Displaying items by tag: plays Chicago

Open Space Arts continues its commitment to bold, intimate theatre from around the world that celebrates queer lives and voices with SMILEY, a queer romantic comedy by Spanish playwright Guillem Clua. It became an international hit following its 2012 premiere in Barcelona, Spain. SMILEY enjoyed extended runs in Barcelona and Madrid and has been produced internationally across Europe and Latin America, with productions in Germany, Italy, Greece, Cyprus, Chile, Puerto Rico, Peru, and in Spanish language productions in New York and Miami. The Open Space Arts production will be its North American English language premiere. The two-hander queer comedy set in Barcelona revolves around the love story between two men, bartender Álex and architect Bruno, who meet because of a misdirected voicemail. Open Space Arts' SMILEY will be directed by Jack Dugan Carpenter, the former Managing and Development Director of The Plagiarists whose directorial credits include numerous productions for The Plagiarists, St. Sebastian Players, and others. SMILEY will open in Open Space Arts' hyper-intimate 25-seat theatre at 1411 W. Wilson on Friday, June 5 and play Fridays, Saturdays and Sundays through June 21.
 
SMILEY author Guillem Clua is one of Spain's most widely produced contemporary playwrights. His work has been staged internationally and translated into multiple languages. His plays, including SMILEY and THE SWALLOW, are known for their emotional intelligence, wit, and insight into the complexities of human connection. Open Space Arts' production introduces this internationally celebrated work to Chicago audiences, offering a fresh opportunity to experience one of the most engaging contemporary queer love stories to emerge from the European stage. 

Funny, fast, and disarmingly honest, SMILEY explores the thrill and risk of connection in a world shaped by screens, expectations, and the fear of being truly seen. After Alex (to be played by Seth Kobs) and Bruno (played by Aydan Lopez) meet by chance, they form an odd couple whose only commonality is that they are both men and have fallen in love. SMILEY explores how new technologies like WhatsApp and iPhones have changed our lives, while also precisely dissecting the contradictions of romantic relationships within the gay community. It's a mini encyclopedia of Barcelona's gay scene and also an homage to classic romantic comedies, from Nora Ephron to Howard Hawks. 

Understudies are Ryan Hale (Alex) and Lucas Becker (Bruno). The creative team includes stage manager Reign Drop, intimacy director Greta Zandstra, lighting designer Ellie Humphrys, sound designer Sean Smyth, scenic designer Cory Busch, and costume designer Dominique Favre.

Tickets for SMILEY are $30.00 ($25.00 for students and seniors) and are on sale now at www.openspacearts.org. 

There’s a rare kind of theatrical experience that transcends personal taste. Even if a genre is not typically your first choice, the sheer level of artistry on display is impossible to deny. That is exactly what director Keira Fromm’s production of Octet accomplishes: a vocally astonishing, emotionally resonant, and meticulously staged production that leaves you in complete awe of the performers.

Centered around a support group for people struggling with various forms of internet and technology addiction, Dave Malloy’s 2019 chamber choir musical somehow feels even more relevant now. Octet explores the strange, funny, isolating, and deeply human ways people use the internet to cope, connect, and self-destruct. Each member of the eight-person ensemble embodies a different facet of online dependency, from social media obsession to gaming to pornography to niche internet rabbit holes.

While the characters are intentionally heightened at times, what makes the show so effective – and a little scary – is how recognizable they still feel. The humor comes easily, but it is the moments of uncomfortable self-recognition you experience with each and every character that linger long after the show ends.

The production is, above all else, a staggering vocal achievement – made even more impressive by this marking Raven Theatre’s first musical production. Performed almost entirely through a cappella and chamber-style music, Octet demands an unbelievable level of precision, memorization, and endurance from its cast. The eight performers remain onstage for the full show, seamlessly moving between emotionally vulnerable monologues, intricate harmonies, comedic ensemble numbers, and soaring solo ballads without ever losing momentum. The result is one of the most impressive live vocal performances I have seen in quite some time.

What makes the cast especially remarkable is not just the technical perfection of the singing – though there genuinely was not a single noticeable missed cue, stumble, or musical lapse throughout the performance – but the way every performer remains completely locked into their character while executing extraordinarily difficult material. The ensemble operates like a perfectly synchronized machine, yet never sacrifices emotional authenticity for precision.

Two particular standouts were Teressa LaGamba (Paula), whose warmth and compassion radiated through every interaction and whose vocals carried extraordinary emotional clarity, and Sam Shankman (Henry), whose flamboyant humor and painfully relatable awkwardness made him both hilarious and unexpectedly touching. Shankman’s chemistry with the rest of the ensemble elevated nearly every scene he was part of, reinforcing the deeply interconnected energy that makes the show work so well.

Technically, Octet is relatively minimalist, but Raven Theatre’s production proves how impactful thoughtful simplicity can be. Utilizing the backstage area of the company’s black box theatre to create the atmosphere of a sparse church basement, scenic designers Milo Bue and Wynn Lee embrace an intentionally unpolished environment that perfectly suits the material. Every design choice feels purposeful.

The true technical standout, however, is Maximo Grano De Oro’s lighting design (with Ruby Lowe and Emmitt Socey as Master Electricians). Great lighting often goes unnoticed because of how seamlessly it integrates into a production, but the work here is impossible not to appreciate once you begin paying attention. Countless meticulously timed lighting cues transform otherwise ordinary fluorescent fixtures into an incredibly dynamic storytelling device, adding depth, tension, warmth, and unease in ways that subtly shape every moment of the show. The precision of the programming and cue choreography demonstrates an extraordinary level of care and intentionality, elevating the entire production without ever distracting from it.

With a newly announced film adaptation directed by Lin-Manuel Miranda and featuring an all-star cast already generating major excitement, Raven Theatre could not have picked a better time to stage Octet. Their production captures everything that makes the musical so singular: its humor, its humanity, its discomfort, and its breathtaking musicality. It is a deeply modern show presented with extraordinary care, and it sets an incredibly high bar for any future stagings.

Octet is running at Raven Theatre through June 7th. Tickets are available at https://www.raventheatre.com/stage/octet/.

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

City Lit Theatre is currently bringing the swordplay world of Scaramouche to vivid life, offering audiences a rare chance to experience this spirited tale of wit, rebellion, and theatrical daring onstage. With its blend of political intrigue, romance, and commedia‑dell’arte flair, City Lit’s production captures the adventurous sweep of the story while showcasing the company’s signature literary focus. It’s a lively, sharply drawn staging that reintroduces a classic hero to modern audiences with style and verve.

Scaramouche tells the story of André‑Louis Moreau, a quick‑witted young lawyer in pre‑Revolutionary France whose life is shattered when his closest friend is killed in a duel by an untouchable aristocrat. Forced into hiding, André‑Louis slips into a traveling commedia dell’arte troupe as an out‑of‑work actor, where - thanks to the help of Pierre Binet, who immediately takes a liking to him - he quickly rises to lead the company. Donning the mask of Scaramouche, the nimble, sharp‑tongued clown whose satire cuts deeper than any blade, he begins crafting and performing daring political farces that transform him from fugitive to folk hero. His journey winds through romance, duels, disguises, and the rising tide of revolution, all while he uncovers long‑buried truths about his own identity.

Though the story is best known from Rafael Sabatini’s 1921 novel, its most significant early-stage incarnation came through Jean Sibelius’s ballet‑pantomime Scaramouche, written between 1912 and 1913. Sibelius’s adaptation brought the mischievous commedia figure to life through music and movement rather than spoken dialogue, emphasizing the character’s blend of humor, danger, and political bite. The work premiered on May 12, 1922, at the Royal Danish Theatre in Copenhagen, marking the first major performance of Scaramouche as a fully staged ensemble-shaped piece.

A century later, City Lit Theatre’s stage version captures the heart of the tale with clarity and affection, leaning into the story’s text‑centered expressiveness, wit, and emotional undercurrents rather than its spectacle. True to the company’s long‑standing mission of elevating literary works for the stage, City Lit approaches Scaramouche with a storyteller’s precision - honoring Sabatini’s narrative sweep while foregrounding the character‑driven humor and humanity that make the piece endure. Their production bridges the novel’s adventurous spirit and Sibelius’s expressive theatricality, reminding audiences why Scaramouche remains one of literature and theatre’s most enduring trickster heroes - “born with the gift of laughter and a sense that the world was mad,” and destined to turn both into his greatest weapons.

City Lit’s Scaramouche marks a genuine world premiere as a full musical, and what’s remarkable is just how naturally the saga takes to the form. Though Sabatini’s tale has lived for a century in novels, films, plays, and even Sibelius’s ballet pantomime, it has never before been realized as a traditional book musical with a sung score. City Lit recognized that the story’s imaginative DNA - its commedia dell’arte roots, its heightened characters, its blend of satire, romance, and political danger - was already begging for musical expression. That insight became the foundation for this adaptation, with music and lyrics by City Lit Artistic Associate Kingsley Day and book by Day and James Glossman, shaping André Louis’s journey with straightforwardness, wit, and story-forward verve. The result is a surprisingly seamless transformation, one that feels less like an experiment and more like the form the adventure had been waiting for.

What truly sells the concept is the sheer musical ambition of the production. With 30 musical numbers, the show fully commits to musical theatre, using songs to heighten character, hone satire, and propel André‑Louis from out‑of‑work actor to revolutionary folk hero. And the cast meets that challenge with uniformly excellent vocal performances. Ensemble members shift effortlessly between comedic patter, heartfelt ballads, and rousing ensemble pieces, giving the score a richness and variety that continually surprises. The vocal work is strong, expressive, character‑driven, and emotionally grounded, the kind of singing that makes the musical form feel not only justified but essential. City Lit’s gamble pays off: Scaramouche thrives as a musical.

Ethan Smith and Laura Michele Erle in CIty Lit Theatre's Scaramouche.

Ethan Smith anchors Scaramouche with a performance that is as nimble as it is commanding, capturing André‑Louis Moreau’s evolution from wounded idealist to razor‑sharp revolutionary with remarkable definition and charisma. Smith moves through the character’s many transformations - lawyer, fugitive, actor, firebrand - with an ease that makes the journey feel inevitable, even thrilling. His wit lands on point, his emotional beats resonate, and he carries the production with the kind of presence that makes it impossible to look anywhere else. It’s a standout turn that gives the tale its pulse.

Henry Michael Odum brings rich texture to each of the Manager/Gavrillac/Pierre Binet, shifting between roles with a grounded authority that deepens the world around André‑Louis. Laura Michele Erle offers a luminous, heartfelt Aline, playing her with a sincerity that makes her scenes glow. She balances innocence with quiet resolve, giving Aline a sense of inner life that elevates every moment she’s onstage. Conor Ripperger’s Phillipe (among other characters) is equally compelling - earnest, principled, and deeply sympathetic. His early scenes with Smith establish the emotional stakes of the structural arc, and Ripperger’s performance makes Phillipe’s fate feel genuinely affecting. Kent Joseph delivers a taut, formidable De La Tour, embodying the character’s aristocratic menace with razor precision and a chilling sense of entitlement.

The supporting ensemble adds color, humor, and texture throughout. Alicia Berneche brings elegance and sly intelligence to Madame de Sautron (and how she can sing!), shaping each moment with a knowing touch. Shea Lee’s Columbine sparkles with playful charm, her physicality and timing giving the commedia sequences real lift. Ed Rutherford makes Chapelier delightfully sharp‑edged, grounding the satire with controlled delivery. India Huy’s Climene is vibrant and expressive, adding a burst of stage-driven flair whenever she steps into the spotlight. Rushil Byatnal rounds out the troupe with a wonderfully nimble Pierrot, blending innocence and mischief in a way that feels perfectly tuned to the world of the play.

Together, this ensemble creates a dynamic, fully inhabited world - one where satire, romance, and revolution collide with irresistible spirit of invention.

Beth Wolf, a two‑time Jeff nominee, leads the production with a deft, imaginative hand, weaving together its comedy, romance, and revolutionary spirit with remarkable ease. Her direction gives the piece a vibrant pulse that carries through every scene.

City Lit Theatre has spent the past several seasons reaffirming its reputation as Chicago’s home for smart, text‑centered storytelling, offering audiences everything from tightly rendered literary adaptations to rediscovered gems that rarely see the stage. Their recent productions have leaned into that mission with renewed confidence, showcasing the company’s knack for transforming complex narratives into intimate, actor‑driven theatre. In that context, Scaramouche feels like an inspired and perfectly aligned choice - a swashbuckling tale rooted in literature, rich with political intrigue, theatricality, and character depth. It gives City Lit the chance to flex its strengths: crisp ensemble work, narrative coherence, and a love of stories that balance adventure with ideas. As part of their ongoing commitment to bringing literary worlds to life, Scaramouche fits not just well, but exceptionally well.

City Lit’s production is elevated by a design team working in striking harmony to evoke the texture and artistic boldness of late‑18th‑century France. Jennifer Mohr’s costumes - supported by her expertise as a commedia consultant - bring a vivid blend of historical detail and playful character expression, while Meg X. McGrath’s props add tactile richness to every corner of the stage. Jackson Mikkelsen’s lighting sculpts the world with warmth and shadow, shifting effortlessly between intimate moments and broader swashes of adventure. Scenic designer Trevor Dotson provides a flexible, purpose‑built environment that lets the action unfold with clarity and momentum, and Music Director Kevin Zhou does an impressive amount with a limited‑sized band. Maureen Yasko’s violence and intimacy design adds yet another essential layer, shaping moments of danger and vulnerability with precision, safety, and emotional truth. Together, they craft a world that feels cohesive, imaginative, and wonderfully alive.

City Lit’s Scaramouche is an easy production to recommend - a smart, spirited world‑premiere musical that embraces the adventure, satire, and dramatic flair of Sabatini’s plotline with real imagination. The company’s intimate Edgewater home adds to the charm, though audiences should know that parking in the neighborhood can be challenging, especially on weekend evenings. The theatre itself is located on the second floor of the Edgewater Presbyterian Church and is fully ADA accessible via elevator, making the space welcoming to all. For anyone who loves literary adaptations, new musicals, or simply a night of inventive storytelling, Scaramouche is absolutely worth the trip.

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

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

Over the years, I’ve seen a lot of theater and a lot of musical performances. And because of that, people regularly ask what the best show I’ve seen is. Without hesitation, I tell them it was the 2018 Jeff Award-winning production of The Buddy Holly Story at American Blues Theater.

So, when I took my seat for American Blues Theater’s current production of Always…Patsy Cline and opened my program, I was thrilled to see many of the same names I remembered from the Buddy Holly cast and orchestra. And when I looked to my right, I was even more thrilled to see Michael Mahler - the musical director of the Buddy Holly show - seated just down the row, as he’s filling the same role with this show. I knew right then I was in for a night of good music.

Scenic designer Tara A. Houston’s bandstand - this was my first time attending a show at the theater’s Lincoln Avenue digs, which I found to be a really inviting venue - seconded the promise of a good time with its upright piano, upright bass, and lone classic silver Shure microphone just waiting for words to be sung to it. I was so excited for the music that I hardly noticed the rest of Houston’s set - a quaint mid-century kitchen tucked off to the side.

Because that’s the thing… I got to Always…Patsy Cline thinking I was just going to see yet another jukebox musical, albeit one done really well. But with this show, the audience gets a whole lot more than a standard IRL biopic.

Yes, it begins with Liz Chidester waltzing up to that Shure mic and singing into it about being back in her baby’s arms, of going out walking after midnight, of falling to pieces, and of being crazy for feeling so blue. Chidester nails Cline’s look - thanks in no small part to gorgeous costume design by Lily Walls which transports us back to the middle of the 20^th century one chic outfit at a time. And Chidester’s got a wonderful voice that gets to the places Cline’s voice got to, while mimicking that magical warmth and sheen that recordings of that era lent a vocalist. Yes, she makes a fine Patsy Cline.

And yes, the band is killer. Ian Paul Custer conducts while also adding Floyd Cramer-esque flourishes on the piano. Lior Shragg provides more than twenty musical numbers with their steady beat (and his beat-keeping becomes a plot point), joined in the rhythm section by versatile bassist, Marc Edelstein. Lauren Vogel’s fiddle goes from heartbreak to hoedown. And guitarist Nilko Andreas’ Fender Stratocaster approximates the whines of a lap steel one moment before slipping into more stately countrypolitan accompaniment.

Yes, if you go see Always…Patsy Cline simply for an overly generous and expertly played evening of deep cuts (I’d forgotten all about “Three Cigarettes in an Ashtray,” but it was a highlight) and country classics (Chidester’s dreamy vocals carried me off as she harkened the Nile and “old Algiers”), you will get way more than your money’s worth.

But while all of this is going on - while Chidester and her band are transporting us with song after song - this show is also not just another jukebox musical. Instead, it looks at how those singular talents worthy of their own musical affect us, the audience.

That role - of fan, of the one experiencing the music and being transported by the artist - is played onstage by the second member of this two-woman cast. Molly Hernandez - who played Buddy Holly’s wife and muse Maria Elena in not just the 2018 production I so loved but in a more recent Marriott Theatre production of the same, and who’s graced many other stages around Chicago in the years since - plays Louise, a hilarious, hard-drinking, fast-talking, all-heart Texas gal who just loves the records by this Patsy Cline. She loves those records so much, in fact, it leads to a one-night friendship and a lifelong (not long enough, sadly) pen-pal relationship between the two women. While her character’s name isn’t on the marquee, Hernandez is the show’s MVP. She’s the narrator. She’s the heart. And she’s a real hoot - strutting and sassing and boot-scooting all over the place, giving the show a real-world grounding that even the best shows about famous people can’t provide.

What was so unexpected about Always…Patsy Cline is that it understands something most jukebox musicals miss entirely (even the one at the top of my list!): the songs aren’t really the story. The people carrying them around in their hearts are. Director Harmony France gives us the larger-than-life Patsy Cline we paid to see by looking at her through the eyes of one of the millions spinning her records on their turntable.

And that’s what’s still sticking with me… Yes, I’ll remember Chidester’s velvety vocals, Hernandez’s comic and dramatic talent, and again, a killer country-and-western band. But mostly I’ll remember Always…Patsy Cline as less of a biopic than a love letter: to fandom, to friendship, to old country songs, and to the artists whose voices keep reaching across decades to soundtrack our lives. American Blues Theater has done it again with Always…Patsy Cline, running now through June 21st.

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

Lake Forest's Citadel Theatre has announced its 2026-27 mainstage season, which will include two favorites and two acclaimed recent pieces that may be new to north shore audiences. The season will commence with the satirical comedy EUREKA DAY, which examines the frequently contradictory practices of a fictional, highly progressive private school located in Berkeley, California. The play, which premiered in Berkeley in 2018, deals with topical subjects like vaccinations, privilege, and communication, utilizing sharp wit, farce, and intense dialogue to create laughter  It was produced on Broadway in the 2024-25 season and won the 2025 Tony Award for Best Revival of Play. Scott Westerman, the director of such Citadel hits as MISERY, A JUKEBOX FOR THE ALGONQUIN, THE MOUSETRAP, and SEX WITH STRANGERS, will direct. EUREKA DAY will open Friday, September 11 at 7:30 pm, following a preview on September 9, and play through October 11.
 
In November and December, Citadel will be visited by Clarence the Angel and the beleaguered George Bailey when the company presents IT'S A WONDERFUL LIFE: THE LIVE RADIO PLAY, based on the perennial favorite holiday film that starred James Stewart and Donna Reed. When the film premiered in 1946, before the television era, it was a common practice for popular films to be performed as live radio plays, and IT'S WONDERFUL LIFE was performed live on THE LUX RADIO THEATRE with Stewart recreating his role as George Bailey on December 23, 1947. This radio play adaptation by playwright Joe Landry not only brings the film's beloved story to the stage, but it also recreates the magic of the heyday of radio dramas. Landry has added original pastiches of commercial jingles that run throughout the play and created characters of the radio actors who are playing the characters of the film. Jack Hickey, the former Artistic Director of Oak Park Festival Theatre, who directed Citadel's THE COTTAGE in 2024, will return to Citadel to direct. IT'S A WONDERFUL LIFE: A LIVE RADIO PLAY will open on Friday, November 13 after previews on November 11 and 12, and play through December 13.
 
Citadel will follow IT'S A WONDERFUL LIFE with another story from the 1940's that has never faded in popularity: Tennessee Williams' THE GLASS MENAGERIE. In depression-era St. Louis, Amanda Wingfield dreams of her past as an attractive, sought-after southern belle and wants to believe her painfully shy daughter can enjoy the same sort of popularity. Amanda's adult son Tom spends his days working in a shoe warehouse and his nights at the movies, dreaming of a way to find a more exciting life. THE GLASS MENAGERIE premiered in Chicago on December 26, 1944, and was an instant sensation, establishing Williams as a major American playwright. This poetic and emotional work exploring the tension between reality and illusion, will be directed by Scott Shallenbarger, who helmed Citadel's I AND YOU and MIRACLE ON SOUTH DIVISION STREET. Citadel co-founder Ellen Phelps will take on the iconic role of Amanda Wingfield. THE GLASS MENAGERIE will open on Friday, February 12, following previews on February 10 and 11 and play through March 14.
 
Closing Citadel's 2026-27 season will be ORDINARY DAYS, a musical about four young New Yorkers whose lives intersect as they search for fulfillment, happiness, love and cabs. This sung-through musical featuring 21 songs has been an international hit since it premiered in 2008 in a production at Penn State University. Over the next ten years, it was produced in London (six times), Paris, Barcelona, Sydney, Rio de Janeiro, Buenos Aires, and Wellington, New Zealand before finally making its off-Broadway premiere in 2018. It has enjoyed continued popularity around the world since then, and its ballad, "I'll Be Here" has been recorded by such artists as Audra McDonald and Liz Callaway. ORDINARY DAYS will be directed for Citadel by Christina Ramirez, who directed RUTHLESS! THE MUSICAL for Citadel Theatre in April and May 2026. ORDINARY DAYS will open to the press on Friday, April 16, following previews on April 14 and 15, and play through May 16.
 
Season subscriptions are available for the full four-show season at $140.00, or as flex passes that can be used for the patron's choice of either three shows for $115.00 or two shows for $80.00. Preview flex passes are also available for $45 (two shows), $55 (three shows), or $65 (four shows). Subscriptions and single tickets priced at $50 (plus ticketing. Fees) are now on sale at www.citadeltheatre.org. 
 
Citadel Theatre is in residence in the West Campus of the Lake Forest School District at 300 S. Waukegan Road, Lake Forest. Further information and ticketing is available on the company's website at www.citadeltheatre.org. 

A strong Chicago theatre weekend starts with choosing your flavor, and this one offers a full flight. Whether you’re in the mood for something scrappy and strange, bright and nostalgic, or mythic and mischievous, the city’s stages have you covered. Three wildly different productions are running right now, and each one makes a compelling case for your time.

Shattered Globe’s Eelpout at Theater Wit is the pick for anyone who wants a show that feels distinctly Chicago - intimate, odd, and quietly daring. It’s the kind of storefront piece that rewards audiences who like their theatre a little off-center, with sharp writing and performances that dig into the emotional grit beneath the humor. If you’re craving something unexpected and handcrafted, Eelpout is the weekend’s sleeper hit.

If your week has been long and you want pure joy, Metropolis Performing Arts Centre’s The Wedding Singer is the fizzy, feel-good option. It’s big-hearted, neon-soaked, and built for audiences who want to laugh, tap their feet, and leave humming. Metropolis knows how to deliver a crowd-pleasing musical, and this one leans all the way into its ‘80s nostalgia and goofy charm.

And for something bold, clever, and completely its own, Lifeline Theatre’s Loki - The End of the World Tour offers a mythological comedy with cosmic stakes and storefront ingenuity. It’s fast, funny, and packed with the ensemble-driven inventiveness Lifeline is known for. If you want a show that feels like nothing else onstage right now, Loki’s your ticket.

Three shows, three distinct worlds - quirky storefront storytelling, musical escapism, and mythic mayhem. Whichever direction you choose, you’re in for a memorable night out.

Promethean Theatre Ensemble has announced it will perform the Lewis Galantiere adaptation of Jean Anouilh's ANTIGONE, from May 31 through June 28 at the Den Theatre. Anouilh's play, which premiered in Nazi-occupied Paris in 1944, was itself an adaptation of the Greek play by Sophocles, believed to have been written in 441 BC. In the original myth of Antigone, the heroine defies King Creon's decree forbidding the burial of her brother. In Anouilh's adaptation, Antigone's dilemma is recast as a choice between following one's conscience and moral code versus capitulation to a totalitarian government. The play was a covert symbol of the French Resistance, with Antigone's "No" to Creon mirroring the French refusal to submit to German occupation. Galantiere's adaptation of Anouilh's text, which premiered on Broadway in 1946 replaced Anouilh's formal French with accessible prose that frequently uses American vernacular and has become the preferred version of ANTIGONE for contemporary performances. It also lightly shifted the tone to make the parallels to WWII more explicit for American audiences who hadn't lived through the occupation. This version employs relatable characters, unexpected humor, and accessible yet poetic language. 

Promethean's modern dress production, set in present times in a city very much like ours, will be directed by ensemble member Elaine Carlson, whose many roles with Promethean include Eleanor in THE LION IN WINTER, and the title roles in THE MADWOMAN OF CHAILLOT and MRS. WARREN'S PRFOESSION. ANTIGONE will be performed from May 31 – June 27 at The Den Theatre, 1331 N. Milwaukee Avenue in Chicago.  Press opening is Wednesday, June 3 at 8 pm, following previews on Sunday May 31 at 7 pm and Monday, June 1 at 8 pm. The production will play through Saturday, June 27.

Carlson says,  "the theme of Sophocles' drama – choosing what is right over what is expedient - is timeless, but Galantiere's adaptation puts it into a setting that makes it even more immediate.  Maybe this time Antigone's courage will be contagious."
 
Carlson's cast will feature Promethean Ensemble members Heather Dennis as Antigone, Artistic Director Jared Dennis as Creon, Meghann Tabor as Ismene, Joshua Servantez as Haemon, Gunner Bradley as First Guard, Brendan Hutt as Second Guard, and Christina Renee Jones as the Chorus. The cast also includes marssie Mencotti (nurse), Gavin Blayne (Third Guard/ Messenger), Anthony J. Harris (Page), and Alex George (Eurydice). Understudies are Alex George (u/s Chorus), Anna Rose Steinmeyer (Antigone), Chris Lysy (Creon), Layke Fowler (u/s Haemon), Dame Grant (u/s Guards/Messenger), and Jennifer Mohr (u/s Ismene/Nurse/Eurydice/Page).

The ANTIGONE design team includes Trevor Dotson (Scenic Designer), Rachel M. Sypniewski (Costume Designer), Stefanie Senior (Sound Designer), RobbyMoe Reeves (Lighting Designer), Maureen Yasko (Violence and Intimacy Designer), and Tristan Brandon* (Props Designer). Also on the production team are Hayley Rice (Assistant Director), Alexa Berkowitz* (Production Manager), Esau Andaleon (Stage Manager), and Jeremiah Barr* (Technical Director).

• Indicates Promethean Theatre Ensemble member.

ANTIGONE
Written by Jean Anouilh, Adapted by Lewis Galantiere
Directed by Elaine Carlson
May 31 – June 27, 2026
Previews Sunday May 31 at 7 pm and Monday, June 1 at 8 pm
Regular Run: Thursdays – Saturdays at 8 pm, Sundays at 3 pm. Additional matinees on Saturdays June 13 and 20 at 3 pm
The Den Theatre, 1331 N. Milwaukee Ave., Chicago 60622
Ticket Prices: $35 general, $25 students and seniors
For tickets, visit https://www.prometheantheatre.org/project/antigone/ or The Den Theatre Box Office, 773-697-3830.

Contemporary adaptation of Jean Anouilh's poetic drama of a woman forced to choose between following her moral compass and obedience to the laws of her rulers. First produced under Nazi censorship in 1944 Paris, Anouilh's ANTIGONE explores the conflict between individual conscience and political expediency. Then as now, "going along to get along" wasn't tragedy from ancient history - it was personal tragedy with real world consequences.
 
BIOS
 
Elaine Carlson (Director) Ensemble member Elaine Carlson will make her Promethean directorial debut with this production. Elaine is well-known to PTE audiences for her on-stage work including as Kitty Warren in MRS. WARREN'S PROFESSION, the madwoman in THE MADWOMAN OF CHAILLOT, and Eleanor of Aquitaine in The Lion in WINTER. She has appeared on many Chicago stages including City Lit, Eclipse, Citadel, Famous Door, and others.
 
Jean Anouilh (Playwright) became one of the strongest personalities of the French theatre and achieved an international reputation. His plays included RING AROUND THE MOON, THE WALTZ OF THE TOREADORS, THE LARK, and BECKET, OR, THE HONOUR OF GOD. , 
 
Lewis Galantiere (Adapter) was a writer, critic and authority on modern French literature. His own best‐known work was as a translator, of the works of Antoine de St.‐Exupéry, Jean Cocteau, Francois Mauriac, Sacha Guitry and Jean Anouilh. His adaptation of Anouilh's ANTIGONE was first performed by Katharine Cornell in 1946 and has remained a popular version of the classic Greek drama.
 
ABOUT PROMETHEAN THEATRE ENSEMBLE
 
Promethean Theatre Ensemble produces and develops ensemble-focused theatre with vibrant language in dynamic and purposeful storytelling. We select a service organization to support and promote with each production, bridging ideas within the play to real-world efforts to address challenges within our communities. Since its founding in 2005, Promethean has produced a body of work ranging from Shakespeare, 19th and 20th Century classics, and new work. The company was in the midst of its 14th season when the pandemic struck. ANTIGONE is Promethean's 36th production.

Your favorite kids show is back! The Second City is excited to welcome the return of its wildly popular summer hit for young audiences. No Grown-Ups Allowed is a high-energy, fast-paced sketch and improv comedy show delivering 60 minutes of non-stop laughter for the whole family. Tickets sell fast every year! For tickets and more information, visit secondcity.com or call The Second City box office at 312-337-3992.

The show features a mix of family-friendly songs and sketches from The Second City's iconic comedy archives, alongside fresh new material created just for young audiences. And of course, it's all brought to life with the ridiculous improv hijinks The Second City is known for.

Starring a hilarious cast, No Grown-Ups Allowed is a one-of-a-kind interactive theatrical experience, giving kids the chance to jump into the action, whether from their seats or by joining performers live onstage.

No Grown-Ups Allowed runs Saturdays at 11am and 1pm, June 6 through August 29, with one added Sunday performance on July 5 at 11am and 1pm. Tickets are $29. Perfect for ages 6-13.

About The Second City

The Second City opened its doors in 1959 as a small comedy cabaret and has since grown into the world's most influential name in improvisation and comedy, celebrating its 65th anniversary in 2024. The Second City's stages, Touring Companies, and Training Centers across North America have proudly been the launch pad and artistic home for many of the funniest performers, writers, directors, and comedic minds on the planet. As well, for decades The Second City's corporate education and entertainment arm, Second City Works, has supported global businesses using the same methods pioneered on its stages to drive individual growth and organizational improvement.

For more information on The Second City, visit www.secondcity.com and follow The Second City on TikTok, Instagram, Facebook and Twitter.

Get ready for a cosmic comedy of gods, monsters, and mayhem that refuses to play by the old rules. That’s right - the universe is ending, and apparently it booked a headliner.

In Lifeline’s world premiere Loki: The End of the World Tour, we travel to another universe where Norse gods wrestle with fate, power, and the consequences of welcoming a trickster into their midst. Loki, half‑god and half‑giant, storms into Asgard with the force of a live wire, intent on reshaping his identity and carving out a place in the celestial hierarchy. His charm wins over Odin almost immediately, but the rest of the pantheon isn’t so easily convinced. While gentle Baldur welcomes him with the sunny goodwill he offers everyone, Thor bristles at the sudden competition for his father’s attention, and Freya senses danger in him from the start. Meanwhile, Loki’s three unusual children - Hel, Fenris (a wolfen creature), and the slithery Midgard Serpent - appear in Asgard as the very figures described in the prophecy Odin dreads, the beings destined to spark Ragnarok and bring the realm to its knees. Caught in the middle, Sigyn finds herself drawn to Loki’s restless spirit even as these revelations cast a looming war between gods and giants across their path. Loki’s return from the land of giants sets off a quiet upheaval in Asgard, and it’s clear the realm will never look the same again. Yep, Lifeline Theatre certainly lives up to its “Big Stories, Up Close” tagline in this original creation, transforming ancient myth into a visceral, close‑quarters clash of gods, secrets, and fate.

The show kicks off with a blast of rock‑and‑roll as the onstage trio - guitarist and music director Kelan Smith, keyboardist Kara Alexander, and drummer/bassist Alek Boggio - tears into the opening number. These three performers also serve as the Norns, guiding the audience through the story with a mix of narration, commentary, and musical firepower. Penned by Lifeline ensemble members Christina Calvit and George Howe and directed by Heather Currie, the “World Tour” concept gives the production a playful, concert‑style frame that keeps the energy high from the very first chord. Earplugs are free for anyone who wants them, and even with the show’s solid sound mix, you might be glad to have a pair handy - particularly in Act Two, when Boggio unleashes a drum assault that rattles the room.

Jack Chylinski leads the company with a magnetic, mercurial turn as Loki, slipping between charm, menace, and mischief with the ease of a born shapeshifter. The physicality is sharp and unpredictable, and they ride the rock score with a swagger that makes the trickster god both dangerous and oddly irresistible. Opposite him, Scott Danielson brings a seasoned authority to Odin, grounding the production with a commanding presence and vocals that cut cleanly through the music. Danielson’s All‑Father carries the weight of prophecy and fear in every scene, and the show deepens whenever he steps into the light.

Kelan Smith, Alek Boggio, Kara Olander, Janelle Anabria in LOKI THE END OF THE WORLD TOUR. Photo by Josh Bernaski.

Janelle Sanabria’s Freya is a powerhouse in every sense, her vocals soaring across the theatre with clarity, range, and emotional bite. She plays the goddess with fierce intelligence and a simmering distrust that adds real tension to the pantheon. Keenan Odenkirk, meanwhile, delivers a standout comedic performance as Thor, balancing bluster, jealousy, and impeccable timing. His ability to punch a line, hold a beat, and land a laugh gives the show some of its sharpest moments. Peter Gertas brings a bright, buoyant charm to Baldur, radiating warmth as the god of light and shifting effortlessly into his more grounded work as Mason.

India Renteria offers a luminous, heartfelt Sigyn, grounding the chaos around her with sincerity and emotional clarity. Loki’s three children - Grace Reidenauer as the coolly witty Hel, Anthony Kayer as the feral and unexpectedly tender Fenris (and the delightfully bold Thrym), and Avery Thompson as the playful, serpentine Middy - round out the ensemble with vivid, memorable performances. Each brings a distinct energy to the stage, and together they form a trio that’s as funny as it is thematically essential. The cast as a whole fuels the production with personality, precision, and a rock‑and‑roll spirit that never lets the momentum dip.

The physical world of the production is intentionally spare, yet it feels remarkably tailored to the story thanks to the combined work of scenic designer Lindsay Mummert, props designer Saskia Bakker, and lighting designer G. “Max” Maxin IV. Instead of overwhelming the stage with spectacle, the design team leans into simplicity and lets the atmosphere do the heavy lifting. The band sits off to one side in full view, their presence giving the show the pulse and immediacy of a live concert rather than a traditional musical. Maxin’s washes of purple light bathe the space in an otherworldly glow, transforming the minimalist set into something mythic, shifting, and just a little dangerous.

Anthony Kayer, Jack Chylinski, Grace Reidenauer and Avery Thompson in LOKI THE END OF THE WORLD TOUR. Photo by Josh Bernaski.

This production feels like lightning in a bottle, and the cast - backed by that ferocious onstage band - absolutely tears into it. New, original musicals don’t always find their musical footing right away, but this one arrives with a score that feels confident, catchy, and fully realized. Several numbers grabbed me on first listen, and by the time the show barrels into its final sequence, the music swells into a full‑throttle rock anthem that literally dares the audience to join in. The closing chorus suggests, with a wink and a blast of guitar, that if the world really is ending, we might as well crank the volume and go out in a rockin’ blaze of sound - and honestly, it’s hard to argue with that.

Loki: The End of the World Tour is the kind of original musical that proves, yet again, how fiercely inventive Chicago storefront theatre can be when it fires on all cylinders. Lifeline’s ensemble throws themselves into the chaos with precision, personality, and a rock‑and‑roll fearlessness that makes the whole night feel like a small miracle happening a few feet away. It’s smart, loud, heartfelt, and just strange enough to feel genuinely new - the sort of show you want to tell people about before it closes. And with the production running through June 14th, there’s still time to catch the lightning (or Thor's hammer) for yourself. As for logistics, street parking in the neighborhood remains one of the city’s best‑kept secrets: arrive a little early and you’ll likely snag a spot without the headache of garages or meters. For a show this fun, this fresh, and this full of talent, the trip is absolutely worth it.

For tickets/and/or more information, click here.

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

The Wedding Singer is currently onstage at Metropolis Performing Arts Centre in Arlington Heights, offering a faithful and upbeat interpretation of the Adam Sandler–Drew Barrymore film. The production leans into the story’s rom‑com roots while making effective use of the Metropolis space, integrating ensemble work, clear character moments, and a series of well‑staged song‑and‑dance numbers to establish its easygoing, ’80s‑infused tone.

Before getting deeper into the production itself, it’s worth pausing to talk about the music. Not being familiar with the stage version - but very familiar with the film - I walked in fully expecting a night filled with Culture Club, The Cars, Depeche Mode, Dead or Alive, Huey Lewis, the B‑52s and, of course, Billy Idol. After all, Broadway has reimagined just about everything, so why not build a soundtrack from these great artists? But that isn’t what the musical sets out to deliver. While the film rolls out one 1980s hit after another, the stage adaptation replaces those songs with an entirely original score. Curious about the shift, and assuming it might be a budget decision, I did some digging - and here’s what I found.

Ok, so The Wedding Singer stage musical wasn’t conceived as a jukebox show. When Chad Beguelin, Tim Herlihy, and Matthew Sklar adapted the film for the stage, they chose to create an original score rather than license the movie’s well‑known pop hits. Securing rights to songs from multiple artists, labels, and publishers would have been enormously complex and prohibitively expensive (I was partially correct), and it would have limited the creative team to a patchwork of pre‑existing material. By writing new music, the creative team could shape songs around character development, pacing, and theatrical storytelling, all while capturing the spirit of the 1980s without relying on specific chart‑toppers. And while it may be a slight letdown for anyone hoping to hear those iconic hits, the production does nod to the film’s soundtrack: many of those artists play over the speakers as audiences enter, setting the mood with a warm wave of ’80s nostalgia before the show even begins.

From left - Cristina Benighoff, Kylie Tollefson, Jamie Dillon Grossman as Holly,  Teah Kiang Mirabelli as Julia and Jodi Gage as Angie. 

The musical adaptation of The Wedding Singer - with a book and music by the above mentioned Chad Beguelin, Tim Herlihy and Matthew Sklar - premiered at Seattle’s 5th Avenue Theatre on February 8, 2006, following previews that began January 31. It later transferred to Broadway, where it began previews on March 30 and officially opened at the Al Hirschfeld Theatre on April 27, 2006. Now, twenty years later, almost to the day after its Broadway debut, it has arrived in Arlington Heights.

For those anticipating a beat‑for‑beat version of the movie, the stage musical instead embraces a more expansive, stage‑shaped version of the story - exactly what a musical adaptation calls for. The core story and main characters remain, but it’s the show’s original songs, larger ensemble numbers, and broader comedic beats that naturally shift the tone. Certain plot points are streamlined, and some supporting characters are reimagined or expanded, while others, like the over-the-top lounge-singing character Jimmie Moore played by John Lovitz, don’t appear at all. The result keeps the spirit of the film intact, but filters it through the pacing, structure, and heightened style of a full musical.

At the center of the story is Robbie Hart, New Jersey’s go‑to wedding singer whose life unravels after his fiancée, Linda, leaves him at the altar. The musical charts his shift from upbeat crowd‑pleaser to heartbroken mess, blending the film’s familiar humor with a more expansive emotional arc. Robbie’s missteps, meltdowns, and attempts at recovery take on a brighter, more expressive energy onstage, all while staying true to the spirit of the original film.

Julia, the warm‑hearted waitress engaged to the wrong man, grounds the narrative and becomes the catalyst for Robbie’s rediscovery of hope. Their growing connection unfolds through new songs and heightened character moments as the two become closer and closer, surrounded by neon nostalgia and a fizzy sense of fun. By the time the show reaches its finale, it captures the same earnest, feel‑good spirit that made the Sandler and Barrymore film a favorite, now delivered with Broadway‑sized verve and a wink to every ’80s love story that came before it.

The score leans into the show’s 1980s setting with a mix of upbeat pop styles and earnest ballads, and while the songs themselves aren’t the most memorable, they’re delivered with strong vocals and crisp musical direction. Numbers like “It’s Your Wedding Day” and “Saturday Night in the City” bring plenty of energy, and pieces such as “Someday” and “If I Told You” give Robbie and Julia room to explore their emotional arcs. Altogether, the score creates a fun, nostalgia‑tinged atmosphere that supports the story even if the tunes don’t linger long after the curtain.

The Metropolis cast brings The Wedding Singer to life with an easy, infectious force that suits the show’s playful spirit. Abraham Deitz‑Green leads the production as Robbie Hart, offering strong vocals and confident movement throughout. His strength shows most clearly in the musical numbers, where his singing and dancing bring real appeal to the role and highlight where his talents truly land. His rendition of Adam Sandler’s “Grow Old with You” is especially sweet, giving the show one of its most heartfelt moments. There’s a sincerity in his approach that keeps the character engaging and makes it easy to root for him from start to finish. “Casualty of Love” lets Robbie hit rock bottom in spectacular fashion, and Deitz‑Green tears into the collapse with a mix of wild humor and crisp musicality.

Opposite Deitz‑Green, Teah Kiang Mirabelli brings Julia to the stage with a gentle warmth that immediately draws the audience in, and she positively glows as the character’s optimism and sincerity take shape. Her growing connection with Robbie feels effortless and genuine, supported by acting choices that are both clear and confidently delivered. Mirabelli gives Julia a grounded sincerity, a bright sense of humor, and a quiet emotional intelligence that enrich every scene she’s in. It’s a performance that consistently elevates the material and gives the show much of its heart.

Abraham Deitz-Green as Robbie Hart.

Around them, the supporting cast adds plenty of texture and momentum. Peyton Schoenhofer gives Glen just the right amount of slick confidence and the perfect touch of cockiness, while Andres J. DeLeon’s George and Danny Dollase’s Sammy bring sharp comedic timing to Robbie’s inner circle and enjoy several standout moments of their own, turning in multiple scene‑stealing bits that consistently lift the energy onstage. Jamie Dillon Grossman’s Holly brings a spark every time she appears drawing lots of laughs, and her vocals add real lift to the ensemble. Caron Buinis offers a crowd‑pleasing turn as Rosie, finding the humor in the role without tipping into caricature and ultimately delivering one of the show’s funniest performances. As Linda, Katherine Abel delivers a compact but very funny performance that adds just the right jolt of attitude.

The strong ensemble keeps the show moving with crisp choreography by Nich O'Neil and bright character work, giving the production a lively pulse from scene to scene. The airplane scene, packed with gleefully exaggerated celebrity impersonators, brings a burst of chaotic fun and stands out as one of the production’s funniest moments.

Guiding it all is director Amber Mak, whose steady hand shapes the blend of ’80s nostalgia, rom‑com sweetness, and high‑energy musical comedy. Her approach highlights the story’s heart without sacrificing its humor, creating a production that feels both affectionate toward the original film and confidently theatrical in its own right. The production maintains a lively pace from start to finish, striking a rhythm that keeps the story engaging without a single stretch that feels slow.

The glitzy, wedding‑themed set by Milo Blue gives the show a bright visual identity, and the choice to keep the live band visible throughout adds a dynamic, concert‑like presence that energizes every scene. Getting to watch the musicians play in full view is always a big plus for me. The band is beautifully led by Carolyn Brady - not Carol Brady; that would take us back to the ’70s.

One of the pleasures of this production is the steady stream of 1980s references woven throughout. A Mr. Belvedere shout‑out, a five‑pound car‑phone battery, a nod to the “Time to make the donuts” guy, and a perfectly timed “Where’s the beef?” all land with an easy, throwback charm. The show adds plenty of other touches from the era, delivered with just the right touch of silliness. From fashion jokes to pop‑culture moments I’m surely forgetting, each reference lands like a small time‑capsule detail that keeps the audience laughing and taps into the easy lure of the 1980s.

The Wedding Singer at Metropolis ultimately delivers a bright, good‑natured night out with plenty of laughs and well-choreographed musical numbers along the way. It leans into its ’80s nostalgia and rom‑com charm without taking itself too seriously, making it an easy pick for anyone in the mood for something fun and feel‑good. If you’re looking for a show that will lift your spirits and leave you smiling, this one is well worth the trip to Arlington Heights.

Through May 24^th at Metropolis Performing Arts Center.

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

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