Displaying items by tag: Chicago

King Odysseus returns home to Ithaca after twenty years’ absence: ten years’ fighting the Trojan War (it takes time to build a big enough wooden horse), followed by a ten-year journey during which everything that could go wrong does go wrong: think rush-hour traffic on the Kennedy under construction. When he finally arrives, Odysseus finds yet another complication: in his absence a hundred men have undertaken to lay claim to his throne, actually taking up residence in Odysseus’ palace, scarfing down his harvests, seducing his servants, and harassing his wife.

Penelope has made every effort to discourage the putative suitors, her most recent gambit being a challenge to string Odysseus’ mighty bow, then use it to shoot an arrow through a line of a dozen axe handles. That’s pretty serious and, unsurprisingly, none of the opportunists manages. Everyone is amazed therefore when a stranger (Odysseus disguised as a beggar) nails it. The disappointed contenders aren’t happy about this, and are further aggrieved when the ‘beggar’ throws off his rags, identifies himself, and advises the intruders to hit the road.

Odysseus, legitimately vexed at the situation, answers their disgruntlement with violence and all hundred freeloaders are … well, the proper verb is in question, as it’s unclear whether Odysseus righteously executes or viciously murders them. This is the issue we explore in TRIAL OF ODYSSEUS: is Odysseus a champion, heroically defending his title, his home, and his family? Or is he a villain, goaded by jealous rage into a frenzy of unwonted slaughter?

TRIAL OF ODYSSEUS was … what to call it? to be honest it was not truly theater. TRIAL OF ODYSSEUS was presented as an actual trial, with Antonio M Romanucci and Daisy Ayllón of Romanucci & Blandin LLC prosecuting and Patrick M. Collins and Tinos Diamantatos of King & Spalding LLP arguing for the defense. A panel of four judges (Georgia M Alexakis, Sara L Ellis, Jeffrey G Chrones and Anthony C. Kyrikopoulos) and twelve jurors examined and cross-examined both the witness Phimeus (Leonardo Sfondouris) and Odysseus, played by Christos Vasilopoulos.

The final decision, however, was ours. Each audience member was provided with their choice of two tokens, blue for guilty and white for innocent. At the close of examination these tokens were collected and their count served as the verdict: Odysseus was found Not Guilty., I suspect that those voting Guilty did so from the viewpoint of twenty-first century law. I can’t believe anyone in the Bronze Age, roughly 1200 BCE, would not fully sympathize with Odysseus’ reaction, however grisly.

I’m totally ignorant of judicial matters, and someone better acquainted with legal procedure might have found problems with how the trial was portrayed, but I thought it was as credible as it was entertaining. For one, it certainly reflected the delay encountered in our modern magisterial system, as the event under arbitration occurred more than 3,000 years ago. A real trial for first-degree murder would probably incorporate less humor, but the Court had no difficulty drawing parallels across the three-millennium time difference; many of these comments were quite amusing and were certainly appreciated by the audience.

TRIAL OF ODYSSEUS was instructive, engaging, and just plain fun! The bad news is that it was a single production; there will be no further performances. But keep your eye on the National Hellenic Museum, as they offer regular events and exhibitions.

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

Get ready - those phones are about to explode, and Sam is already spinning like a top trying to catch every single one. It’s a full‑blown ring‑storm, and he’s diving into it with the hectic energy of someone who knows the chaos is coming and still can’t outrun it.

A brisk, razor‑funny powder keg of a play, Fully Committed tracks a single frantic day in the life of Sam, the lone reservationist at one of Manhattan’s most elite - and most impossible - restaurant. Becky Mode’s script is a full‑tilt high‑wire act, and Mike Newquist tears across nearly forty characters with the kind of breakneck precision that makes your head spin. As Sam, he’s already a live wire - but then he’s also snapping into entitled celebrities, neurotic assistants, tyrannical chefs, and every flavor of fine‑dining madness that dares to ring his desk. It’s dazzling, anxious, and wildly fun to watch him juggle it all without ever dropping the thread. The comedy snaps because each character is so sharply etched, and Newquist seamlessly shifts among them with the kind of finesse that turns mayhem into art.

At its heart, the nearly 90-minute play gleefully skewers the rituals of status and the agitated, almost feral hunger for exclusivity, exposing just how ridiculous people become when a reservation turns into a badge of power. Sam becomes the unseen fulcrum of that world, and his day unravels from merely hectic to outright surreal as he absorbs tantrums, negotiates impossible demands, and fights to keep a grip on his own sense of worth. Watching Newquist as Sam behind that reservation desk in a constant tinderbox had me instantly aware that I wouldn’t survive two hours in his shoes. His frantic charm and barely contained panic sells the chaos and sparks a whole new respect for the people who actually thrive in that kind of daily combustion.

Fully Committed lands as hard as it does because it’s rooted in real industry absurdity. Mode shaped these characters straight out of real restaurant‑world encounters, giving the show a mix of satirical whirlwind and a bite of truth that feels both sharply recognizable and wickedly real.

Throughout the play, I loved how Sam’s dad kept slipping into the heavy commotion with that gentle, grounding voice - just long enough to let the whole room exhale. Each time he called, Sam’s entire demeanor flipped in an instant; you could watch him go from frazzled to peaceful like someone had hit a reset switch. Those brief check-ins made it clear how a few steady words from a gentle, supportive father (or friend/family member) can cut straight through the noise, offering a tiny pocket of calm even when everything else is burning down around him.

Mike Newquist is pure kinetic joy onstage, delivering a commanding turn in Fully Committed. The Chicago‑based actor and improviser thrives in the city’s storefront trenches, bouncing between sharp‑edged comedy, character chameleon work, and the kind of ensemble disorder where anything can - and usually does - happen. He’s popped up with PrideArts, AstonRep, and The Comrades, tackling everything from contemporary drama to high-velocity comic mayhem. In Fully Committed, it’s his quick‑switch agility that makes him a blast to watch.

Directed by Derek Bertelsen, this Chicago staging arrives with a jolt of fresh energy and real immediacy. Newquist’s performance becomes the engine that drives the whole night, while Bertelsen keeps the momentum razor‑sharp, the pacing tight, and every character shift snapping cleanly into place.

The Den Theatre hosts the run March 13–28, 2026, with performances on Friday and Saturday nights at 7:30 p.m. Tickets for Fully Committed at The Den Theatre are just $26. For tickets and/or any more show information, click here.

Recommended.

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

It was the flippant statement heard round the humanities. An errant comment, a sweeping generalization, and another dismissive remark towards the arts. While the internet might have lambasted the commentator, the commentary at its core is the erroneous belief or misunderstanding that the arts are a relic of a bygone era. Despite repeated talks of automating away human interaction and computers replacing all the creative elements of life, art, opera, ballet, and more thrive in Chicagoland. One cannot walk anywhere in Chicago without seeing works of art in all their forms, celebrated and muraled and inviting to visitors and locals alike. There is no truer testament to the lasting power of an art form than in its inclusive programs that empower the next generation, offering them time and space to captivate audiences of all generations. I can recommend no finer program than Winning Works, now playing at the Museum of Contemporary Art.

Winning Works is a mission-driven, access-oriented initiative that upholds The Joffrey Ballet's core values of “Joffrey for All.” Performed by students and trainees of the Grainger Academy of The Joffrey Ballet, the program provides opportunities for everyone, regardless of background, to experience, support, and participate in dance. The goal of the award is to recognize talented, emerging choreographers whose unique perspectives will inspire creativity in the form of original works of dance. Through Winning Works, the Joffrey aims to broaden access for artists who have been historically excluded from the art form and empower those who embody its values to shape the future of dance.

The Grainger Academy and Winning Works is the strongest example we have that ballet might change and grow and evolve with the times, but will never fade into obscurity. The performance at the Museum of Contemporary Art is itself an exhibit of movement, exploration, love, and light. Set against its contemporaries, Winning Works features incredible performances that leave you spellbound, each more unique than the last. Each performance features a brief introduction by the choreographer, detailing their reflection on the program and staging a performance offering a unique perspective only the artist themselves could give the audience. Audience members will love the contemporary movements of To Carry Our Own Names by DaYoung Jung, enjoy the whimsicality of Alexandra Schooling’s Hushed Power, shimmy and shake along with Daniel Ojeda’s Visitors, bask in the glow of the light and airy Eclat by Julia Feldman, and marvel at the uniqueness of Fran Diaz’s A Strange House We Must Keep. There is truly something for everyone, all performed by the incredibly talented young dancers who will no doubt grace the stages of the grandest theatres across the world.

For as many years as I have lived in Chicago, I have heard “the arts are dying,” that they are old-fashioned and outdated. Truth be told, it’s rarely heard from Chicagoans, mere projections from those who would never visit the city let alone entertain the arts. Like the many seasons (and false seasons) of this great city, the arts and humanities have their seasons of flourish and seasons of slumber. Like Spring itself, Winning Works ushers in the new season with new performances filled with light, love, and beauty. Commentators may come and go, but ballet and the arts will always stand the test of time.

Winning Works is performing for a limited run from March 13-15 and March 19-22 at the Museum of Contemporary Art (220 E Chicago Ave, Chicago). Tickets are available at https://joffrey.org/. As a bonus, audience members can show their Winning Works program book to receive a free admission voucher to the MCA, proving that the arts are inescapably intertwined and will always win.

The year is 1952. Television is rapidly gaining popularity over radio, to the delight of some and the disgust of others. Senator Joseph McCarthy has just been re-elected and is accusing hundreds of people of having connections to the Communist Party, provoking a nationwide climate of paranoid hysteria. Thousands of people, particularly in the mass media, are being blacklisted and expelled from their jobs. One would think (hope!) the lessons of this Red Scare might relieve us of government overreach and of accusations due to differing ideologies … sadly, not so much, as attested to by Stephen Colbert.

CHANGING CHANNELS opens in a backstage dressing room at the DuMont Television Network, a dressing room tenanted by Maggie Carlin (Kat Evans) for her popular comedy show. Kat Evans as Maggie Carlin and Orion Lay-Sleeper as her comedic partner Eddie Gilroy are both absolutely terrific. I don’t generally like comedy; a television laugh track is like fingernails on a blackboard to me, but as CHANGING CHANNELS takes place on the set of a comedy TV show, some jokes are inevitable. Happily, they are truly good jokes. We all know the sound of an audience trying to laugh cos they know it’s expected, as opposed to honestly breaking up over a droll line delivered skillfully, and in CHANGING CHANNELS even I was LOL! And later when the script turned serious, Evans and Lay-Sleeper both demonstrated superior range.

Skyler Tipton played Maggie’s husband Peter Bell, a truly stellar spouse, unswerving in his devotion and succor (I love using the word ‘succor’ – it’s like getting away with talking dirty). Andrew Pappas plays the handyman Kenny, a role that might have been a bit part but turns out to be pivotal. It’s not easy to flesh out a character from only a handful of appearances and lines, but Pappas succeeds in making Kenny real, a person whom one might like to have around.

Eddie’s lawyer, misfortunately (albeit appropriately) named Bullets, is played by Johnny Moran. The lawyer arrives bearing tidings of great joy – a breakthrough advance for Maggie and Eddie’s show! Next, however, he has to deliver the caveat: in order to accept the promotion they must sign a document that amounts to a loyalty pledge. Here is the crux around which the story turns: refusal to sign is not so much what anyone wants to do; it’s being expected to sign that rankles.

The set, designed by Joe Larkin, was inspired. The entire show takes place in Maggie’s backstage dressing room, giving the performance a pleasing sense of intimacy – Maggie can make all her many costume changes right onstage behind the big dress/costume rack – it is, after all, her dressing room! The wall is hung with posters showing some of Maggie and Eddie’s performances, and I was delighted to see on the coffee table a vintage copy of True Confessions – brilliant prop, Meg X McGrath! Emily McConnell’s costumes were spot on, totally in sync with the characters and the period, as well as a shining testament to Chicago’s resale shops! Lighting by Liz Cooper and Sound by Petter Wahlbeck combined to form an effective vintage milieu. And the overall smooth production is a testament to Stage Manager Tseela Sokolin-Maimon’s skill.

Why did I like CHANGING CHANNELS so much, given my dislike of comedy theatre? Well, CHANGING CHANNELS isn’t truly a comedy show – the comic repartee is because the characters are comediennes. The play itself, while very funny at times, is actually political commentary, and the raillery serves to lighten and brighten what might otherwise have been a heavy-handed delivery of the message. To my mind this serves to make the message more powerful as well as more accessible.

Edmund Burke said:” The only thing necessary for the triumph of evil is for good men [sic] to do nothing.” Hear hear!

CHANGING CHANNELS plays at City Lit Theatre, 1020 W Bryn Mawr Ave, through April 12

HIGHLY RECOMMENDED!

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

Physical Theater Festival Chicago is proud to announce the full lineup for its 13th anniversary celebration, June 1 - 7. The Festival kicks off Monday, June 1 and Tuesday, June 2 with two nights of local artists’ showcasing new work, at Theater Wit, 1229 W. Belmont Ave. The Festival continues with five days of international and national performances, workshops and conversations also at Theater Wit and The Dance Center at Columbia College Chicago, 1306 S. Michigan Ave. Artists and companies scheduled to perform during the seven-day special event include: the Chicago return of Argentinian’s physical chameleon Luciano Rosso; the United States premiere of Peruvian mask theater ensemble Compañia de Teatro Físico; Korean-American powerhouse Sora Baek and Portland’s all ages clown duo A Little Bit OFF. The Physical Theater Festival of Chicago also announces a new partnership with The Dance Center at Columbia College Chicago which will host the premiere of award-winning Belgian company Chaliwaté. Tickets for individual shows at Theater Wit are $36, (general admission); $23, (industry/students/seniors/veterans) and for The Dance Center at Columbia shows: $40, (general admission);$26, (industry/students/seniors/veterans). Festival passes for all out-of-town shows are $159 (general admission) and $89, (industry/students/seniors/veterans). Tickets and passes may be purchased at PhysicalFestival.com.

Physical Theater Festival Chicago brings to Chicago audience-beloved, ​award-winning and critically acclaimed new dramas, comedies and dramedies from around the world that inspire theatergoers and local artists to reimagine what a live theater experience can be and do across cultures, languages and genres. Showcasing a variety of genres, including Clown, Mime, Improv, Puppet and Object Theater, Circus, Dance and Street Theater, ​award-winning and critically acclaimed new dramas, comedies and dramedies, the Physical Theatre Festival also includes workshops and post-show discussions building a connection between audiences and artists. 

“Every show we are bringing this year is filled with hope, humanity, joy and beauty. They celebrate the very best of the human spirit in a spectacular and original way, brought to the stage by these extraordinary artists and companies,” said Artistic Director Alice da Cunha. “Each year, we do our best to host a theater celebration, and I am so excited to gather with our audiences, new and old, and experience the 13th edition together.”

“We’re taking a big step forward this year with a new partner – The Dance Center of Columbia College Chicago. Together, we’ll be hosting a world-class company from Belgium called Chaliwaté in the South Loop. We’re also thrilled to continue our partnership with Lakeview East’s Theater Wit for the fourth year. We’ll be hosting incredible shows there from Chicago to Peru all week long. As always, we’re excited to celebrate physical theater in a community-forward way with cultural exchange at the forefront,” added Executive Director Marc Frost.

13TH PHYSICAL THEATER FESTIVAL CHICAGO CALENDAR OF EVENTS

(Information on companies and individual artists may be found at PhysicalFestival.com. Workshops, post-show discussions and classes will be announced in April.)

Performances at Theater Wit, 1229 W. Belmont Ave.

Monday, June 1 at 7 p.m. 

Scratch Night

Scratch Night is a curated theater showcase of works-in-progress featuring innovative local theater makers. Scratch Night features six previews of original contemporary, visual and physical theater by different Chicago artists to foster their development. Produced by local curators, Scratch Night aims to provide a social space for community, conversation and collaboration.

Tuesday, June 2 at 7 p.m.

Being Made in Chicago Night

Being Made in Chicago will spotlight two new works from Chicago-based artists and companies who have previously performed at Scratch Night. Join us as we celebrate the creativity and resilience of our local physical theater community right in sweet home, Chicago!

Wednesday, June 3, Friday, June 5 and Saturday, June 6 at 7 p.m. and Sunday, June 7 at 2 p.m.

Los Regalos/The Gifts by Compañia de Teatro Fisico (Peru)

The international section of the festival opens with this beloved multi-award winning show from Peru. A father and his two sons live alone in a house without women.The most routine of tasks such as preparing breakfast, bathing

or housework turns into real adventures when tackled by three inexperienced men and their fear of now knowing what they are doing. The journey that the elder brother needs to make in order to leave home, and the fear of saying goodbye to the ones we love, will be the starting point of our story.

The June 3 performance of Los Regalos/The Gifts will be followed by a meet and greet and talk back with the artists and a Peruvian reception sponsored by Tanta Chicago and the Consulate General of Peru in Chicago.

Wednesday, June 3 at 9:00 p.m., Saturday, June 6 at 5 p.m. and Sunday, June 7 at 11 a.m.

Beau and Aero by A Little Bit OFF (Seattle, USA)

Multi-award winning Beau and Aero ask the question, “What if the Wright brothers went wrong?” Beau and Aero is an acrobatic, slapstick, latex-heavy comedy featuring two incompetent aviators on their quest for flight. Pompous pilot Beau and his clueless co-pilot Aero have crash landed. The unlikely aeronautic duo tries everything to get back into the air - from propellers and parachutes, to balloons of all sizes, but to no avail. Distracted by their own imaginations, and the notably unhelpful contents of their emergency supply crate, the two tumble through hijinks and comedic conundrums, before emerging out the other side. The show blends clown with elements of acrobatics, mime, and puppetry, with wordless humor that will tickle audiences of all ages and languages. A strong vintage aesthetic paired with the duo’s ridiculous antics onstage is a nostalgic nod to timeless classics of old American Vaudeville. It’s like Charlie Chaplin meets Amelia Earhart. 

Thursday, June 4 at 7 p.m. and Friday, June 5 at 7:30 p.m.

SELL ME: I am from North Korea by Sora Baek (South Korea/USA)

A sold-out hit at the 2024 Edinburgh Festival Fringe and performed in the United States. Capitol Center, this powerful, fast-paced solo piece is inspired by the true stories of courageous North Korean women defectors. On her fifteenth birthday, Jisun, a North Korean girl, decides to sell herself to an old man to buy medicine for her dying mother. After risking her life crossing into China, she learns her body is considered worthless. Will she survive in a merciless foreign land where her very existence is illegal?

Thursday, June 4 - Saturday, June 6 at 9 p.m. 

Apocalipsync by Luciano Rosso (Argentina/France)

The Argentine actor from Un Poyo Rojo (Physical Theater Festival 2025), takes audiences on an extravagant journey with his one-man show Apocalipsync. Born during the spring 2020 pandemic, this show offers a reflection on isolation, creativity and a cartoon-like view of our contemporary world. Luciano Rosso brilliantly embodies around forty eccentric and witty characters who accompany him on an endless journey within the solitude of his apartment. On stage, he uses his elastic body to showcase his many talents: dance, clowning, contortion and especially lip sync. It is an exhilarating and hilarious performance about the many inventive ways we find to escape boredom.

Performances at The Dance Center At Columbia College

​​1306 S. Michigan Ave.

Thursday, June 4 and Friday, June 5 at 8 p.m. and Saturday, June 6 at 2 and 6 p.m. 

Jetlag by Chaliwaté (Belgium)

Jetlag is, above all, an emotional journey—one that is constantly out of step.

Moving between airports, from crowded transit zones to the confined cabin of an airplane, a man struggles to keep his loneliness at bay. Caught between exhilaration and confusion as he travels from one place to the next, space and time begin to blur, and he dreams of a new beginning. Yet as he moves forward in his quest, he comes to realize that things may not unfold as he had hoped.

ABOUT ALICE DA CUNHA, CO-FOUNDER and ARTISTIC DIRECTOR

Alice de Cunha is a Chicago-based Brazilian and Portuguese actress, director and producer. She co-directed with Sandra Marquez the multi-award winning Teatro Vista show The Dream King. Acting credits include Steppenwolf Theatre, Remy Bumppo, Theater 503, as well as House Theater for which she received a Jeff Award for Best Ensemble for United Flight 232.

She is the artistic director and co-founder of Chicago’s Physical Theater Festival, an annual festival committed to present in our city international acts that represent the future of what theater can be and do. She has extensive experience in the international theater festival sector and has worked, among other festivals at CASA (UK), Shortcutz London, TODOS (Portugal) and the Chicago Latino Film Festival. De Cunha is an artistic consultant to Theater Unspeakable and an adjunct professor at Loyola University.

ABOUT MARC FROST, CO-FOUNDER and EXECUTIVE DIRECTOR

Marc Frost is an actor, deviser, educator and Chicago native who has performed and produced work in Brazil, Ireland, Spain, the United States and the United Kingdom. He created Theater Unspeakable as a platform for original works of devised, physical theater. Based in Chicago, the award-winning company has toured nationally, performing at venues including Lincoln Center Education (NY) and Kennedy Center (DC). He currently teaches at Roosevelt University. Frost is also a proud graduate of the Commercial Theatre Institute’s 14-Week Training Program for Commercial Theatre Producers in New York City.​​

ABOUT PHYSICAL THEATER FESTIVAL CHICAGO

Physical Theater Festival Chicago brings to Chicago audience-beloved, virtuosic live performances from around the world that inspire theatergoers and local artists to reimagine what a live theater experience can be and do across cultures, languages and genres. Launched in 2014 by Alice da Cunha and Marc Frost the festival was founded to introduce a more progressive, physical approach to theater-making in Chicago.

Now in its 13th year, the festival showcases award-winning, ensemble-created works spanning traditions such as clown, mime, improv, puppetry, object theater, circus, dance and street performance, while also highlighting outstanding artists and Chicago companies.

The 2026 Festival partners include Chicago Latino Theater Alliance, International Latino Cultural Center Of Chicago, The Dance Center At Columbia College, Segundo Ruiz Belvis Cultural Center, Theater Unspeakable, Consulate General Of Argentina and Consulate General Of Peru.

It’s been more than a decade since Chicago Children’s Theatre presented Goodnight Moon, the popular musical about a bunny who doesn’t want to go to bed, based on the beloved picture book by Margaret Wise Brown and illustrator Clement Hurd.

But this Spring, Bunny is coming back to Chicago Children’s Theatre in an all-new way. This time, to celebrate the company’s 20th Anniversary season finale, Bunny will be “in the house.”

CCT’s 20th Anniversary production of Goodnight Moon will feature an all-new, immersive scenic design that will invite audiences for a primary-colored play date right inside Bunny’s bedroom. There, on an environmental set, both kids and parents will enjoy catchy songs, delightful dancing, the humorous antics of a very nocturnal bunny, and the quiet poetry of the iconic tale.

Immerse YOUR family in the world of Goodnight Moon. Public performances are April 11-June 7, 2026, Saturday and Sunday at 9:30 a.m. and 11:30 a.m.* 

Tickets are $47.25 and on sale at chicagochildrenstheatre.org. Purchase early, as many shows will sell out. Goodnight Moon runs approximately 75 minutes. This show is recommended for all ages. Call CCT Guest Services, (312) 374-8835, or email This email address is being protected from spambots. You need JavaScript enabled to view it. to learn about additional discounts for schools, playgroups, birthday parties and scouting groups. 

*Schedule exceptions: No 11:30 a.m. show Saturday, April 11. No 9:30 a.m. shows Sunday, May 3 and May 17. Added 2 p.m. matinee Sunday, May 3.)

New in 2025-26, Chicago Children’s Theatre has introduced a “20 tickets for $20” 20th Anniversary Lottery. Patrons can enter once per production and drawings will happen each week with the winners receiving their special offer (maximum four tickets per patron).

Chicago Children’s Theatre, a “no shushing” theater, is located at 100 S. Racine Ave., at Monroe, in the heart of Chicago's West Loop, minutes from
I-90 and I-290, downtown and Ashland Avenue. Free, onsite parking is available on the south side of the building. Free street parking can be found nearby on weekends, or try the Impark parking lot, 1301 W. Madison St.

Andrew Lloyd Webber’s Cats remains one of musical theatre’s most distinctive creations - a sung‑through, dance‑driven spectacle that swaps traditional plot for atmosphere, character portraits, and pure theatrical immersion. Drawn from T. S. Eliot’s Old Possum’s Book of Practical Cats, the musical unfolds as a moonlit gathering of the Jellicle tribe, each feline stepping forward to claim the spotlight before the climactic “Jellicle Choice,” when one is chosen for rebirth into the Heaviside Layer – a new life. Its unconventional structure, eclectic score, and iconic choreography helped define the mega-musical era, earning Cats major awards and record‑breaking runs in both London and New York. And now it’s here!

To kick off their 2026 season, Music Theater Works brings Cats to the North Theatre in the North Shore Center for the Performing Arts, offering Chicago audiences a fresh trip into the Jellicle universe. It’s the perfect time to pounce on this legendary musical - whether you’re drawn by its nostalgia, its high‑energy movement, or the simple delight of watching a community of cats chase belonging and second chances.

Cats has always been one of my very favorite Andrew Lloyd Webber musicals, and revisiting it reminds me why. Its blend of atmosphere, movement, and character‑driven storytelling creates a world that feels both whimsical and strangely profound – a world that is so easy to get lost in.

What continues to give Cats its staying power is the blend of spectacle and emotional resonance. While much of the evening plays as a parade of emotionally grounded ensemble-anchored numbers - playful, mischievous, or grand - the heart of the piece rests with Grizabella (magnificently played in this production by Ava Lane Stovall), the faded glamour cat whose ballad “Memory” became a global standard. The production’s emphasis on movement, atmosphere, and immersive world‑building over traditional linear storytelling makes Cats both polarizing and unforgettable, and its decades‑long staying power proves just how deeply that approach resonates across generations. Music Theater Works captures that essence beautifully, channeling the show’s dreamlike logic and ritualistic energy in a way that feels both faithful and freshly imagined.

Astutely directed and choreographed by Mandy Modic, Music Theater Works makes inventive use of the North Shore Center’s intimate space, transforming nearly every nook and cranny into part of the Jellicle playground. The result is a production where activity seems to spark from every direction, creating a sense of constant motion that borders on ingenious. From the moment the show begins - after a playful prelude of cat videos on a large TV - the cast emerges in the dark, parading down the aisles with glowing cat‑eye glasses that immediately pull the audience into their world. Throughout the performance, strategically placed perches and platforms scattered around the theater keep the action mere inches away, giving some audience members the rare thrill of being fully surrounded by the Jellicle tribe. Though I’ve seen Cats countless times in both the Chicagoland area and New York, this production may well be the one that connected with me the most.

(Center) Ethan Lupp as “Rum Tum Tugger” and members of the cast of CATS in CATS from Music Theater Works, now playing through March 29 at the North Shore Center for the Performing Arts in Skokie.

Sam Nachison brings a commanding warmth to Old Deuteronomy, balancing authority with compassion and grounding the production with a rich, resonant baritone in his self‑titled number. Stovall, meanwhile, delivers a vocally commanding, show‑stopping “Memory” in Act II - an emotional high point that pierced my heart and gave me chills. But what truly elevates this production is how deep the talent runs throughout the ensemble. Whether it’s the big, full‑company showstoppers, the sly, feline physicality woven into every corner of the stage, or the sheer joy of numbers like “Magical Mister Mistoffelees,” the cast proves endlessly engaging. Group sequences such as “Jellicle Songs for Jellicle Cats” and “Journey to the Heaviside Layer” showcase a company working in complete synchronicity, creating moment after moment that dazzles. The memorable beats are as abundant as the cats roaming the theater, each one adding to a production overflowing with energy, precision, and charm.

Throughout the performance, I found myself drawn to different performers at different moments, captivated by their vocals, their movement, and the sheer feline energy they brought to the stage. The ensemble’s commitment was so complete that no matter where I looked, someone was doing something compelling, clever, or beautifully in character. That sense of constant discovery carried straight into the show’s physical feats - from aerial acrobatics to Morgan Schoenecker’s crisp tap breaks as Jennyanydots and even the unexpected skating sequences led by Danny Spagnuolo as Skimbleshanks - making the production a steady stream of surprises. Add in the constant, playful eye contact from cats prancing through the aisles, and every moment feels enchanting - alive with movement, mischief, and immersive detail.

Nick Johnson’s Munkustrap grounds the entire production with a steady, commanding presence, guiding the ensemble and shaping the rhythm of the evening. He moves through the show with an effortless authority - part narrator, part guardian - setting both the emotional and musical pace while keeping the Jellicle world anchored. In doing so, he opens the door for the production’s standout moments to land with even greater impact - and never far from that spotlight is Emma Jean Eastlund’s Bombalurina, slipping in with charisma and precision alongside the rest of the talented ensemble.

Ava Lane Stovall as “Grizabella” in CATS from Music Theater Works. Phots by Brett Beiner.

Another moment that stayed with me was John Cardone’s moving rendition of “Gus: The Theatre Cat.” As Asparagus, he delivers this bittersweet, nostalgic reflection of an aging performer looking back on the glory days of his career. The ache of the number comes from the gap between who Gus once was and who he has become - an actor with a shabby coat, trembling paws, and memories of a time when he was the “terror to mice.” Cardone leans into that fragility with such sincerity that the song lands as both a tribute and a quiet heartbreak.

And from that intimate moment, the production expands back into the vibrant world of the Jellicles. The cats themselves are incredible - brought to life with remarkable clarity thanks to the production’s outstanding creative team. Much of that magic stems from the meticulous work of hair, wig, and makeup designers Megan E. Pirtle and Melanie Saso, whose transformations give each performer a distinct feline identity, and from the richly textured costumes crafted by kClare McKellaston and wardrobe head Kristen Brinati, which add depth, personality, and visual cohesion to the entire tribe. Together, their contributions shape a world so vivid and fully realized that the characters feel as if they’ve stepped straight out of Eliot’s imagination and into the audience’s laps. Credit belongs to every corner of the creative team, from scenic design to sound to lighting, all working together to shape an atmosphere that feels nothing short of Jellicle heaven. Their combined artistry turns the space into a fully realized world - mystical, inviting, and alive with detail - so the audience is immersed from the moment the first cat appears. Every technical element works in harmony to envelop the audience in this moonlit world - sets that invite exploration, sound that wraps around the room, and lighting that shifts the space from mystical to electric in an instant. The result is a production that manages to be both haunting and joyfully alive, lingering in the imagination long after the final note.

What I appreciated most about this rich and colorful production is how it reflects the moment we’re living in. At a time when the world feels unsteady, we’re each our own special kind of “cat,” carrying unique talents and flaws, and offering up our personal histories - our triumphs and our losses to each other our fellow "cats" - as the curtain of world seems to be falling around us. Yet, in that shared vulnerability, we find the strength to realize that as long as we keep supporting one another, the light never truly goes out.

Purr‑fect, meow‑velous, pawsitively delightful, downright meow‑gical - take your pick! Every one of them fits this production like a cat in a sunbeam.

Music Theatre Works’ Cats is being performed at the North Theatre in the North Shore Center for the Performing Arts through March 29^th. For tickets and/or more show information visit https://www.musictheaterworks.com/2026-season/cats/.

Highly Recommended.

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

IT’S TIME: ABOUT TIMELINE’S NEW HOME

Tin Drum Theatre Company is proud to announce the cast and creative team for the Chicago premiere of Southern Rapture at Theater Wit, 1229 W. Belmont Ave., June 11 - 28, written by Eric Coble and directed by Jason Palmer. The preview for Southern Rapture is Thursday, June 11 at 7:30 p.m. and the opening night performance is Friday, June 12 at 7:30 p.m. The performance schedule is Thursdays - Saturdays at 7:30 p.m. and Sundays at 3 p.m. Tickets are $30 with $15 student tickets and may be purchased at TinDrumTheatre.com. 

In the heart of the Bible Belt, a local theatre company announces it will stage a play called Rapture in America—complete with seven seconds of male nudity—sending the city into a frenzy. Based on actual events, Eric Coble's Southern Rapture turns this civic eruption into a wickedly funny satire about artistic freedom, arts funding, the weaponization of civic institutions and what happens when conviction outruns common sense.

Originally commissioned by Actor's Theatre of Charlotte, Southern Rapture draws directly from one of the city’s most explosive cultural battles. In 1996, Charlotte Repertory Theatre announced a production of Angels in America.. The district attorney attempted to bring criminal charges, however, emergency court injunctions required the show to open. “Good Morning America” broadcast a train-wreck debate, turning a local arts dispute into a national spectacle.

Eighteen months later, county commissioners retaliated by slashing $2.5 million in arts funding, destabilizing organizations across the city. Although much of that funding was later restored, the interruption sent lasting ripples through Charlotte’s artistic landscape. Charlotte Rep won the Angels battle, but the controversy produced long-term consequences that cost it the war. Amid donor fatigue, mounting financial strain and leadership turnover, the company closed permanently in 2005.

The Southern Rapture ensemble cast includes Teddy Boone (he/him, Mayor Winston Paxton), Shannon Leigh Webber (she/her, Marjorie Winthrop), Michael Stejskal (he/him, Donald Sherman), Mary Anne Bowman (she/her, Allissa Marquand, Nyla-Jean Geisy, Julia Overmyer), Jenny Hoppes (she/her, Laverne Jackson, Pam, Clarice Paxton, Tina), Jordan Gleaves (he/him, Simon Larisher, Emmett Whipple, Nightline Host, Franklin McManus) and Andrew Bosworth (he/him, Mickey Stedman, Reverend Dupree, Anton Finewitz). 

The creative team includes Steve Needham (he/him, producer), Jason Palmer (he/him, director), Teddy Boone (he/him, casting director), Emily Nicholas (she/her, stage manager), Sil Rivera (they/them, asst. stage manager/scenic asst.), Kaitlyn Hettinger (she/her, technical director/scenic designer), Kasey Wolfgang (she/her, costume designer), Ellie Fey (she/her, lighting designer/master electrician), Zach Stinnett (he/him, sound designer) and Erin Alys (she/her, intimacy/movement director).

Content notice: Southern Rapture includes a brief nude scene.

ABOUT ERIC COBLE, playwright

Eric Coble is an award-winning American playwright whose work spans sharply drawn dramas, audacious comedies, and incisive social satire. Born in Edinburgh and raised on the Navajo and Ute reservations of the American Southwest, Coble brings a distinctive blend of wit, empathy and theatrical boldness to the stage.

His plays have been produced across the United States and internationally, including on Broadway, Off-Broadway and at major regional theatres. His Broadway debut—The Velocity of Autumn, starring Estelle Parsons and Stephen Spinella—earned Parsons a Tony Award nomination. Other widely produced works include The Giver (stage adaptation), Bright Ideas, My Barking Dog, Fairfield, The Dead Guy, Natural Selection and Southern Rapture, among many others.

Coble’s scripts have received a Jeff Award, the ATCA Steinberg New Play Award citation, the Governor’s Award for the Arts (Ohio) and multiple Edgerton New Play Awards. His work has been developed or produced by The Kennedy Center, Playwrights Horizons, Manhattan Class Company, Denver Center Theatre Company, Cleveland Play House, Alliance Theatre, Arena Stage and Actors Theatre of Louisville, among others.

Known for his sharp comic voice and his ability to illuminate the tensions and absurdities of contemporary American life, Coble continues to be a vital and provocative presence in the new-play landscape. He is a member of the Playwrights’ Center and a graduate of Ohio University’s MFA program.

ABOUT JASON PALMER, director

Jason Palmer is the co-founder and co–artistic director of Tin Drum Theatre Company, where he helps shape bold, conversation-driven work in Chicago’s storefront scene. He recently directed the 2024 world premiere of Winter Garden by Steve Needham and the 2025 Chicago premiere of Nick Payne’s Incognito.

A multi-disciplinary theatre-maker with over 30 years of experience, Palmer’s work spans directing, producing, performance, dramaturgy and design across New York, Chicago, Los Angeles and Ireland. Early in his career he served as literary manager and assistant director at Gilgamesh Theater Group and assistant directed Keith Reddin’s Off-Broadway premiere of Black Snow. In Chicago, his long association with the erstwhile Bailiwick Repertory Theatre included performing, stage management and coordinating several seasons of the Bailiwick Directors’ Festival. His performance in Nicholas Patricca’s Oh Holy Allen Ginsberg at the 2006 International Dublin Gay Theatre Festival earned a Best Actor nomination and an Honorable Mention.

Palmer has also worked with the Western Region of Actors’ Equity Association and the Directors Guild of America, giving him a strong grounding in theatrical and labor structures. His technical experience includes lighting design, set construction and stage management, and he is a multiple-time Irene Ryan nominee.

As co–artistic director of Tin Drum Theatre Company, Palmer is committed to developing new work and supporting Chicago’s next generation of storefront artists.

ABOUT TIN DRUM THEATRE COMPANY

Tin Drum Theatre Company exists to disrupt complacency and reassert theatre’s civic purpose. Creating theatre that asks something of its audience, moving beyond comfort to provoke conversation and critical engagement. Tin Drum believes community begins where audiences and ideas collide, and where dramatic disturbances are created.