Again. Other New York acting credits include Stage Kiss by Sarah Ruhl at Playwrights Horizons, People Are Wrong at the Vineyard and Law & Order: SVU.

Annie Tippe (Director) is an award-winning director and creator of new work, music theater and film. Off-Broadway: Octet (World Premiere; Signature. Lortel Award: Best Direction, Best Musical), Three Houses (World Premiere; Signature. Lortel Award: Best Musical), Ghost Quartet (World Premiere; Bushwick Starr. Norton Award: Best Visiting Production), Magnificent Bird / Book of Travelers (Playwrights Horizons), Your Own Personal Exegesis (LCT). Regional: HUZZAH! (World Premiere; Old Globe), Life After (Ed Mirvish CAA; Goodman, Jeff Award Nom), COWBOY BOB (World Premiere; Alley), Cult of Love (World Premiere; IAMA), POTUS (Berkeley Rep). Film: Help Me Mary (Lower East Side Film Fest; Best Narrative Short), Egg Timer (Austin Film Fest). Former Ars Nova Director-in-Residence, Drama League Directing Fellow, Williamstown Directing Corps. Upcoming: Cyrano at Old Globe; Babysitters Club with Mark Sonnenblick and Kate Weatherhead. annietippe.com

Laura Benanti: Nobody Cares is presented in association with rigor + ruckus, Jenny Gersten and Ashley Melone & Nick Mills with LD Entertainment, Avadon Broadway LLC & Creative Partners Productions. To learn more about other cities to see Nobody Cares, visit nobodycaresplay.com.

Alex Edelman: What Are You Going To Do

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

Accessibility:

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

Sponsor Information: 

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

About Steppenwolf Theatre Company:

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

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

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to conclude its 50th Anniversary Season with the Chicago premiere of Mia Chung's theatrical tour-de-force Catch as Catch Can, directed by ensemble member Amy Morton, playing June 4 – July 12, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Single tickets are now on sale at steppenwolf.org or the Box Office at (312) 335-1650. 

Longtime ensemble member Gary Cole (NCIS, Veep, The West Wing) returns to the Chicago stage for the first time in over 25 years, joined by fellow ensemble members Audrey Francis (The Thanksgiving Play, Noises Off, The Doppelgänger) and Tim Hopper (Mr. Wolf, Fool for Love, Downstate).

About the Production:

When a prodigal son returns to blue collar New England, his homecoming sets off a spiraling crisis for two families, threatening not only their relationships but their very identities. In Mia Chung's wildly inventive Catch as Catch Can, three actors take on six roles, bridging generation and gender, in a theatrical tour-de-force that upends the kitchen sink drama and asks what happens when we refuse to play the roles we're prescribed. Spanning hilarity, stunning virtuosity and outright horror, this ferocious Chicago premiere must be witnessed to be believed.

The creative team includes Andrew Boyce (Scenic Design), Izumi Inaba (Costume Design), Yuki Nakase Link (Lighting Design), Mikhail Fiksel (Sound Design), Kate DeVore (Dialect and Voice Coach), Jonathan L. Green (Dramaturg), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), Laura D. Glenn (Production Stage Manager) and Jaclynn Joslin (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Catch as Catch Can
Playwright: Mia Chung
Director: ensemble member Amy Morton
Cast: ensemble members Gary Cole (Roberta Lavecchia/Robbie Lavecchia), Audrey Francis (Lon Lavecchia/Daniela Lavecchia) and Tim Hopper (Theresa Phelan/Tim Phelan).

Location: Steppenwolf's Downstairs Theater, 1650 N. Halsted St., Chicago
Dates: Previews: Thursday, June 4 – Saturday, June 13, 2026
Opening: Sunday, June 14, 2026 at 6 pm
Regular run: Tuesday, June 16 – Sunday, July 12, 2026
Curtain Times: Tuesdays, Wednesdays, Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 7:30 pm; and Sundays at 3 pm. Please note: there will not be 7:30 pm performances on Tuesday, June 9, Friday, June 19 (Juneteenth); Saturday, July 4 (Independence Day) or Tuesday, July 7; there will not be a 3 pm performance on Saturday, July 4 (Independence Day); there will be an added 2 pm matinee on Wednesday, July 1; there will be an added 7:30 performance on Sunday, July 5.

Tickets: Single tickets for Catch as Catch Can ($20 – $120*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale at steppenwolf.org/memberships: Black Card Memberships with six tickets for use any time for any production and RED Card Memberships for theatergoers under 30. *Pricing includes an $8.50 handling fee

Steppenwolf offers 20 tickets for $20 (no added fees) for each performance of every membership series production. Use promo code 20FOR20 to redeem this offer online, available in advance until they're sold out for every main series show. Limit 2 tickets per person. You can also purchase by phone at (312) 335-1650 on the day-of show at 12 pm for main series performances. Limit 2 tickets per person.

Accessible Performance Dates:

Audio-Described and Touch Tour:  Sunday, June 28 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Thursday, June 25 at 7:30 pm & Saturday, July 11 at 3 pm
ASL-Interpreted: Friday, July 10 at 7:30 pm

Education and Engagement:

Throughout the 2025/26 season, Steppenwolf continues its commitment to the next generation of theatre learners, makers and appreciators with robust education and engagement programming. During the school year, programming includes dedicated student matinee performances for four of the five Membership Series productions, in-school residencies in partnership with Chicago Public schools, a series of on-site workshops in artmaking and theater production, events specifically geared towards teens, as well as professional development trainings and resources for educators. Additionally, Steppenwolf is reimagining their community engagement and will pilot new public programming, continue accessibility programming and offer opportunities for deeper explorations for audiences throughout the season. For additional information about Steppenwolf's Education and Engagement programming and to register your school for a field trip visit steppenwolf.org/education-and-engagement/steppenwolf-field-trip-series.

Artist Biographies:

Mia Chung (Playwright) received a 2024 MacDowell Fellow, 2023 Whiting Award for Drama and a 2022 MAP grant for a new music-theatre work. Her play Catch as Catch Can premiered at Playwrights Horizons in Fall 2022 (2018 World Premiere, Off-Off-Broadway, Page 73). Additional work: Ball in the Air (NAATCO/Public Theater 2022), Double Take (PH Almanac 2021), This Exquisite Corpse (multiple awards), You For Me For You (Royal Court, National Theatre Company of Korea, Woolly Mammoth, multiple regionals. Published: Bloomsbury Methuen). Awards, commissions, residencies include: Clubbed Thumb, Helen Merrill, Loewe Award for Music-Theatre, MTC/Sloan, NYTW, Playwrights' Center/Jerome, Playwrights Horizons/Steinberg, Playwrights Realm, South Coast Rep, SPACE/Ryder Farm. Alum: Huntington Playwriting Fellows, Ma-Yi Writers Lab, New Dramatists.

Amy Morton (Director) is an actor and director. She has performed in or directed many plays at Steppenwolf including: Edward Albee's Who's Afraid of Virginia Woolf? (Tony nomination), August: Osage County (Tony nomination), One Flew Over The Cuckoo's Nest (also on Broadway), Hir, Cherry Orchard, The Berlin Circle, Three Days of Rain, The Unmentionables, Space, The Royal Family and many others. She has directed Guards at the Taj (both Atlantic Theatre and Steppenwolf), Glengarry Glen Ross, Clybourne Park, American Buffalo, The Dresser, The Pillowman, Topdog/Underdog, Edward Albee's Who's Afraid of Virginia Woolf? (Alliance Theatre), Awake and Sing (Northlight Theatre), and many others. Film: Rookie of the Year, 8MM, Falling Down, Backdraft, Up in the Air, Bluebird, It Ends With Us. Television: The Bear, Bluebloods, Girls, Homeland, currently a regular on Chicago P.D. as Sgt. Trudy Platt. Before joining Steppenwolf, Amy was a member of the Remains Theatre for 15 years.

Gary Cole (Roberta Lavecchia/Robbie Lavecchia) has been a member of the Steppenwolf Theatre Company Ensemble since 1986. Past Steppenwolf credits include: Balm in Gilead, Tracers, Frank's Wild Years, Closer and August: Osage County. Off-Broadway: True West, Orphans (both of which originated at Steppenwolf), and the premiere of Sam Shepard's Heartless. Television: West Wing, Entourage, Chicago Fire, The Good Wife, The Good Fight, Suits, Veep and NCIS. Voiceover work includes: Family Guy, Big Mouth and Archer. Film: In the Line of Fire, A Simple Plan, Dodgeball, Office Space, Talladega Nights: The Ballad of Ricky Bobby and Pineapple Express.

Audrey Francis (Lon Lavecchia/Daniela Lavecchia) currently serves as Artistic Director of Steppenwolf Theatre, alongside Glenn Davis, where she has been an Ensemble member since 2017. Audrey directed You Will Get Sick in Steppenwolf's 2024/25 season and POTUS in the 2023/24 season. She has performed on stage in Noises Off, The Thanksgiving Play, The Herd, Between Riverside and Crazy, The Fundamentals, The Doppelgänger (an international farce) and Dance Nation. TV and film credits include Justified: City Primeval, Chicago Med, Chicago Fire, Empire, Perpetrator, Knives and Skin and Later Days. Audrey is an acting coach for NBC, Fox, Showtime and Amazon. She is also the co-founder of Black Box Acting and the co-creator of Steppenwolf's corporate training program, Steppenwolf IMPACT.

Tim Hopper (Theresa Phelan/Tim Phelan) is a member of the Steppenwolf Theatre Company ensemble. Recent roles at Steppenwolf include Mr. Wolf in Mr. Wolf and Andy in Downstate, which traveled to the National Theatre in London, and to Playwrights Horizons in New York. Television appearances include Chicago Fire, Emperor of Ocean Park, the Amazon series Utopia, Fargo, The Americans, and Empire. Film appearances include the upcoming A24 film Enemies, as well as Perpetrator; Knives and Skin, School of Rock and To Die For, among others. Off-Broadway: New York Theatre Workshop, Vineyard Theatre and the Atlantic Theater. Internationally, the Edinburgh Festival and Antwerp's De Singel Theatre.

Accessibility: 

As a commitment to make the Steppenwolf experience accessible to everyone, performances featuring American Sign Language Interpretation, Open Captioning and Audio Description are offered during the run of each STC production. Assistive listening devices (ALDs), large-print programs and Braille programs are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information:

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

About Steppenwolf Theatre Company:

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

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

Steppenwolf Theatre Company, under the leadership of Artistic Directors Glenn Davis and Audrey Francis and Executive Director E. Brooke Flanagan, today announced its 2026/27 Season, marking the next chapter of the company's bold, visceral and muscular work, while celebrating a dynamic range of exciting new voices and Steppenwolf legends. The 51st Season features five Steppenwolf Membership Series productions: two world premieres, a Chicago premiere, an English-Language premiere and a modern masterpiece – all emblematic of Steppenwolf's indelible impression on the American Theatre. Steppenwolf also doubles down on its decades-long mission to immerse Chicago's youth in the arts through its lauded educational initiatives – and provide much-needed artistic space for the city's bustling community of multi-disciplinary artists, along with itinerant theatre companies.

Steppenwolf Artistic Directors Glenn Davis and Audrey Francis comment, "It is perhaps clearer today than at any other moment in our 50-year history: Steppenwolf is the place to experience the next big thing in American theatre. From Broadway transfers of plays that were born right here on Halsted Street, to world premieres that go on to be produced all over the country, this company continues to define cutting-edge, risky and damn fine theatre for audiences around the world."

Davis and Francis continue, "But, if you know Steppenwolf, you know that the awards, the recognition, the platitudes: it's all secondary to what drives us forward. Everything we do begins with our North Star of bringing Chicago audiences theatre they can sink their teeth into, brought to life by our ensemble of world class artists. In planning our 51st season, we knew we wanted to bring Chicago a slate of plays that deliver on Steppenwolf's promise of teeing up gritty, provocative and riotous drama – before you might see it somewhere else."

Raising the curtain on Steppenwolf's 51st Season, Suzan-Lori Parks' Pulitzer Prize-winning drama Topdog/Underdog returns to North Halsted more than two decades after the company's celebrated 2003 production. Helmed by Tony Award-winning director Kenny Leon, ensemble members Glenn Davis and Namir Smallwood go head-to-head in this fast-paced and ferocious thrill ride. Up next, Steppenwolf continues its tradition of bringing new works to the American theatre canon with the world premiere of Chicago playwright Stephanie Alison Walker's biting satire Adirondack Chair Circle, directed by Tony Award winner Pam MacKinnon and featuring ensemble member Audrey Francis. The 2026/27 continues with the Chicago premiere of The Comeuppance, a riveting dark comedy from Branden Jacobs-Jenkins, the Pulitzer and Tony Award-winning playwright of Purpose. Ensemble member Tina Landau ​directs this co-production with American Conservatory Theater featuring an ensemble-stacked cast including Celeste M. Cooper, Caroline Neff, Karen Rodriguez and Namir Smallwood​. Next spring, Steppenwolf presents the English-Language premiere of Ellen B., a psychological thriller by internationally-lauded playwright Marius von Mayenburg, translated by Daniel Brunet and directed by Whitney White. Concluding the 2026/27 season, ensemble member Terry Kinney directs the world premiere of Adam Rapp's haunting and emotional The Night Fawn, featuring ensemble member Cliff Chamberlain. 

The 2026/27 Season is presented at Steppenwolf's expanded campus, which includes three theaters: the Ensemble Theater in Honor of Helen Zell, the Downstairs Theater and the intimate 1700 Theater.

Steppenwolf Executive Director E. Brooke Flanagan adds, "Moving into the theater's next half century, Steppenwolf continues our commitment to the core values that have made us a global leader of theatrical innovation and a cultural citizen for the City of Chicago. The five dynamic plays produced by our company will be complemented by robust teen programming and education programs that throw open our doors for the next generation of learners, makers and appreciators. Additionally, our three stages will welcome a wide variety of local and visiting artists across discipline, expanding our service as a neighborhood hub for art and innovation."

2026/27 Classic Memberships are now on sale starting as low as $165* and include all five Membership Series productions – three plays in the Downstairs Theater and two in the Ensemble Theater. Classic Members receive priority access to seats along with full membership benefits, including unlimited ticket exchanges. The Black Card, Steppenwolf's flex membership, offers six ticket credits starting as low as $128* that allow patrons flexibility for when and how they see shows at Steppenwolf. For patrons under 30, RED Card Memberships offer six ticket credits for just $107*. Discounted packages for students and teachers and accessible packages are also available. For more information and to purchase Memberships, visit Audience Services at steppenwolf.org or call (312) 335-1650. *Prices include handling fees

Throughout the 2026/27 Season, Steppenwolf continues its commitment to education and the next generation of audiences with dedicated student matinee performances during four of the five Membership Series productions (Topdog/Underdog, Adirondack Chair Circle, The Comeuppance and Ellen B.). Reaching nearly 15,000 teens, educators and community members annually, Steppenwolf Education and Engagement also includes in-school residencies, teen programs, community partnerships and public programs, educator trainings and Maker Workshops – a series of on-site workshops in artmaking and theater production. For additional information about Steppenwolf's Education and Engagement programming and to register your school for a field trip visit steppenwolf.org/education.

Additionally, Steppenwolf's 2026/27 Season reaffirms the organization's commitment to spotlighting the work of Chicago's vibrant and eclectic artistic communities in the 1700 Theater. Since opening its doors in 2016, this malleable, intimate space has hosted over 1,000 performances featuring the wide breadth of innovative, bold and adventurous work from more than 3,200 artists across a variety of performance genres. As it steps into its second decade of programming, the 1700 Theater will be the home of an ongoing collaboration with Teatro Vista Productions as part of a multi-year partnership between the two organizations while also continuing to feature performing artists across theatrical disciplines of dance, drag, music, storytelling, comedy, puppetry and more.

Steppenwolf also plans to continue presenting the work of exciting visiting artists and companies in the Downstairs Theater and Ensemble Theater, after the success of presentations of comedy, musical theater and theater artists in recent seasons. These engagements are announced on a rolling basis, with Steppenwolf Members enjoying early access. 

STEPPENWOLF THEATRE COMPANY'S 2026/27 SEASON

Topdog/Underdog 
Written by Suzan-Lori Parks 
Directed by Kenny Leon​ 
September 17 — November 1, 2026 
Featuring ensemble members Glenn Davis and Namir Smallwood​ 
in the Downstairs Theater 
Press opening: Sunday, September 27, 2026 at 6 pm

Brothers Lincoln and Booth, named in jest, are two Black men living in America just trying to get by. Lincoln dresses like his namesake, reenacting his assassination for money and laughs. Booth stays stuck in their apartment, working tirelessly on his three-card hustle. Sibling rivalry and a lifetime of resentment come to a head in this fast-paced and ferocious thrill ride from Suzan-Lori Parks. The deck is stacked with a Tony Award-winning director, a Pulitzer Prize-winning script and a tour-de-force showdown for ensemble members Glenn Davis and Namir Smallwood. "Take thuh cards and show me whatcha got!" 

Adirondack Chair Circle – World Premiere!
Written by Stephanie Alison Walker 
Directed by Pam MacKinnon 
Featuring ensemble member Audrey Francis​ 
October 22 — December 6, 2026 
in the Ensemble Theater 
Press opening: Sunday, November 1, 2026 at 6 pm

Banna has it all... or at least that's what the other suburban moms think. Beneath the charcuterie boards, backyard soirees and pickleball, there's a funny feeling bubbling underneath this seemingly perfect facade. Is it the pressure to save her children from the beliefs of the school district? Or is it just that suspicious crow watching her every move? A piercing world premiere from a playful Chicago voice, Stephanie Alison Walker's Adirondack Chair Circle exposes the hilarious hypocrisy of the clubs we join and the company we keep. And has a damn good time doing it. 

The Comeuppance – Chicago Premiere!
Written by Branden Jacobs-Jenkins
Directed by ensemble member Tina Landau ​
A co-production with American Conservatory Theater 
Featuring ensemble members Celeste M. Cooper, Caroline Neff, Karen Rodriguez and Namir Smallwood​ 
February 4 — March 21, 2027 
in the Downstairs Theater 
Press opening: Saturday, February 13, 2027 at 7:30 pm

Welcome back, St. Anthony's graduating class of 2002! On the night of their 20th high school reunion, a group of misfit Millennial classmates reconnect for a familiar pregame: drinks, pot, a limo ride and a whole lot of messy memories. But, in Branden Jacobs-Jenkins' riveting dark ensemble comedy, a specter looms over the proceedings, reminding us that time only marches forward, even for '90's kids. This Chicago premiere from the Pulitzer Prize-winning playwright of Purpose is a contemplative, hilarious and grave reflection on life and death. 

Ellen B. – English-Language Premiere!
Written by Marius von Mayenburg ​
Translated into English by Daniel Brunet
Directed by Whitney White
April 1 — May 9, 2027 
in the Ensemble Theater
Press opening: Sunday, April 11, 2027 at 6 pm

Astrid, a teacher, lives with Klara, her considerably younger partner – and also her former student. When Wolfram, the school's headmaster, drops by for a visit, he brings with him uncomfortable accusations, and the search for truth erupts into a wicked game of power and desire. In this psychological thriller with no easy answers, internationally-lauded playwright Marius von Mayenburg touches the nerve between past and present, professional and private, truth and lie.

The Night Fawn – World Premiere!
Written by Adam Rapp
Directed by ensemble member Terry Kinney
Featuring ensemble member Cliff Chamberlain​
May 27 — July 3, 2027 
in the Downstairs Theater
Press opening: Sunday, June 6, 2027 at 6 pm

Brendan has a story, one that hurts to tell. He's lost his job, his marriage has ended and he's headed back home to settle his late mother's affairs. It's there that he finds the need to talk, as an unthinkable secret from his childhood demands attention. A provocative confession with haunting implications about memory and revenge, Adam Rapp's The Night Fawn offers a sunset to our season – but real monsters don't wait to come out after dark. 

2026/27 SEASON ARTIST BIOGRAPHIES

Topdog/Underdog 

Suzan-Lori Parks (Playwright) is a multi-award-winning writer and musician. She is the first African-American woman to receive the Pulitzer Prize for Drama for Topdog/Underdog, which recently won the 2023 Tony Award for Best Revival. Her other plays include Sally & Tom (2024), Plays for the Plague Year (Drama Desk Award, Best Music, 2023) and Father Comes Home From The Wars (2014). Parks' first marathon-writing "micro diary plays," 365 Days/365 Plays were produced worldwide in what was the largest grassroots collaborative theatre project to date. She is a MacArthur "Genius" Fellow, a novelist: Getting Mother's Body (Random House); and a screenwriter: Girl 6, Genius: Aretha, and The United States vs Billie Holiday. Parks also writes songs and fronts her band "SLP& The Joyful Noise," with her punk-couture medicine show, The Tune Up, world-premiering this summer. As a college student Parks is grateful to have studied creative writing with James Baldwin, who encouraged her to write for the theatre.

Kenny Leon (Director) is a Tony Award-winning director. Broadway: Othello, Our Town, HOME, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch, Topdog/Underdog, Ohio State Murders, A Soldier's Play, American Son, Children of a Lesser God, Holler If Ya Hear Me, A Raisin in the Sun, The Mountaintop, Stick Fly, August Wilson's Fences, Gem of the Ocean and Radio Golf. Off-Broadway: This World of Tomorrow (The Shed), King James, The Underlying Chris, Everybody's Ruby, Emergence-See! (The Public), Smart People (Second Stage). Opera: Amahl and the Night Visitors, Margaret Garner. Television: Robin Roberts Presents: Mahalia, Colin in Black & White, 4400, Amend: The Fight for America, American Son (adapted for Netflix), Hairspray Live!, The Wiz Live!, Steel Magnolias, Dynasty, In My Dreams. Author: Take You Wherever You Go. Artistic Director Emeritus: Kenny Leon's True Colors Theatre Company. Senior Resident Director: Roundabout Theatre Company. Awards: Obie, Actors Fund Medal of Honor, George Abbott Lifetime Achievement for American Theatre, Jason Robards Award for Excellence in Theatre.

Glenn Davis (Lincoln) is an actor, producer and Artistic Director of Steppenwolf Theatre Company, alongside Audrey Francis, where he has been an ensemble member since 2017. His Steppenwolf credits include Downstate, The Christians, You Got Older, The Brother/Sister Plays, Head of Passes, King James (also Mark Taper Forum), Describe the Night, and, most recently, Purpose. Broadway credits include Purpose (Tony nomination–Best Featured Actor, Tony Award–Best Play) and Bengal Tiger at the Baghdad Zoo (also Kirk Douglas Theatre, Mark Taper Forum). Off-Broadway credits include Transfers (MCC Theatre), Wig Out! (Vineyard Theatre), Downstate (Playwrights Horizons, Outer Critics Circle Nomination) and King James (MTC). Other regional credits include Moscow x6 (Williamstown Theatre Festival). International credits include: Downstate (National Theatre, UK); Edward II, The Winter's Tale and As You Like It (Stratford Festival); Othello (The Shakespeare Company). Television credits include Billions, 24, The Unit, Jericho and The Good Wife. Glenn is an Artistic Associate at the Young Vic in London and at the Vineyard Theatre in New York. He is also a partner in Cast Iron Entertainment, a collective of artists consisting of Sterling K Brown, Brian Tyree Henry, Jon Michael Hill, Andre Holland and Tarell Alvin McCraney. Cast Iron is currently in residence at The Geffen Playhouse in Los Angeles. In 2021, Glenn founded The Chatham Grove Company along with his producing partner Tarell Alvin McCraney.

Namir Smallwood​ (Booth) joined the Steppenwolf Theatre Company ensemble in 2017. Steppenwolf: Mr. Wolf, You Will Get Sick, The Book of Grace, The Seagull, Bug, True West, BLKS, Monster, Man In Love, The Hot L Baltimore, Last Night and the Night Before. Broadway: Bug, Pass Over. Off-Broadway: Pipeline, Pass Over (Lincoln Center). Chicago: Primary Trust (Goodman); Charm (Northlight Theatre); The Grapes of Wrath (The Gift Theatre); East Texas Hot Links (Writers Theatre). Regional: Marin Theatre Company, Pillsbury House Theatre, Ten Thousand Things, Guthrie Theater. International: True West (Galway International Arts Festival). Television: Chicago Fire, Betrayal, Elementary, American Rust (Showtime/FreeVee), Power Book IV: Force (STARZ). Film: Rounding, About Time, Bailey's Blues.

Adirondack Chair Circle

Stephanie Alison Walker (Playwright) is an internationally-produced, award-winning playwright whose work is known for the personalization of the political, humor in darkness and the dramatization of the resilience of women. She is a native Chicagoburbian who has lived all over including London, Buenos Aires, San Juan Island and fifteen years in Los Angeles. She received her Bachelors in English/Creative Writing and Spanish from the University of Colorado and her Master of Professional Writing from the University of California. She began writing plays while working for Fox Theatricals in Chicago. Her play about the housing crisis, American Home, was the inaugural winner of American Blues Theatre's Blue Ink Award. Her play about the mothers of the disappeared in Argentina, The Madres, received a National New Play Network Rolling World Premiere at Teatro Vista in Chicago, Skylight Theatre Company in L.A., Moxie Theatre in San Diego and Shrewd Theatre Company in Austin. It was the 2019 Winner of the Francesca Primus Prize, winner of the Ashland New Plays Festival, the Generations Prize and semi-finalist for the CTG/ Humanitas Prize for playwriting. Her follow-up play The Abuelas, premiered at Teatro Vista and was recently adapted into a short film titled The Birthday Gift. The Art of Disappearing was a finalist for the Primus Prize and enjoyed critical praise for the world premiere in Chicago by 16th Street Theater in 2015. Friends with Guns, her play about liberals and gun ownership was an O'Neill Finalist, winner of Best New Play at the 2019 Valley Theatre Awards, and had its Chicago premiere by A Short Leap Theatre Company in 2025. Sophia Hayden Deserves Better tells the story of the architect of the Woman's Building at the 1893 World's Columbian Exposition in Chicago and was recently a part of Gglassfest by Lookingglass Theatre in Chicago. The Ordeal of Water, inspired by the first women to work as Longshoremen at the Port of Los Angeles, was most recently a part of Bay Street Theater's New Works Festival. Adirondack Chair Circle, her play that tackles suburban book-banning moms, was developed at The Inkwell Theater Company and A Red Orchid's Studio at A Red Orchid. Her short plays have been anthologized by Smith & Kraus. Her full-lengths are published by Broadway Publishing, Inc. In addition to writing plays, she is currently adapting Friends with Guns and The Abuelas as features while raising two spirited boys and selling real estate in the suburbs of Chicago. She is a proud member of the Dramatists Guild of America, Honor Roll Playwrights, NNPN Affiliated Artist, and a proud alumni of the Playwrights Union. stephaniealisonwalker.com

Pam MacKinnon (Director) is a Tony, Drama Desk and multi-Obie Award winning director. She is the artistic director of American Conservatory Theater in San Francisco. She has directed more than eighty productions. Her Tony Award-winning production of Edward Albee's Who's Afraid of Virginia Woolf? originated at Steppenwolf. Her production of Bruce Norris's Downstate (Steppenwolf, National Theatre and Playwrights Horizons) was celebrated with several Jeff Awards and won Pam her second Obie. She served as president of SDC, the national Union of choreographers and directors.

Audrey Francis​ (Cast) currently serves as Artistic Director of Steppenwolf Theatre, alongside Glenn Davis, where she has been an Ensemble member since 2017. Audrey directed You Will Get Sick in Steppenwolf's 2024/25 season and POTUS in the 2023/24 season. She has performed on stage in Catch as Catch Can (upcoming), Noises Off, The Thanksgiving Play, The Herd, Between Riverside and Crazy, The Fundamentals, The Doppelgänger (an international farce) and Dance Nation. TV and film credits include Justified: City Primeval, Chicago Med, Chicago Fire, Empire, Perpetrator, Knives and Skin and Later Days. Audrey is an acting coach for NBC, Fox, Showtime, and Amazon. She is also the co-founder of Black Box Acting and the co-creator of Steppenwolf's corporate training program, Steppenwolf IMPACT.

The Comeuppance

Branden Jacobs-Jenkins ​(Playwright) is a Brooklyn-based playwright. Recent theatre credits include Purpose (Tony Award; Pulitzer Prize; Broadway, Steppenwolf), Appropriate (Tony Award; Broadway, Second Stage), The Comeuppance (Signature Theatre), Girls (Yale Rep), Everybody (Signature Theatre), War (Yale Rep; Lincoln Center/LCT3), Gloria (Vineyard Theatre), Appropriate (Obie Award; Signature Theatre), An Octoroon (Obie Award; Soho Rep, Theatre for a New Audience) and Neighbors (The Public Theater). He currently teaches at Yale University and serves as Vice President of the Dramatists Guild council and on the boards of Soho Rep, Park Avenue Armory, the Susan Smith Blackburn Prize and the Dramatists Guild Foundation. Honors include a USA Artists fellowship, a Guggenheim fellowship, the MacArthur fellowship, the Windham-Campbell Prize for Drama and the inaugural Tennessee Williams Award.

Tina Landau ​(Director) is a writer, director and Steppenwolf ensemble member since 1997 where her 20 productions include Ms. Blakk for President (also writer with Tarell McCarney), The Brother/Sister Plays, The Wheel, The Time of Your Life, Head of Passes, Space (also writer), The Berlin Circle, The Tempest, Superior Donuts, and more. Many of these productions then moved on to play at multiple theaters such as The Public in NYC, the Taper in LA, Seattle Rep, American Conservatory Theater and Berkeley Rep. On Broadway, Tina wrote the book for and directed the musical Floyd Collins (Lincoln Center Theater, 6 Tony noms including Best Revival), wrote book, co-lyrics and directed Redwood (starring Idina Menzel), and conceived and directed The SpongeBob Musical (12 Tony noms, Drama Desk & Outer Critics Circle winner–Best Direction and Best Musical.) Her other Broadway credits include Paula Vogel's Mother Play (with Jessica Lange, 4 Tony noms including Best Play), Tracy Letts' Superior Donuts and the musical Bells Are Ringing (also both Tony nominated). Her Off-Broadway productions include Bill Irwin and David Shiner's Old Hats, Chuck Mee's Big Love and Iphigenia 2.0 (all Signature), Paula Vogel's A Civil War Christmas (NYTW), Tarell McCraney's Head of Passes and In the Red and Brown Water (both at the Public) and Wig Out! (Vineyard). Regionally, Tina has directed the musicals Transparent (CTG in Los Angeles) and Dave (Arena Stage), among numerous others. She's been additionally recognized by the Drama League, New Dramatists, Lucille Lortel and Obie awards, and is the recipient of a United States Artist Fellowship and a Princess Grace Statuette. Tina was an Artist-in-Residence at Little Island in NYC and is the co-author with Anne Bogart of The Viewpoints Book.

Celeste M. Cooper (Cast) is joyful to join the cast of The Comeuppance and is grateful to the creative team, fellow performers and audience for the opportunity to explore and share another story together. Steppenwolf: BLKS, Doppelgänger, Familiar, A Doll's House, Part 2, virtual show Duchess! Duchess! Duchess! (New York Times Critic pick); The Most Spectacularly Lamentable Trial of Miz Martha Washington, POTUS. Chicago Theatre: Blues for an Alabama Sky (Court Theatre–Jeff Awards Best Production); Measure for Measure (Goodman Theatre); Stick Fly (Windy City Playhouse); Ruined (Eclipse Theatre); Corduroy (Chicago Shakespeare Theater); and more. Regional: For Colored Girls... (Kansas City Repertory); Building The Wall (Curious Theatre in Denver); Mrs. Harrison (Indiana Repertory); What I Learned in Paris (South Coast Repertory); Confederates (The Repertory Theatre of St. Louis). TV: Recurring on Chicago P.D.; guest roles on 4400 and Sense8. Film: Spike Lee's Chiraq; leading role in indie feature Range Runners (currently streaming). Radio: Unshackled Radio Program – voicing dramatized true stories. Awards: Most Promising Actress (Black Theater Alliance); Best Actress – Range Runners (Twister Alley); NewCity Stage magazine's "People Who Really Perform for Chicago" (2020 & 2023). Education: BA – Tennessee State University; MFA – The Theatre School at DePaul University. IG: @be_that_light | Represented by: Paonessa Talent Agency

Caroline Neff (Cast) is a Steppenwolf ensemble member. At Steppenwolf, she was last seen in Mr. Wolf, Fool for Love, POTUS, Another Marriage, Describe the Night, Seagull, Dance Nation, The Curious Incident of the Dog in the Night-Time, You Got Older, Linda Vista (also Taper Forum and Broadway), The Fundamentals, The Flick, Airline Highway (also Broadway), The Way West, Three Sisters, Annie Bosh is Missing and Where We're Born. Select theatre credits include: Lettie (Jeff Award Best Actor; Victory Gardens Theater); Uncle Vanya (Goodman Theatre); A Brief History of Helen of Troy (Jeff Award for Best Actress), The Knowledge, Harper Regan, In Arabia We'd All Be Kings (Steep Theatre); The Downpour (Route 66 Theatre); Port (Griffin Theatre); 4000 Miles (Northlight Theatre); Moonshiner (Jackalope Theatre). Regional credits include: Peerless (Yale Repertory Theatre). Film and television credits include: Parallax (upcoming Apple TV), FBI, Three Women, Let the Right One In, The Red Line, Chicago P.D., Chicago Fire, Open Tables and Older Children, and heard in multiple Audible Projects such as: Song of the Northwoods, Crowded Hours, Denali and Boar's Nest. She is a proud company member of Steep Theatre and holds her BA from Columbia College.

Karen Rodriguez (Cast) currently stars as Wanda Salazar in Netflix's The Hunting Wives alongside Brittany Snow and Dermot Mulroney. She'll next star in Spider Noir in 2026 alongside Nicolas Cage and Brendan Gleeson. Ms. Rodriguez joined the Steppenwolf ensemble in 2018. On the Steppenwolf main stage, she has appeared in POTUS, The Seagull, I Am Not Your Perfect Mexican Daughter, Dance Nation, La Ruta, The Doppelgänger (an international farce) and The Rembrandt. Select theatre credits include I Am Not Your Perfect Mexican Daughter (Seattle Rep), The Way She Spoke (Greenhouse Theater Center), Breach (Victory Gardens Theater), The Displaced (Haven Theatre), Hookman (Steep Theatre) and Blue Skies Process (Goodman Theatre). Television credits include Acapulco (Apple TV) with Eugenio Derbez, SWARM (Amazon Prime) created by Janine Nabers and Donald Glover, The Big Leap (FOX), Shining Girls (Apple TV) with Elisabeth Moss and Jamie Bell, season 2 and 3 of Power Book IV: Force (STARZ), Chicago Fire and Chicago Justice. She's thrilled to be back on the Steppenwolf stage. Instagram: xkarenxrodriguez.

Namir Smallwood​ (Cast) joined the Steppenwolf Theatre Company ensemble in 2017. Steppenwolf: Mr. Wolf, You Will Get Sick, The Book of Grace, The Seagull, Bug, True West, BLKS, Monster, Man In Love, The Hot L Baltimore, Last Night and the Night Before. Broadway: Bug, Pass Over. Off-Broadway: Pipeline, Pass Over (Lincoln Center). Chicago: Primary Trust (Goodman); Charm (Northlight Theatre); The Grapes of Wrath (The Gift Theatre); East Texas Hot Links (Writers Theatre). Regional: Marin Theatre Company, Pillsbury House Theatre, Ten Thousand Things, Guthrie Theater. International: True West (Galway International Arts Festival). Television: Chicago Fire, Betrayal, Elementary, American Rust (Showtime/FreeVee), Power Book IV: Force (STARZ). Film: Rounding, About Time, Bailey's Blues.

Ellen B.

Marius von Mayenburg (Playwright) is a playwright, director and translator. Born in Munich, he studied playwriting at the Academy of the Arts, Berlin and was dramaturg and writer in residence at the Schaubühne Berlin. His plays (such as The Ugly One, Fireface, A Piece of Plastic) are translated into more than 30 languages, have been successfully produced worldwide at the Schaubühne Berlin, The Royal Court Theatre/London, the Young Vic, London, the National Theatre Oslo, Théâtre national de la Colline, Paris, La Scala, Paris among many others and have won several awards. As a translator he has translated works by William Shakespeare and Oscar Wilde, as well as contemporary plays by writers such as Martin Crimp, Alan Ayckbourn and Sarah Kane into German. His most recent trilogy consists of the plays Ex, Ellen Babić and Egal, which have all been premiered internationally at theaters such as Rikstheatre in Stockholm, Sweden, the National Theater of Reykjavik, the Burgtheater Vienna. As a director, Marius von Mayenburg has worked at the Schaubühne Berlin, Residenztheater in Munich, Schauspiel Frankfurt, Riksteater Stockholm, Nationaltheater Oslo and others.

Daniel Brunet (Translator) is a director, performer, producer and translator. He was born in Syracuse, New York, studied theater and film at Boston College and moved to Berlin in 2001 with the support of a Fulbright Scholarship. Brunet became Producing Artistic Director of English Theatre Berlin | International Performing Arts Center in 2012. He has received multiple awards for his over thirty play translations, including the Literary Fellowship in Translation from the U.S. National Endowment of the Arts. His translation of Wolfram Lotz's The Ridiculous Darkness was published by Oberon Books in 2019. In addition to Ellen Babić, Brunet has also translated Ex and Egal (Whatever) by Marius von Mayenburg.

Whitney White (Director) is a Tony Award nominee, Obie Award and Lily Award-winning director, writer and performer. Broadway: Liberation, Jaja's African Hair Braiding, The Last Five Years. Other: All Is But Fantasy (Royal Shakespeare Company), Walden (Second Stage), Jordan's (The Public), Saturday Church (NYTW), The Secret Life of Bees (The Almeida, UK), The Spectacularly Lamentable Trial of Miz Martha Washington (Steppenwolf), Soft (MCC), On Sugarland (New York Theatre Workshop, Lucille Lortel and Drama Desk nominations, Outstanding Direction), Semblance (NYTW), The Amen Corner (Shakespeare Theatre Company), Our Dear Dead Drug Lord (WP Theater, Second Stage), What to Send Up When It Goes Down (The Movement Theatre Company, Woolly Mammoth, A.R.T., The Public Theater). Staff writer: I'm a Virgo (Amazon Studios). Writer/performer of Macbeth in Stride (A.R.T., Elliot Norton Award for Outstanding Musical Performance by an Actress). Recipient of the Herb Alpert Award, Jerome Fellowship, Susan Stroman Directing Award. Part of the Rolex Protegé and Mentorship Arts Initiative. MFA Acting: Brown University/Trinity Rep, BA: Northwestern University. Whitney-White.com

The Night Fawn

Adam Rapp (Playwright) is the author of numerous plays, which include Nocturne (New York Theatre Workshop), Finer Noble Gases (2006 Edinburgh Fringe First Award, 26th Humana Festival), The Metal Children (The Vineyard) and Red Light Winter (Steppenwolf, Barrow Street Theatre), for which he won Chicago's Jeff Award for Best New Work, an Obie and was named a finalist for the 2006 Pulitzer Prize. The Sound Inside received its world premiere at the 2018 Williamstown Theatre festival and was named one of the New York Times best plays of 2019. It premiered on Broadway at Studio 54 in the fall of 2019 and went on to be nominated for 6 Tony Awards, including Best Play. He received a Tony nomination for writing the book for the musical The Outsiders, which is currently running on Broadway. The Outsiders went on to win Best Musical at the 2024 Tony Awards. His playwriting honors include Boston's Elliot Norton Award, The Helen Merrill Prize, The 2006 Princess Grace Statue, A Lucille Lotrel Playwright's fellowship, The Benjamin H. Danks Award, the PEN/Laura Pels International Foundation Award, a 2021 Arts and Letters Award from the American Academy of Arts and Letters and the Best Theatre Newcomer prize from List Magazine and the Writers' Guild of Great Britain. Adam served as executive producer and showrunner for American Rust: Broken Justice and recently published a new novel, Wolf at the Table.

Terry Kinney (Director) is a co-founder and ensemble member of Steppenwolf Theatre Company. His Steppenwolf acting work includes Balm in Gilead, Orphans, Tracers, The Grapes of Wrath (Tony Award nomination), and Buried Child on Broadway. Steppenwolf (directing): Another Marriage, And a Nightingale Sang..., A Clockwork Orange, A Streetcar Named Desire, Of Mice and Men, One Flew Over the Cuckoo's Nest (also Broadway, winner Tony Award, Best Revival), and The Violet Hour. Other work: reasons to be pretty (Tony Award nomination, Best Play), The Price (Broadway), The Babylon Line (LCT), and Curse of the Starving Class. Film: Fly Away Home, Sleepers, The Firm, Last of the Mohicans, The Little Things, among others. Television: Oz, Good Behavior, Fargo, Billions, Inventing Anna, and The Watcher.

Cliff Chamberlain​ (Cast) joined the Steppenwolf Theatre Company ensemble in 2018. Steppenwolf Theatre Company: The Dance of Death, You Will Get Sick, Fool For Love, The Minutes, Belleville, Clybourne Park, Theatrical Essays, Superior Donuts. Chicago: The Seagull (Goodman Theatre); The Sparrow (The House Theatre of Chicago). Broadway: The Minutes, Superior Donuts. Television: Homeland, Altered Carbon, The Act, Easy, State of Affairs, Chicago P.D., Paper Girls, The Chair. Film: The Rip, Moses the Black, The Wise Kids. Cliff trained at UCSB and The School at Steppenwolf.

ADDITIONAL 2026/27 SEASON INFORMATION

Accessibility:

As a commitment to make the Steppenwolf experience accessible to everyone, performances featuring American Sign Language Interpretation, Open Captioning and Audio Description are offered during the run of each Subscription Series production. Assistive listening devices (ALDs), large-print programs and braille programs are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information:

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

About Steppenwolf Theatre Company:

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

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