Displaying items by tag: chicago theatre

The Goodman's Centennial 2025/2026 Season continues with the Chicago premiere of Covenant, Chicagoland native playwright York Walker's "striking Southern gothic work" (New York Times) hailed as "blackout-and-blood-curdling-scream deliciousness" (New York Magazine). BOLD Artistic Producer Malkia Stampley is set to direct a cast including Debo Balogun (graveyard shift), Ashli Rene Funches (A Red Orchid Theatre's IS GOD IS), Jaeda LaVonne (Chicago Shakespeare Theatre's Twelfth Night), Felicia Oduh (The Nacirema Society) and Anji White (Fat Ham). Understudies will be announced at a later date. Covenant appears May 2 through May 31 (opening night is May 11) in the 350-seat flexible Owen Theatre. For tickets ($24 - $64; on sale Feb. 20), visit the Box Office (170 N. Dearborn), call 312.443.3800 or purchase online at GoodmanTheatre.org/Covenant. The Goodman is grateful for the support of BOLD Ventures (Production Sponsor), Tabet, DiVito & Rothstein (Corporate Supporter) and The Elizabeth Morse Charitable Trust (Lead Sponsor of IDEAA Programming).

"Covenant is about young love, the secrets we hold and the role faith plays when we are haunted by our choices," said director Malkia Stampley, who most recently directed a 2026 New Stages Festival reading and the critically acclaimed 48th annual A Christmas Carol. "While I personally connect with the religious themes in the story as a pastor's daughter, many will connect with the folklore nature of this story and the thrilling and chilling ride this story takes you on. The characters York built in Covenant will sweep away audiences and my goal is to tell this story honestly, organically, full of heart and grit."

Expect one devilish twist after another in Covenant, an "undeniably spooky (and) absolutely enjoyable" (TheaterMania) mythic and suspenseful new play. Johnny "Honeycomb" James (Debo Balogun) left his small Georgia town a struggling guitarist—and returned a blues star, to the surprise of sisters Violet (Felicia Oduh) and Avery (Jaeda LaVonne), their mother (Anji White) and their best friend Ruthie (Ashli Rene Funches). As rumors of a darker deal abound, it becomes clear that he's not the only one with a secret...or seeking salvation. This tense thriller explores the power of belief and the thin line between rumor and truth. Covenant premiered at Roundabout Theatre Company in 2023 to critical acclaim, earning a New York Times Critics Pick.

York Walker is an award-winning playwright and screenwriter from Chicago, Illinois. He is the inaugural recipient of both the Vineyard Theatre's Colman Domingo Award and the John Singleton Screenwriting Award. His work includes Holcomb & Hart (Victory Garden's New Plays For A New Year Festival), The Séance (Winner of the John Singleton Screenwriting Competition, 48 Hours... in Harlem), Covenant (Colman Domingo Award, Roundabout Underground, South Coast Repertory's Pacific Playwrights Festival, Fire This Time Festival) and Soul Records (workshops with Manhattan Theatre Club, the Vineyard Theatre and Roundabout Theatre Company). York is currently developing new works with Roundabout Theatre Company, South Coast Repertory Theatre, The Geffen Playhouse and Goodman Theatre. His contributions extend to the realm of television, having served as Story Editor and Staff Writer for two seasons on Dick Wolf's hit series, FBI. York is a graduate of the MFA Acting program from the American Conservatory Theatre.

Malkia Stampley is a twice Jeff-nominated director from Milwaukee and The Goodman's BOLD Artistic Producer. Her Goodman Theatre directing credits include A Christmas Carol, Primary Trust, In My Granny's Garden and New Stages Festival's Cephianne's Reflection and This Part of His Life Blooms. Select directing credits: No Such Thing (Rivendell); Girls on Sand (Northern Sky); Nina Simone: Four Women (Milwaukee Rep); The October Storm (Raven); Boulevard of Bold Dreams (TimeLine); STEW (Shattered Globe); Black Nativity (Black Arts MKE); The Gift of the Magi (American Players); Five Guys Named Moe (Skylight Music); Lady Day at Emerson's Bar and Grille (Farmers Alley); Exit Strategy (Northwestern).

Company of Covenant (in alphabetical order)

By York Walker

Directed by Malkia Stampley

Debo Balogun...Johnny James 
Ashli Rene Funches...Ruthie 
Jaeda LaVonne...Avery 
Felicia Oduh...Violet 
Anji White...Mama

CREATIVE TEAM

Costume Designer...Evelyn Danner 
Set Designer...Ryan Emens 
Lighting Designer...Gina Patterson 
Sound Designer...Dee Etti-Williams 
Music Director and Composer...Mike Przygoda 
Voice and Dialect Coach...Shadana Patterson 
Associate Director and Movement Director...Tor Campbell 
Illusion Consultants...Benjamin Barnes and Trent James 
Intimacy...Jyreika Guest 
Line Producer...Lena Romano

Original Casting by Trent Stork. Additional Casting by Lauren Port, CSA. Tyra Bullock and Lena Romano are the Dramaturgs.

ENHANCED AND ACCESSIBLE PERFORMANCES

Visit GoodmanTheatre.org/Access for more information about The Goodman's accessibility efforts.

ASL-Interpreted...May 22  at 7:30pm – An ASL interpreter signs the action/text as played. 
Audio-Described...May 23 at 2pm; Touch Tour; 12:30pm – Action audibly enhanced via headset. 
Spanish-Subtitled...May 23 at 7:30pm – Spanish-translated dialogue via LED sign.
Open-Captioned...May 24 at 2pm – LED sign presents dialogue in sync with the performance.

ABOUT THE GOODMAN

Since 1925, The Goodman has been more than a stage. A theatrical home for artists and a gathering space for community, it's where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves.

Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection and change through new plays, reimagined classics and large-scale musicals. With distinctions including nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson's "American Century Cycle." In addition, the theater frequently serves as a production partner—with national and international companies to Chicago's Off-Loop theaters—to help amplify theatrical voices.

But The Goodman believes a more empathetic, more connected Chicago is created one story at a time, and counts as its greatest legacy the community it's built. Generation-spanning productions and programs offer theater for a lifetime; from Theater for the Very Young (plays designed for ages 0-5) to the long-running annual A Christmas Carol, which has introduced new generations to theater over five decades, The Goodman is committed to being an asset for all of Chicago. Education and Engagement programs led by Clifford Director of Education and Engagement Jared Bellot and housed in the Alice Rapoport Center use the tools of theater to spark imagination, reflection and belonging. Each year, these programs reach thousands of people (85% from underserved communities) as well as educators, artists and lifelong learners across the city.

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

The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago's early cultural renaissance. That spirit of creativity and generosity endures today. In 2000, through the commitment of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—The Goodman opened the doors to its current home in the heart of the Loop.

Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals. 

Now in its eighth year, global drag icons and RuPaul’s Drag Race stars BenDeLaCreme and Jinkx Monsoon are back on tour with The Jinkx & DeLa Holiday Show – a hilarious, unhinged, and queer production that pushes the boundaries of the holiday spectacle. The Jinkx & DeLa Holiday Show has touched down in Chicago once again for a limited engagement this time at the storied Chicago Theatre. For one glittering night, the marquee lights up with the names of drag royalty Jinkx Monsoon and BenDeLaCreme, transforming the historic venue into a festive playground of camp, comedy, and holiday magic.

This year’s show – directed, produced, and written by BenDeLaCreme – is structured as a holiday anthology. Each segment spirals into its own brand of festive absurdity: an homage to Freaky Friday, immaculate conception, and hilarious twists on holiday horror a la The Simpsons’ “Treehouse of Horror.” Every story is bigger than the last and more delightfully deranged, featuring Broadway-style musical numbers, both beautiful and creepily extravagant costumes, and innuendo galore. The pace of the night is relentless in the best way possible: each scene seems determined to outdo the last.

While the show returns each year, it’s reborn anew every season. Jinkx Monsoon and BenDeLaCreme craft a completely fresh production - new themes, script, music, choreography, costumes - supported by months of writing and rehearsal. It takes a village of brilliant, authentic artists to pull off such a one-of-a-kind performance that feels both polished and chaotic. The end result is a show that feels handcrafted with love, humor, and both endless glitter and weed.

Fear not - though the production is reinvented from the ground up each year, one beloved constant remains: Hunky the Elf, played with irresistible charm by Gus Lanza. Far from being sidelined, he’s front and center, anchoring the show with his mischievous energy and magnetic stage presence. And he’s not alone. Joining him is a powerhouse dance ensemble—Chloe Albin, Isaiah Brooks, Jace Gonzalez, Jim Kent, Ruby Mimosa, and Derrick Paris—whose precision, athleticism, and sheer joy transform the evening into something far beyond a two-queen comedy showcase. Together, they expand the world of Jinkx and DeLa into a glittering holiday spectacular, complete with dazzling choreography, ensemble-driven spectacle, and the kind of theatrical grandeur that makes the show feel less like a cabaret and more like a full-scale seasonal event. Over the course of the evening, the ensemble shifted seamlessly from jolly to eerie to sultry - and back again - never breaking a sweat. What makes it truly captivating is that each performer brings their own unique flavor to every vignette, ensuring the group’s cohesion never overshadows their individuality.

Of course, at the heart of the chaos is the dynamic duo of Jinkx and DeLa. Their banter is razor sharp, but even in the craziest of moments and wildest twists of plot, the two maintain a warmth and camaraderie that invites their audience into the joke with them.

Even at their most outrageous - and believe me, the outrageousness is abundant - Jinkx and DeLa never lose sight of the heart. They understand that a true holiday show needs more than glitter and gags; it requires a touch of deeper meaning to resonate.

“How do we keep singing and dancing when the horrors persist?” Jinkx asks.

“The horrors are precisely why we must keep singing and dancing,” DeLa answers.

Amid all the silliness and the spectacle, their show is a reminder that queer joy matters. That communal joy matters. That holiday joy matters, and that everyone can find joy in the holidays.

The Jinkx & DeLa Holiday Show is making the yuletide gay with their queer, communal holiday joy across 30 cities throughout the U.S. and Canada until December 30th, offering the perfect blend of camp, chaos, and heart in what is sure to become your new favorite holiday tradition.

For tickets and more information, visit jinkxanddela.com

Chicago is well-known for its hidden gems: speakeasies hidden behind working laundromats, restaurants located down darkened alleyways, and even theatres located in basements and converted houses. One such innocuous playhouse resides in a small, transitioned home studio, just west of the Uptown neighbourhood. Like any hidden gem in Chicago, looks can be deceiving, and the hyper-intimate 25-seat theatre that is Open Space Arts is playing anything but small as they put on the Chicago Premiere of DORIAN.

DORIAN is a thrilling, queer-forward remix of Oscar Wilde’s timeless tale, brought to life in this bold and visually stunning stage adaptation by Phoebe Eclair-Powell and Owen Horsley. In a world obsessed with beauty and power, what happens when someone is given the chance to remain perfect—forever? This modern interpretation dives headfirst into vanity, desire, and the danger of refusing to age, illuminating the darkest corners of our obsession with self-image and fame. DORIAN fuses gothic horror, biting satire, and cabaret flair into an unforgettable night of theatre.

Similar to the space it was performed in, DORIAN, directed by Aaron Holland, is one of those surprise gems woven into the fabric of the city’s neighbourhoods. The play dramatises the story of Oscar Wilde’s novel THE PICTURE OF DORIAN GRAY in the present-day club scene, where Dorian, the main protagonist, Basil, an artist who idolises Dorian, and Henry, the aristocratic antagonist, gallivant around late 1800s London in search of art, beauty, and just a smidge of hedonism. The minimalist-maximalism of the Open Arts Space is expertly utilised by the play’s performers, Luke Gerdes as Dorian, Bosie, and others, Anthony Kayer as Henry Wotton, Oscar Wilde and others and Brian Kulaga as Basil, James, and other characters. The three performers bring the hedonism and exuberance of Wilde’s Victorian London to the modern stage with wickedly witty dialogue and a reverence for the late author. DORIAN juxtaposes THE PICTURE OF DORIAN GRAY alongside the historical record of Wilde’s prosecution and conviction for the “gross indecency” of his relationship with the much younger Lord Alfred “Bosie” Douglas in 1895, at the height of his literary success. The two stories intertwine beautifully, with plenty of camp and sass like The Victorian Homosexual Quiz, blended with respect and reverence that Wilde himself would applaud. The performances of Gerdes’ Dorian and Kayers’ Wilde are shockingly tender, perfectly capturing the drive and desire for beauty and youth that both the author and fictional protagonist sought in Victorian London.

DORIAN is as relevant and relatable today as it was in Victorian times. The play features many of the same challenges, vices, and themes that modern-day audiences can relate to. Told with poetic prose and perfectly picturesque poses, this production is a rare gem in the Chicago theatre scene. Just as our protagonist, Dorian Gray, or the author himself, Oscar Wilde, would do, we must covet and hold on to our Chicago gems, appreciate and admire them. Youth, beauty, art, and productions are all fleeting in their world, and DORIAN is no different. DORIAN will play through December 14 at Open Space Arts (1411 W. Wilson, Chicago). Tickets are $30 and are on sale now at www.openspacearts.org.

Throughout our busy lives we often seek out the new. It is easy to see the allure. Beginnings offer a bit of magic, a clean slate, a chance to start anew. The opportunity brings with it a sense of hope and optimism that maybe this time we’ll be lucky, maybe this time things will change. But there is also just as much magic in endings as there are beginnings, sometimes moreso. The end of a bad relationship, the final day at a toxic job, the final chapter of a good book, the end of a chaotic and disappointing year, endings provide us a rare opportunity beginnings cannot, the opportunity to let it go. And what more fitting way to let it all go and end 2024 than with a bit of magic and a bit of nostalgia with Disney’s Frozen: The Broadway Musical, now playing at Paramount Theatre.

Nominated for a Tony Award for Best Musical, this sparkling Disney fairytale has been reimagined for the stage. The theatrical production of Frozen brings Disney’s beloved animated film to life and fills the stage with winter magic. Set in the magical kingdom of Arendelle, the story follows two royal sisters, Elsa and Anna, as they navigate love, loyalty, and magic. In her struggle to understand her identity, Elsa questions her talents, confusing them for character flaws but ultimately finds strength in her identity and gifts, looking both inward and to those she loves to let it go and be who she was born to be.

Emily Kristen Morris plays Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

The stage adaptation of the beloved movie brings Disney magic to the stage. The musical has breathtaking scenic designs that transport us to the kingdom of Arendelle, lighting and sound and stage designs that bring magic to life, and an incredible cast of performers to include, but not limited to, Young Anna played by Avelyn Choi, Hans played by Jake DiMaggio Lopez, and Anna played by Beth Stafford Laird. Audiences young and old will feel a sense of nostalgia as the musical is filled with popular songs like “Love Is an Open Door” and “Do You Want to Build a Snowman?” and older audiences will appreciate songs that showcase internal monologues to move the musical forward like “Hans of the Southern Isles” and “I Can’t Lose You,” and all audiences will love the fun musical numbers like “Hygge” and revel at the iconic earworms like “Let It Go.”

It was fitting that the first act of the 2 hour musical ends with “Let It Go.” The audience needed the breather to the climactic beauty of the number helmed by the breathtaking Elsa played by Emily Kristen Morris. The staying power of “Let It Go” lasted long after the curtain calls and final bows. The magic lingered, the message more profound, communicating wordlessly what Director Trent Stork wanted the audience to take away from the performance. “I hope our show gives you the courage to be as bold as Elsa,” says Stork. “I hope you find a renewed sense of bravery from Anna…I hope you remember that love means putting others above yourself.”

Beth Stafford Laird (left) plays Anna and Emily Kristen Morris is Elsa in Paramount Theatre’s Midwest Regional Premiere of Disney’s Frozen the Broadway Musical.

As the year comes to an end, be bold, be courageous, and above all be kind to others and to yourself and let it all go. Good or bad, things inevitably come to an end, a close, a final curtain close. It is not weakness to let something go that no longer serves us or things that are beyond our power to control, it is kindness, and at the heart of it is love. Love yourself and love your neighbors to simply let it go. And if you need a little help to let it go, let Elsa and some incredible theatre magic help you do just that. Frozen: The Broadway Musical is now playing at Paramount Theatre (23 E. Galena Blvd. Aurora, IL) and runs through Jan 19, 2025, tickets are available at https://paramountaurora.com/.

After completing my hundredth fan fiction about the same two characters defying all obstacles and falling in love, I took a moment to reflect as to why I come back to these stories. There is a comfort in a formulaic story line, the protagonists eliciting nostalgia, escapism, but when you boil it down, it’s the same story. Over and over again. Only…it’s not. While the characters are the same, common traits and backstories peppered throughout, every story is uniquely its own, different catalysts, differing motivations, different settings and situations. What connects all the stories in the uniquely human factors to them all, messy and beautiful and complex. It’s this same appeal that keeps us coming back to the theater. Just when you think you’ve seen it all, you see a play that completely takes your breath away, something familiar and altogether uncommon; Evil Perfect is just that play and more.

In an otherworldly city obsessed with achieving absolute equity at all costs, Lily, a dissident at the end of her rope, meets Puck, the son of the city’s charismatic matriarch. As their unlikely relationship grows and the city’s enforcers close in, Lily and Puck hatch a terrifying plan to revolt. Set in a tarnished society with twisted ideals, Evil Perfect is a messy and seductive play that attempts to reveal how good people with honorable intentions become evil.

“Evil Perfect activates something deep in the core of us, something wild and untamed and yet leaves us questioning and curious as to why…and if it’s even a good thing," said Evil Perfect Director Jonathan Shabo. Playwright Spencer Huffman described the production as “a gruesome and sexy satire – it’ll make you laugh and squirm in equal parts. I think audiences will relish in the play’s savagery.”

Chicago has one of the most incredible theater scenes in the country, affording new playwrights, actors of all ages, and like-minded lovers of the arts to come together to create something wonderful. Evil Perfect at Bramble Theatre Company has everything that makes this city and the theater community great, with a charming and accessible theater loft in the bustling Andersonville neighborhood, a well crafted script that is anything but tired or cliched, and a cast of characters that display a remarkable range. Danny Breslin, who portrayed Puck, and Ashley Neal as Lily, were equal parts off-putting and alluring, the characters directly confronting the society’s human repercussions. Breslin was an absolute standout and the arc his character takes will leave speechless. Neal as his seasoned counterpart had you unable to look at anything else when she was on the stage, commanding the audience through her mesmerizing range. With Brandom Bums as Brian, and Ebby Offord as Jo reminding us all through their characters that humans are going to human, no matter what societies attempt to repress and limit, Evil Perfect has a perfect balance of wickedly good and deliciously evil elements, examining the age-old question of impact vs. intention.

On paper, Evil Perfect might seem like other dystopian or draconian plays you’ve seen and there is a comfort to that. But it’s the smart, subtle and subversive way in which the story unfolds that will remind us why we return to stories like this. No two are alike. The world premiere play Evil Perfect runs through November 10th at the recently opened Bramble Arts Loft in Andersonville (5545 N. Clark, Chicago). Be a good coworker and get your tickets today at BrambleTheatre.org.

Do you like scary movies? I do. I blame the origin of this love of scary movies to being tricked into watching The Blair Witch project alone in a glass house in The Hills in Southern California in middle school; I loved the adrenaline rush, the ‘would I have survived that’ thought process that ensues. With spooky season officially upon Chicagoland, do you think I would miss the opportunity to see an Immersive Puppet Haunted House? No chance.

House of the Exquisite Corpse IV: SUPERSTITIONS is an annual themed anthology of puppetry art show. Part haunted house, part puppet show, and part platform for artists to create an immersive, experimental, non-hierarchical art form. The immersive puppet show features six haunted rooms which feature a different puppet show that run about 5-6 minutes a piece. You as a viewer observe the performances through peep-holes, adding to the voyeuristic horror-like setting. Each year, teams of multidisciplinary  puppet artists anchor to one particular theme which the artists interpret, prepare, and perform for audiences. This year’s anthology is centered around superstitions, each of the performances, each selecting a different superstition to feature. There’s “Step on a Crack,” by Ken Buckingham and Corey Smith,  “Broken Mirror,” by Justin D’Acci and Pablo Monterrubio, “If you lie, the devil’s darning needle will sew your mouth shut,” by Chio Cabrera, Alonso Galue and Brett Swinney, “Through the Looking Glass,” by Felix Mayes and Cam Armstrong Smith, “A White Bird in the House is an Omen of Death,” by Jacky Kelsey, Fletcher Pierson and Kevin Wesson, “Dreams Foretell the Future,” by Sion Silva and Emilie Wingate.

I know what you might be thinking. Horror show? Not for me. But for those perhaps not a fan of scary movies, fear not. There are no jump scares, no gore, only a series of artistic expressions utilizing multiple different puppet mediums. But puppets? Really? Yes! Did you know there are actually six different types of puppetry? There are far more than just those like Lambchop (creepy) or puppets like those in Avenue Q. There are marionettes, hand puppets, rod puppets, shadow figures, and Bunraku-style puppets, and you’ll see many of these artforms on display at House of Exquisite Corpse. The puppets add to that particular spine tingling, skin crawling curiosity that one gets when watching a scary or suspenseful film and it is executed in fascinating ways.

While there are no jump scares that will leave your heart pounding, the shows do feature some visual and auditory elements such as frightening imagery, strobe lights, loud noises, and haze effects. But fear not, those so inclined may soothe any creepy crawly feels with a drink at Front Bar at Steppenwolf Theatre only steps away. You will be on your feet for the majority of the show. The floor is concrete, so you may want to wear comfortable shoes. Audience members with limited mobility will be accommodated, all you need to do is email This email address is being protected from spambots. You need JavaScript enabled to view it. to discuss any accessibility needs. The show is recommended for audiences aged 14 and over.

House of the Exquisite Corpse IV: SUPERSTITIONS runs through spooky season ending its run on November 2nd is conveniently located at the south end of the Steppenwolf complex, 1624 N Halsted, in Chicago's Lincoln Park neighborhood tickets are available at www.tickettailor.com. Don't miss your chance to see SUPERSTITIONS at House of the Exquisite Corpse, you won't regret it, just be sure to throw a pinch of salt over your shoulder, just in case.

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There was only one star of the Cubs-Diamondback series this past weekend in Chicago and it wasn’t a player. It was a pigeon who spent a sleepy seven innings strutting along the third base line to the delight of cameramen and Cubs fans. Who can blame the cameraman panning in on the funny looking bird when our beloved Cubbies couldn’t manage to get a player on base let alone to third? At one point fans were telling the team to put let the Pigeon play. But my son cautioned us all: Don’t let the pigeon play baseball. This sentiment was agreed upon by all the children in our section of the stands. The reason was that pigeons think they are old enough, mature enough, talented enough, when in reality they can’t play baseball any more than they could drive a bus and the children had the Mo Willems receipts to prove it. But in a world of Don’ts, particularly involving our fine feathered friends, there is one thing we all should do, and that is seeing the soon to be crowd favorite of Don’t Let the Pigeon Drive the Bus! The Musical!

Hop on board for an unforgettable ride with the Pigeon in Don’t Let the Pigeon Drive the Bus! The Musical! In this feather-filled extravaganza based on Mo Willems’ bestselling books, the Pigeon is back and he’s ready to take the stage. When the Bus Driver has a crisis that threatens to make her passengers late, the wily bird sees his chance to take the wheel. With an innovative mix of actors, puppets, and feathers, this production brings the beloved characters to life like never before. Featuring a hilarious script co-written by Willems and Mr. Warburton and catchy songs by Deborah Wicks La Puma, this show is perfect for the whole family. Suitable for children ages 4 and up, Don’t Let the Pigeon Drive the Bus! The Musical! is an interactive and joyous experience.

Similar to Willem’s musical adaptation Elephant & Piggie’s “We Are in a Play!” that premiered at Marriott Theatre in Chicago, Don’t Let the Pigeon Drive the Bus! The Musical! brings the beloved children’s story about the Pigeon to life, focusing nearly entirely on Drive the Bus, but references Willem’s other Pigeon books such as Stay up Late, Duckling gets a Cookie, Pigeon Wants a Puppy and Pigeon Finds A Hot Dog. Unlike its predecessor, Drive the Bus relied too heavily on the one book for source material. The Pigeon was almost a secondary character behind the bus driver, and duckling hardly made an appearance the whole show. The play lacked a well crafted storyline that could have tied all the beloved books together, relying on overexaggerated bits and gags that had kids rolling in the aisles and some clever quips that adults ostrich chuckled at. What the musical story might lack, Marriott Theatre makes up for in its local talent. Actors and actresses belted out catchy tunes and demonstrated their breathtakingly impressive ranges. The actors make the musical accessible and easy to follow for children of all ages, using the full 360-degree stage to ensure every section of the theatre feels included in the show and can see the Pigeon. While the story might not be as strong or entertaining as the Piggie and Elephant musical, the magic and charm of Mo Willems still shines through and it is well worth the trip to Lincolnshire to delight your kids of all ages.

The Cubs might lose some, but there is plenty of season left. The same cannot be said for this limited run of Don’t Let the Pigeon Drive the Bus! The Musical!, now playing only through August 11^th at the Marriott Theatre in Lincolnshire. Maybe the Pigeon shouldn’t drive the bus, but maybe, just maybe, the Cubs shouldn’t discount the Pigeon to be a reserve player for the latter half of the season. Tickets for Don’t Let the Pigeon Drive the Bus! The Musical! are available at www.marriotttheatre.com.

Every once in a while I think about how lucky I am to live in the Chicagoland. A short drive or train ride away from the third largest US city that boasts more theatres than New York City. On any given night, during any season, one can find multiple theatre options to explore: immersive theatre, comedy, dramas, neighborhood gems, experimental plays, Broadway testers, classics and fan favorites, and never before seen world premiere plays. There is no shortage of good theatre in Chicago. This past weekend I was fortunate enough to see a world premiere of a play that captures the intelligence, wit, humor, and heart of a famous meeting of the minds. Wells And Welles envisions a conversation between two of the most celebrated and notable men in history, Orson Welles and H.G. Wells.

In 1940, the 25-year-old Orson Welles, previously known as a stage and radio actor, had achieved widespread fame for his 1938 radio play adaptation of the novel The War of The Worlds. The show was produced without the participation or even the permission of the novel’s author H.G. Wells, a slight which much angered the novelist. When Wells and Welles happened to be staying in the same San Antonio hotel while on separate lecture tours in October 1940, Welles had an opportunity to meet with Welles and make peace with him.

The world premiere play Wells and Welles by Chicago playwright Amy Crider images what might have been said in a private meeting between the 75-year-novelist, historian, and futurist. The dialogue is sharp and witty, capturing the heart and soul of 1940s US slang and transatlantic accents and gentlemanly British mannerisms and turns-of-phrases. The minimal set offers no distraction for the audience’s eye, relying solely on the delivery and pacing of the actors. Performed by two incredible Chicago actors who look like they embody the famous authors and creators, Pete Blatchford as H.G. Wells and Gerrit Wilford as Orson Welles effortlessly assume their roles, engaging in smart, witty, and sharp theoretical and practical conversations on ownership, creation of legacies and art, science and magic, and what is truly at the heart of every man. Crider does a superb job weaving fact with fiction to envision what these two astounding figures in the humanities would have discussed on the rainy evening in San Antonio. Blatchford and Wilford are so convincing as the famous Wells and Welles that in a moment where real audio is used from the 1940 interview, it takes a moment to register that it is the real broadcast and not reenacted for the play. It's that touch of magic that raises goosebumps on your arm and truly add to the wonderment of the production. 4

It's not every play where two actors can captivate an audience for 90 minutes and make it feel like it wasn’t long enough. It’s also not every day you can see a world premiere of a play that will no doubt be picked up by theatre companies across the country. It is well worth your time to see Wells And Welles and experience this world premiere production. In a time where the real war of the worlds could be happening any day now and radio is now what we stream, don’t miss your chance to see this incredible play.

Wells And Welles runs through August 11^th at Lucid Theater Company at 1020 W. Bryn Mawr Avenue on the second floor of the historic Edgewater Presbyterian Church. Tickets are available at www.eventbrite.com.

100 days of summer. The unofficial Chicago holiday season between Memorial Day and Labor Day is a local challenge to get out and experience all the city has to offer from 1:20 games at Wrigley to concerts on Northerly Island, festivals, fairs, and everything in between. I can think of no better way to savor these fleeting days than spending an evening with Savor After Hours.

Savor After Hours is a decadent and artistic showcase of dance pairing beautifully choreographed numbers akin to a delicious glass of wine.Created, written, and directed by Mark Swanhart, Savor After Hours features a cast of exceptionally talented dancers, led by former dancing with the stars dancers, Valentin Chmerkovskiy, his wife, Jenna Johnson-Chmerkovski, and his brother, Maksim Chmerkovski. Artem Chigvintsev, Daniella Karagach, Pasha Pashkov, Allie Meizner, Jack Moore, Jalen Forward, Kayli Johnston, Kenidee Allen and Olivia Cava round out the intimate ensemble dance crew, and invite you to sit and savor the art of dance in the intimate Broadway playhouse. Like a good glass of wine they help you forget about the noise and bustling of Michigan Avenue only steps away.

The show is like a well-choreographed wine tasting, there is something for everyone. Those seeking bold flavors, there are spicy Latin tango sequences filled with passion and romance. For those with a sweet tooth, there are delicate contemporary dances with achingly long lines that pull taut on your heartstrings. From intimate tangos, quick hitting jives, sensual merengues, and cute and playful two steps, your eyes will feast and your blood will be pumping as you move from pairing to pairing, savoring each delectable dance and coupling. With beautifully choreographed routines coupled with exceptional lighting and incredible music, Savor After Hours goes down as smooth as summer wine.

100 days of summer are fast moving, so take a break from the heat to savor this delicetable show. Savor After Hours runs through Aug. 18 at the Broadway Playhouse, 175 E. Chestnut St. Tickets are available at www.broadwayinchicago.com.