Displaying items by tag: The Gift Theatre

The Gift Theatre, led by Artistic Directors Brittany Burch and Jennifer Glasse, announces its 25^th Anniversary "Homecoming" Season. The landmark 2026 season features the return of the company's signature short play festival, a major Chicago premiere, and a new work by ensemble member Netta Walker, staged at iconic venues across the city including A Red Orchid Theatre, Steppenwolf's 1700 Theater, and a return to Jefferson Park at the Copernicus Center.

The 25^th Season includes the annual short play festival TEN 25^th, March 25-April 4, 2026, to take place at A Red Orchid Theatre. The Chicago Premiere of Marble by Marina Carr, August 2-30, 2026, will mark a return to the company's home neighborhood. Hayward, a world premiere by new ensemble member Netta Walker, October 14-November 22, will be presented at Steppenwolf's 1700 Theater. The season will close with a one-night event in December, the 25th Anniversary Benefête Performance at Jefferson Park's Copernicus Center.

Artistic Directors Brittany Burch and Jennifer Glasse comment, "As we look ahead, we're recommitting to our origins in Jefferson Park and actively exploring pathways to bring The Gift home again. Our 25th Anniversary 'Homecoming' season reflects that spirit—beginning with a winter gala and continuing this spring with TEN 25th at A Red Orchid Theatre and continuing with Marina Carr's captivating drama Marble, and Hayward, a new play by one of The Gift's newest ensemble members Netta Walker. We celebrate 25 years of intimate, ensemble-driven work by coming home—to our artists, audiences, and the neighborhoods that shaped the company."

Subscription packages are now on sale at thegifttheatre.org or by calling 773-283-7071. The Homecoming Subscription Package, $105, includes TEN 25^th, Marble and Hayward. The Homecoming Subscription Package+ Subscription Package, $170, includes TEN 25^th, Marble, Hayward and the 25th Anniversary Benefête Performance.  Subscribers save up to 15% off regular ticket prices, priority seating, free ticket exchanges and guaranteed seating to limited-run productions.

The 25^th Anniversary Homecoming Season is:

TEN 25^th

The Gift's Ten-Minute Play Festival of New Work

at A Red Orchid Theatre, 1531 N Wells St. in Chicago

March 25 – April 4, 2026

Tickets, $25, thegifttheatre.org and (773) 283-7071

TEN 25th features the work of Gift ensemble members Cyd Blakewell, Erica Weiss, Gregory Fenner, Jennifer Glasse, Jennifer Rumberger, John Gawlik, Kenny Mihlfried, Pat Weber, Paul D'Addario and Shanésia Davis.

TEN 25th features 10-minute world premiere plays from Chicago playwrights John Gawlik, Jennifer Rumberger, Gregory Fenner, Kimberly Dixon-Mays, Dolores Diaz, Stephanie Alison Walker, Emilio Williams, Jermaine Jenkins, and Brett Neveu.

MARBLE
Chicago Premiere by Marina Carr

at Copernicus Center – Kings Hall, 5216 W Lawrence Ave in Chicago

August 2 – August 30, 2026

Tickets, $45-$50, thegifttheatre.org and (773) 283-7071

individual tickets will be on sale this spring

Marble follows two married couples, Ben and Catherine, and their friends Art and Anne, whose comfortable lives begin to splinter after a shared dream triggers suspicion and desire.

A surreal and haunting exploration of two couples whose lives collide through shared dreams, this production anchors the company's homecoming to the neighborhood where it was founded.

HAYWARD

World Premiere by ensemble member Netta Walker

Directed by AmBer Montgomery

featuring ensemble members Shanesia Davis and Gregory Fenner

at Steppenwolf's 1700 Theater, 1700 N. Halsted St in Chicago

October 14 – November 22

Tickets, $45-$50, will be available this summer through the Steppenwolf box office.

A reimagining of the classics Hamlet and Electra. The play follows the main character Luna, who on the day of her father's funeral, confesses to her siblings that she has seen her father's ghost. Staged in Steppenwolf's intimate 1700 Theater, this production continues The Gift's commitment to ensemble talent and bold new narratives.

25th ANNIVERSARY BENEFÊTE PERFORMANCE

at Copernicus Center — Gateway Theatre 5216 W. Lawrence, Chicago, IL

December 7th 2026

Tickets $75, thegifttheatre.org and (773) 283-7071 tickets will be available this spring

The season will close out with a spectacular, one-night-only celebration honoring a quarter century of The Gift Theatre. This 25th Anniversary Benefête Performance, will be a night featuring our favorite scenes from over the years performed by ensemble members —the artists who have shaped this theatre across generations.

About The Gift Theatre
The Gift Theatre is a storefront nonprofit founded in Chicago's Jefferson Park neighborhood, committed to creating accessible, inclusive, and impactful theatrical experiences. Our identity is defined by intimacy, collaboration, and a belief that live storytelling can inspire and transform both artist and audience. Our programming isn't bound by genre but guided by character-driven, emotionally rich storytelling rooted in truth. Whether surreal or starkly naturalistic, each play we share reflects our commitment to creating spaces of deep connection—among artists, between artist and audience, and within our community.

The Gift Theatre ensemble includes its newest members Jennifer Aparicio, Shanésia Davis, Angela Morris, Jennifer Rumberger, Netta Walker and Patrick Weber. They join fellow ensemble members Daniel Ahlfeld, Cyd Blakewell, Brittany Burch, Hillary Clemens Harbor, Jenny Connell Davis, John Kelly Connolly (in memoriam), Paul D'Addario, Brendan Donaldson, Will Eno,

James D. Farruggio, Gregory Fenner, Ed Flynn, Gabriel Franken, John Gawlik, Maggie Andersen Gawlik, Emjoy Gavino, Jennifer Glasse, Andrew Hinderaker, Chika Ike, Evan Michael Lee, Sarah Luse, Marti Lyons, Alexandra Main, Martel Manning, Laura Marks,Kenny Mihlfried, Benjamin Montague, William Nedved, Darci Nalepa, Keith Neagle, Lynda Newton, Sheldon Patinkin (in memoriam), Maureen Payne-Hahner, David Preis, David  Rabe, Mary Ann Thebus (in memoriam), Michael Patrick Thornton, Hannah Toriumi, Erica Weiss, Jay Worthington, and Kyle Zornes.

I had high expectations for Cosmologies as I read the promotional material in preparation for attending the show’s opening at The Gift Theatre. The opening scene also gave me hope (briefly) as it was humorous and set the viewer up for the anticipated “existential absurdist comedy.”

Instead the audience was witness to an intellectual “terrestrial battle” (to use the playwright’s words) that while absurd, as promised, was also manic and tragic in the end.

In the opening scene, young high school buddies Eric (feature actor Kenny Mihlfried) and Milt (Gregory Fenner) awake in a hotel room in an unfamiliar city, Chicago. Eric is a wide-eyed curious youth running from his past. Milt has been duped into joining him on his adventure but quickly comes to his senses (and sobers up) and catches the next bus back home, leaving Eric to fend for himself in his absurd adventure.

Over the next two and half hours, the audience is invited to join Eric’s out-of-body experience that intertwines his childhood fascinations, his abusive father and his unhealthy love for his mother.

The story is moved along (or dragged down) by countless monologues by Eric. While successful early in Act One in conveying Eric’s quirky, nerdy personality, then showing some humanity or hidden insight, these monologues would been much more effective in smaller quantity. Instead there were so many that towards the end of Act One they were becoming tedious and I was becoming disengaged and hearing only “blah, blah, blah.”

In spite of my failure to connect with the playwright, the all-ensemble cast performance and the set design were both strong.

Kenny Mihlfried is the featured actor and carries the weight of the script throughout. His portrayal as a troubled introvert teenager (probably ADHD) was very sympathetic.

Darci Nalepa (Teddy/Mom) had the most range and depth of character, in my opinion, as she used her stage presence and visual expression to portray both a victim and an abuser. She was an unlikely “hero” that I was rooting for.

James Farruggio and John Kelly Connolly were both strong although slightly stereotypical/predictable in their potrayals of Richard and Convict respectively.

The set design and props were whimsical and helped convey that what we were witnessing imagery not reality. The Fisher Price Telephone and the bright green plastic gun were essential to the absurdity. I do however question the decision to not use real liquid in the gin bottle or some morsel of real food on the plates. Eating and drinking “air” seems so easy to remedy, especially when the gin was an important element of multiple scenes.

As the opening show audience in this 50-seat theatre was a mix of reviewers and supporters, I observed a mixture of audience response. I look forward to reading other reviews to see if I missed the mark. For more information on this production visit www.thegifttheatre.org. Through December 9th at The Gift Theatre.

I was expecting a great work of art from David Rabe, the American Tony Award-winning playwright, screenwriter and author, famous for his Vietnam trilogy (“Sticks and Bones”, “The Basic Training of Pavlo Hummel”, “Streamers”), as well as other notable plays, like “Hurlyburly” and “In the Boom Boom Room”. I was not disappointed.

In “Good for Otto”, Artistic Director Michael Patrick Thornton does a fantastic job directing this three hour long presentation, which literally squeezed actors into every nook and cranny of his tiny but acclaimed stage at The Gift Theatre in Jefferson Park. 

David Rabe's writing is so enchanting, so spacious, and much like prose poetry at times that it lulls the audience into a type of trance which makes it possible to watch your own demons and thoughts even as the play is unfolding before you. 

Rabe tackles just about every aspect of mental health care including the maddening difficulty of getting treatment at all from insurance companies in this country!

Good for Otto is set in a small town based on the Northwest Center for Family Services and Mental Health in Torrington, Connecticut, where the psychotherapist Richard O'Connor worked and whose work, "Undoing Depression," is the main inspiration for the characters in this play.

Whether your problem is growing old and depressed in your 70's or cutting yourself at the age of 12, or even reliving your own mother's suicide when you were nine (which the psychologist/ narrator struggles with), Rabe shows that life can't just "go on as usual" unless you actually receive and accept professional help. 

Yes, the play is still in a type of workshop phase partly because Rabe's writing is all so lush, so poetic I can see where he is having trouble cutting any of it, yet it needs cuts because some of the minor characters just end up floating around, unfulfilled and confusing in what should be a cannonball of a play on the lifelong importance of treating mental illness - instead of a shotgun which scatters these powerful messages like buckshot. 

The entire fifteen member ensemble cast did a great job with a couple standouts. 

The beautifully sensitive and expressive twelve-year-old named Frannie and played by Caroline Heffernan was a very heartfelt yet real performance from someone so young. 

The other character who both made the audience laugh the most yet at the same time made all of us young, or old and in between, feel the genuine pit and hopelessness of geriatric depression came from Rob Riley.

The scene where the psychologist argues with an ice cold double talking insurance rep who flatly denies his multiple urgent requests for one on one treatment for a suicidal child is so common and written in way so true to life it actually sickened me. 

Given the fact that so many mentally ill people are now taking their illness to the street and killing innocent people time and time again in this country just shows that we have got to stop making it so difficult to get therapy. After all, therapy is cheap. It doesn't involve multi-million dollar machinery. It's just two people or a group of people talking it out, encouraging each other to keep on living in this crazy world. 

It was a great honor for David Rabe to choose both Chicago and The Gift Theater for the first staging of this very important and empowering play. I look forward to seeing it in its polished and more laser-like form here in Chicago again or on Broadway in the near future. 

“Good for Otto” is being performed at The Gift Theatre through November 22nd. For tickets and more show information visit www.thegifttheatre.org. 

What do you do when you receive a call from God? How do you even know if in fact it was a call from God? Could such a happening be a figment of the imagination stemming from one’s ego or a desire wanted so badly that a sign is unconsciously created? In Body and Blood now, currently running at Gift Theatre in Jefferson Park, Dan shocks his live-in girlfriend, Leah, when what she hopes is the beginning of a marriage proposal is instead an announcement that he is leaving her to become a priest. Dan, who has a history of not following through on most anything he does and is fortunate to even have a job at his brother-in-law’s luggage store, claims God appeared to him in an oak tree finally filling him with the purpose he so desperately needs to find fulfillment in life.

Of course Leah, hurt and stunned, suspects this is just another one of Dan’s misinterpreted impulses and possibly just a way of ending their relationship. It gets even better when Dan’s sister, Monica, and her husband, Mick, join the two on their backyard deck for an evening of dinner and drinks. Two devout Catholics, both Monica and Mick are also skeptical of Dan’s new “epiphany”, his sister absolutely livid thinking Dan is copping out on responsibility once again. The play gets even more interesting when the father of Dan’s parish stops by and breaks down the possibilities of Dan’s vision, leaving the available option that such a happening may have certainly happened and that only time will tell. Ultimately, we wonder – is Dan following his heart or creating a new excuse to shirk his current obligations.

Body and Blood is a thought-provoking story that also explores blind devotion to a faith and the hypocrisies, or contradictions, of Catholicism. How much are gays really accepted in the church even though so many priests have been outed in recent times?

The cast puts forth a well-rounded effort. Lynda Newton, one of The Gift Theatre’s founding members, is strong as Monica, dishing out the appropriate humor in her character when necessary and also very believable as one who is experiencing such conflict. In his first performance at The Gift, Nicholas Harazin also delivers a heartfelt performance as Dan and Cyd Blackwell as Leah compliments him well as his girlfriend, Leah.

There are plenty of moments in this play that will make you laugh and many that will make you really feel for the struggle each character is going through. The story moves with ease, the dialogue smooth as silk, and there is just enough intrigue to keep one wondering what will happen next. However, playwright William Nedved’s ending is somewhat flat and anti-climactic, leaving a bit to be desired after such a build up. Still, with solid acting performances, flowing interchanges with bite, emotion and humor and topic matter that might be found thought-provoking by some, there are enough reasons to make this a show worth checking out.

Soundly directed by Marti Lyons and aptly presented in an intimate storefront playhouse Body and Blood is being performed at The Gift Theatre through August 9^th. For tickets and/or more show information visit www.thegifttheatre.org or call 773.283.7071.

The Royal Society of Antarctica is a very unique story that comes equipped with a powerful cast and a rich blend of humor, drama and intrigue that constantly move the play forward without the interest lulls you would think would be found in a three act show with a two hour and fifty-five minute run time. Playwright Mat Smart’s world premiere takes place at the intimate Gift Theatre in Jefferson Park where its forty-something cramped seats (unless you are sitting in the first row) actually adds to the overall intimate experience. The set, though simple, creates a potent illusion of a base site interior used as cover for its workers at the bottom of the world where temperatures are always below freezing and winds can pick up to 100-plus degrees in the right circumstances. We feel cozy and warm in our seats and protected from the cold as the characters feel the same when they enter set from the outside dangerous wintry conditions.  

In The Royal Society of the Antarctica, twenty-something Dee returns to her birthplace at the McMurdo Station in Antarctica to seek answers to her mother’s suspicious disappearance that took place when she was a child. Surrounding Dee’s investigation, many characters are also focused upon with their own back stories. The team is comprised of janitors, utility technicians, scientists and food workers.  Workers are at the station for several month engagements at a time.  As one worker puts it – the first year you are there for the adventure, the second, you are there to see their friends again, the third, it’s probably for the money and if you come back for a fourth year it’s because you no longer fit in with normal society. We see the latter in the social awkwardness displayed by some of the characters. We also find some are there to run from their past.

Considered something of an untouchable holy ground due to its purity and the global agreement not to tarnish its earth by chemicals or otherwise, there is a certain magic present that cannot be found anywhere else in the world. Strict rules are in place to safeguard the sanctity of the land. The sun and snow are so bright it can create a blinding effect and if a blizzard occurs, one could get permanently lost just walking twenty feet due to its zero visibility. Temperatures are so low limited skin exposure is dangerous. A hole in the ozone sits directly above them making it unsafe to remove their sunglasses for even just a minute. Daytime lasts for months followed by endless night time.  

There is a collection of strong acting performances that help in bringing this story to life headed by Paul D’Addario as “UT Tom” and Aila Peck as “Dee”. Jay Worthington is a blast to watch as “UT Tim”, the animated utility tech and team lead, while John Kelly Connolly is flawless as “Ace”, a man who has visited each continent, had sex on each continent and strives to be the first to have sex on each continent with someone native to that continent. Kyle Zornes also gets a lot of laughs with his deadpan delivery as “Jake”, the love-stricken science researcher who just can’t seem to get it right.

As Smart puts it, “I went to the bottom of the world to find this play—working as a janitor for three months at McMurdo Station in Antarctica. It’s perfect that it will premiere in my hometown at The Gift.”

All in all, The Royal Society of Antarctica is an entertaining experience with a distinctiveness to be remembered, opening up a new world that for most would likely go undiscovered.

The Royal Society of Antarctica is playing at The Gift Theatre through April 26^th. Visit www.thegifttheatre.org for show information or call 773-283-7071    

*Photo - Jay Worthington (left) as UT TIm and Aila Peck as Dee