Displaying items by tag: Chicago

Let’s face it – in today’s world, “vaccinations” are a hot-button topic. More than ever, anything around health has become highly politicized, and for some, can elicit a deeply emotional reaction. Therefore, consensus is even harder to come by, and for some, even entering the debate feels impossible.

Despite all of that, leave it to Playwright Jonathan Spector to do the impossible and turn a play about vaccinations and consensus into a laugh-out-loud comedy. If you’re anything like this Opening Night audience, you might even find yourself gasping for air as you try to work through the laughter enough to absorb whatever witty one-liner comes next.

Spector’s Eureka Day takes place at a highly progressive private school where all decisions are made by consensus. However, when a mumps outbreak takes over the school, the Executive Board is going to find that artisanal scones are not always going to provide enough band aid for differing opinions.  Chaos ensues as parents clash in opinions over vaccinations and research, leaving the community unsure of how the school will ever recover.

Directed by Lili‑Anne Brown, Eureka Day is a witty, fast‑paced production presented by TimeLine Theatre in partnership with Broadway in Chicago. The work of Brown’s talented creative team immediately transports us into an elementary school library – particularly that of Scenic Designer Collete Pollard. The combination of picture books, colorful bean bags, and small chairs is sure to leave you feeling nostalgic as you think back to a time when you perhaps inhabited spaces like this.

Brown’s production features a strong ensemble with spot-on comedic timing. PJ Powers as Don, Eureka Day’s principal, elicited great laughter at this performance through his deep need to smooth over any debate. With every sigh or pause, he had the audience in the palm of his hand – wondering how he was going to try and navigate that particular rough patch. Jürgen Hooper expertly strikes a delicate balance with his approach to Eli, a character that walks a line as he tries to embody the stereotypical “white, woke man.”  Aurora Adachi-Winter has an authentic, genuine approach to her Meiko – the mom so many of us will recognize as the one who does not want to ruffle feathers, but also only has so much farther she can be pushed before she simply has to let her anger explode.

You might find that part of the cleverness of Spector’s story is its ability to invite an audience to empathize with both sides of the vaccination debate. Much as one might expect – not every parent meets eye to eye. As the school navigates the decision on whether or not to mandate the mumps vaccine for their students, we receive a window into the personal experiences of families on both sides.

In one particular scene, it is only Suzanne (Rebekah Ward) and Carina (Gabrielle Lott-Rogers) on stage. It is clear at this point that while Carina is pro-vaccination requirements, Suzanne is very much against. There is a great deal of silence, and the discomfort can be felt in the audience. While I do not wish to give away all of the details, I can say this – both actors treat their sides of the debate with a delicate grace. There is an openness and generosity from both Lott-Rogers and Ward that allows the audience to understand where they are each coming from. Regardless of which side of the debate on which you fall, you might just find yourself moved by the scene – and the ability for both characters to let down their walls and help each other understand their side of a highly personal topic.

A witty script with a lot of heart makes Eureka Day an absolute must-see. The topic alone is timely, and the ensemble brings it to life in a way that will stick with you for days.

HIGHLY RECOMMENDED

Eureka Day runs through February 22, 2026 at Broadway Playhouse – 175 E. Chestnut Street. For tickets and information, see the Timeline Theatre website.

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to continue its 50th Anniversary Season with Windfall, a gripping new work by Academy Award-winning ensemble member Tarell Alvin McCraney, directed by Awoye Timpo, playing April 9 – May 31, 2026 in Steppenwolf's Ensemble Theater, 1646 N. Halsted St. in Chicago. Single tickets are now on sale at steppenwolf.org or the Box Office at (312) 335-1650. The press opening is Sunday, April 19, 2026 at 6 pm.

Windfall reunites ensemble members Alana Arenas, Glenn Davis and Jon Michael Hill, who starred in Steppenwolf's Tony and Pulitzer Prize-winning drama Purpose, joined by ensemble member Namir Smallwood, direct from his Broadway turn in Bug opposite ensemble member Carrie Coon. Additional casting to be announced.

About the Production:

This is a story about money. Don't let them fool you otherwise. When a father loses his child in a clash with the police, he is visited by three strangers who advise him to take the city's cash settlement, relocate and forget his grief – or else remain, haunted by memories of the world his child fought so hard to protect. This lyrical world premiere is a vital and timely look at the spirit of activism set against the most indifferent system of them all: the almighty dollar.

Steppenwolf Artistic Directors Glenn Davis and Audrey Francis comment, "When we commissioned ensemble member Tarell Alvin McCraney to write a new play specifically built for our in-the-round Ensemble Theater as a centerpiece of Steppenwolf's 50th season, we weren't sure what he'd create. But, given that Tarell is one of the most talented writers of his generation, we were not at all surprised that he delivered a stunning, lyrical and undeniably bold script. This is a play for our moment, for our city, tailor made for an ensemble cast and this unique venue. We eagerly anticipate sharing this vital Chicago story with our community."

The creative team includes Andrew Boyce (Scenic Design), Qween Jean (Costume Design), Jason Lynch (Lighting Design), Willow James (Sound Design), Bryar Barborka (Dramaturg), Patrick Zakem (Creative Producer), Tom Pearl (Producing Director), JC Clementz, CSA (Casting), Michelle Medvin (Production Stage Manager) and Kathleen Barrett (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Windfall
Playwright: ensemble member Tarell Alvin McCraney
Director: Awoye Timpo
Cast: ensemble members Alana Arenas (First Lady, Second Wife, Miss Second, The Last One) Glenn Davis (Marcus), Jon Michael Hill (Nurse, Cori) and Namir Smallwood (Officer, Brother 1). Additional casting to be announced.

Location: Steppenwolf's Ensemble Theater, 1646 N. Halsted St., Chicago

Dates: Previews: Thursday, April 9 – Saturday, April 18, 2026
Opening: Sunday, April 19, 2026 at 6 pm
Regular run: Tuesday, April 21 – Sunday, May 31, 2026
Curtain Times: Tuesdays, Wednesdays, Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 7:30 pm; and Sundays at 3 pm. Please note: there will not be 7:30 pm performances on Tuesday, April 14, Wednesday, April 22, Tuesday, April 28, Tuesday, May 5, Saturday, May 9 (Steppenwolf Gala) and Tuesday, May 26; there will not be at 3 pm performance on Saturday, May 9 (Steppenwolf Gala); there will be an added 7:30 pm performance on Sunday, April 26; there will be an added 2 pm matinee on Wednesday, May 20.

Tickets: Single tickets for Windfall ($20 – $148.50*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale at steppenwolf.org/memberships: Black Card Memberships with six tickets for use any time for any production and RED Card Memberships for theatergoers under 30. *Pricing includes an $8.50 handling fee

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

Accessible Performance Dates:

Audio-Described and Touch Tour:  Sunday, May 24 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Saturday, May 16 at 3 pm & Thursday, May 21 at 7:30 pm
ASL-Interpreted: Friday, May 29 at 7:30 pm

Education and Engagement:

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

Artist Biographies:

Tarell Alvin McCraney (Playwright, he/him) is Artistic Director of Geffen Playhouse. In this role, he is responsible for identifying, developing and programming new works and re-envisioned classics. He sets the strategic artistic course for the Geffen's Gil Cates and Audrey Skirball Kenis Theaters. McCraney is an award-winning writer, producer and educator, best known for his acclaimed trilogy, The Brother/Sister Plays. His script In Moonlight Black Boys Look Blue is the basis for the Oscar–winning film Moonlight directed by Barry Jenkins, for which McCraney and Jenkins also won a Best Adapted Screenplay Oscar. He is an ensemble member at Steppenwolf Theatre and a member of Teo Castellanos D-Projects in Miami, a graduate of New World School of the Arts, The Theatre School at DePaul University and the David Geffen School of Drama at Yale. He received an honorary doctorate from the University of Warwick. He was recently Co-Chair of Playwriting at the David Geffen School of Drama, where he remains on faculty. He is an associate at the Royal Shakespeare Company, London, and a member of the Academy of Motion Picture Arts and Sciences (Writers Branch).

Awoye Timpo (Director) is a Brooklyn-based Director and Producer. She recently directed Ngozi Anyanwu's Leroy & Lucy at the Steppenwolf. Her recent New York credits include The Swamp Dwellers by Wole Soyinka (TFANA), Syncing Ink by NSangou Njikam (Apollo Theater), Elyria by Deepa Purohit (Atlantic Theater), Wedding Band by Alice Childress (Theatre for a New Audience), In Old Age by Mfoniso Udofia (New York Theatre Workshop), Carnaval by Nikkole Salter (National Black Theatre), Good Grief by Ngozi Anyanwu (Vineyard Theatre and Audible) and The Homecoming Queen by Ngozi Anyanwu (Atlantic Theater Company). Regionally she has directed at the Huntington, Studio Theatre, Paradise Blue, Actors Theatre of Louisville, Berkeley Rep, Marin Theatre Company. Other projects include concert performances for independent artists as well as for the NBA, Ndebele Funeral (59E59, Edinburgh, South African Tour), "Black Picture Show" (Artists Space/Metrograph), and Bluebird Memories (Audible). Awoye is a Creative Arts Consultant for the African American Policy Forum and the Founding Producer of Classix, a collective of 5 artists created to explode the classical canon through an exploration of dramatic works by Black writers and Black performance history, theclassix.org.

Alana Arenas (First Lady, Second Wife, Miss Second, The Last One) joined the Steppenwolf Theatre Company ensemble in 2007. She most recently appeared in Steppenwolf's world premiere of Purpose by Branden Jacobs-Jenkins in Chicago and on Broadway (Tony Award – Best Play). Alana also created the role of Pecola Breedlove for the Steppenwolf for Young Adults production of The Bluest Eye, which also played at the New Victory Theater Off-Broadway. Recent Steppenwolf appearances include: the Steppenwolf for Young Adults production of Monster, The Fundamentals, Marie Antoinette, Tribes, Belleville, Head of Passes, Good People, Three Sisters, The March, Man in Love, Middletown, The Hot L Baltimore, The Etiquette of Vigilance, The Brother/Sister Plays, The Tempest, The Crucible, Spare Change and The Sparrow Project. Broadway: Purpose. Other theatre credits include Disgraced (American Theater Company), The Arabian Nights (Lookingglass Theatre Company, Berkeley Repertory Theatre and Kansas City Repertory Theatre), Eyes (eta Creative Arts), SOST (MPAACT), WVON (Black Ensemble Theater) and Hecuba (Chicago Shakespeare Theater). Television and film credits include David Makes Man, Canal Street, Crisis, Boss, The Beast, Kabuku Rides and Lioness of Lisabi. She is originally from Miami, Florida, where she began her training at the New World School of the Arts. Alana holds a BFA from The Theatre School at DePaul University.

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

Jon Michael Hill (Nurse, Cori) joined the Steppenwolf Theatre Company ensemble in 2007. He most recently appeared in Steppenwolf's world premiere of Purpose by Branden Jacobs-Jenkins in Chicago and on Broadway (Tony Award – Best Play, Tony nomination – Lead Actor). Steppenwolf Theatre Company: Leroy and Lucy, True West (also Galway Arts Festival), Pass Over, Constellations, Head of Passes, The Hot L Baltimore, The Tempest, Kafka on the Shore, The Unmentionables. Broadway: Purpose, Superior Donuts, Pass Over. Off-Broadway: The Refuge Plays (New York Theatre Workshop) Pass Over (Lincoln Center). Film: Pass Over, Widows, In The Radiant City, No Pay, Nudity. Television: A Man in Full (Netflix), Elementary (CBS), Detroit 1-8-7 (ABC), Eastbound and Down (HBO), Law & Order: Special Victims Unit (NBC) and Person of Interest (CBS).

Namir Smallwood (Officer, Brother 1) joined the Steppenwolf Theatre Company ensemble in 2017. He is currently starring in ensemble member Tracy Letts's Bug on Broadway opposite, ensemble member Carrie Coon. Steppenwolf: Mr. Wolf, You Will Get Sick, The Book of Grace, Seagull, Bug, True West, BLKS, Monster, Man In Love, The Hot L Baltimore, Last Night and the Night Before. Broadway: Pass Over, Bug. Off Broadway: Pipeline, Pass Over (Lincoln Center). Chicago: The Lost Boys of Sudan (Victory Gardens Theater); Charm (Northlight Theatre); The Grapes of Wrath (The Gift Theatre); East Texas Hot Links (Writers Theatre). Regional: Marin Theatre Company, Pillsbury House Theatre, Ten Thousand Things, Guthrie Theater. International: True West (Galway International Arts Festival). Television: Chicago Fire, Betrayal, Elementary, American Rust (Showtime/FreeVee); Power Book IV: Force (STARZ). Film: Rounding.

Accessibility:

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

Sponsor Information:

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

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 49 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theater and Chicago's cultural landscape. Founded in 1976, Steppenwolf started as a group of teens performing in the basement of a church. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

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

At this time of year, when Christmas lights begin to twinkle and colors of green and red illuminate throughout the city, I am nostalgically drawn to the ballet. To me, there is nothing so quintessentially magical as The Nutcracker ballet at Christmas time. I can hum, and chair compose the entirety of Tchaikovsky’s masterpiece. I can mark every step to every number of the two-act ballet (shout out to Inland Pacific Ballet). I can picture my grandmother sewing the principal dancers into their tutus, and my mother managing ticket sales and donning the mother-ginger costume. For me, the holiday and the ballet are indivisibly interconnected. And now that I’ve lived in Chicagoland for longer than my childhood in Southern California, there is something nostalgically familiar and magical about Christopher Wheeldon's kaleidoscopic reimagining of The Nutcracker, now playing at The Lyric Opera House.

On a magical Christmas Eve, after awakening to an epic battle between Toy Soldiers and the Rat King, a flurry of snowflakes sweeps Marie away on a whirlwind journey to the dreamlike fairgrounds of the World's Columbian Exposition. Set to Tchaikovsky's classic score, experience sprawling attractions representing countries from around the globe: the dazzling Golden Statue, the mystique of an Arabian enchantress, vibrant Venetian masked dancers, Chinese dragons, and Buffalo Bill's Wild West Show. This holiday season, enter the spellbinding world where history and dreams intertwine.

The Nutcracker Amanda Assucena and Hyuma Kiyosawa in Joffrey Ballet's The Nutcracker at Lyric Opera House.

Wheeldon’s The Nutcracker is set against the majesty of the 1893 World’s Fair of Chicago. Though remnants of the fair can still be found in buildings like The Museum of Science and Industry, the true grandeur and spectacle is lost to photographs, sketches, and our imaginations. The magic and marvel of the fair’s White City is rumored to be the inspiration for the Emerald City in his best-selling children’s book of 1900, The Wonderful Wizard of Oz. While there is no solid evidence to support this claim, it would make sense that the fair, where Cracker Jacks, the Ferris wheel, and electricity itself were debuted and displayed, could inspire a magical city of Oz. It’s that same magic that Wheeldon captures in the Joffrey’s production of The Nutcracker. The uniquely Chicago-centric production of the ballet features the familiar storyline of Marie and her family, though it focuses on the love story between The Great Impresario of the Fair, performed by Stefan Gonçalvez, and Marie’s mother, the sculptress for the Fair and The Queen of the Fair, performed by Gayeon Jung. It shows the humble working-class families that built the city itself in the first act, juxtaposed against the vibrant and colorful world of the White City in the second act. The humility and simplicity of one act contrasted with the majesty of the second, coupled with journeys across Lake Michigan, make this production equally familiar and relatable. To date, it’s still one of my favorite productions of the ballet, quintessentially Chicago and absolutely magical.

What I wouldn’t give to be a snowflake in the core, a worker at the fair dancing beneath the first Ferris Wheel, or simply a watcher from the wings of this beautiful ballet. At this point, I have seen and reviewed the play more years than I performed in the ballet, and I still get goosebumps when the tree rises, and the snow falls. Whether you are seeing it for the hundredth time, the tenth time, or the first, every Chicagoan should experience the Nutcracker. Experience the magic for yourself. The Nutcracker is playing now through December 28^th at The Lyric Opera House (20 N. Wacker Drive, Chicago). Do not overpay for Joffrey tickets! Beware of ticket resellers offering overpriced or invalid tickets. The Joffrey is the only official seller with the best prices, available at www.joffrey.org.

When the sun plays peek-a-boo and a pre-winter chill settles over Chicagoland, locals inevitably look for ways to warm their hearts as well as their fingers and toes. It’s during this time of year that locals venture indoors and when the Chicago theatre scene offers respite from the bitter cold. Like a favorite holiday treat, there are dozens of choices available to seekers of light and warmth, from recurring favorites and classic retellings to original plays and immersive theatre. There is no better way to celebrate the season and to lighten spirits than a good hearty laugh, or two, or three, or so many your sides hurt the next day. You’ll find no better way of warming up this December than seeing the deliciously dirty fairytale that is Rapornzel now playing at the Hoover-Leppen Theatre.

Rapornzel (yes, you read that right, it is not a typo) is a panto-style reimagining of the classic fairytale of Rapunzel. Many years ago, the King and Queen of a far-off kingdom were blessed with a baby girl with long, magical, downstairs hair. One day, the jealous witch Mother F**ker kidnapped the child and locked her in a tower, selfishly squandering her merkin magic for herself. With the help of local hairdresser Dame Fanny Follicle, her thick-as-s**t son Pascal, the dashing Prince Ride-her, and the Hairy Fairy, will Rapornzel ever come out?

If you couldn’t glean it from the title, Rapornzel is a serious-unserious play. Serious in the fact that the cast and crew put on a spellbinding, side-splitting comedic performance, but unserious to ensure the audience was able to escape the bitter cold reality for a few short hours and simply enjoy a hilarious performance. The story is written in the pantomime style or “panto.” Panto is a theatrical performance style dating back to the 1700s, traditionally performed around Christmas time. The popular form incorporates song and dance, exaggeration, and fourth wall breaks to tell a story. It often interchanges slapstick puns heavy with innuendos and groan-worthy dad-jokes to break the monotony of traditional theatre. Critical to the success of these comedic shows is audience participation. It’s highly encouraged to react and respond to the actors on stage, think “booing” the villain, “cheering” the hero, and responsive questioning from the actors such as: “Chicago is so cold…” to which the audience responds: “How cold is it?” wherein the actors then deliver a witty or punny joke in the tale that may or may not make you laugh, guffaw, or simply groan at how bad it is (in a good way). Panto is not for everyone, nor are puns or dad jokes, but in the Vonnegut style approach of moving the story along, it’s difficult not to enjoy, and even an ostrich chuckle at least once.

But when it comes to Rapornzel, I guarantee you’ll laugh more than once. Rapornzel is what you get if you take a fairytale and remix it with a book of dad-jokes, throw in a general use of 1980s musical bangers, and finish it with the dry wit of 2025. Rapornzel is one of the many bawdy, silly, and immensely entertaining pantomime scripts written by professional performer-writer Tom Whalley. The writer’s works have become a popular holiday season tradition at PrideArts, joining the ranks of Whalley’s other works like Jack Off The Beanstalk, Sleeping with Beauty, and Throbbin Wood. With unimaginable R-rated puns, pop songs, and audience participation, Rapornzel follows a growing holiday tradition within PrideArts. This year’s production is exceptionally acted by Chicago talent like Jeremy Cox, who plays Hairy Fairy Dandruff, Peter Moeller as the local hairdresser Dame Fanny Follicle, and the sexy and incomparable Gina Cioffi as the evil Mother F**ker who kidnaps Rapornzel. For those still tepid about the play or the panto style, don’t worry, the skilled actors utilize their quick wits, improvisation skills, and comedic timing to make this production enjoyable for all, never overstepping where they sense timidity. They read and respond to the audience to both give and get energy to move the story along and draw out a smile from even the most austere theatre goer.

Therein lies the beauty of this type of theatrical play. Whalley’s style of Panto grants permission to the audience to simply lighten up, be silly, and share some laughs. In short, in its seriousness to stage a good production, it masterfully creates a space to be supremely unserious. There aren’t many theatrical stylings that can pull that off these days. 2025 has been wrought with ill humor, tired remakes, and uninspired sequels. It’s refreshing and welcome to see a production that doesn’t take itself too seriously while still representing Chicago theatre, PrideArts, and the theatrical community well. The actors, panto, and Rapornzel itself, beg the attendees to lighten up. It reminds us that we don’t always need to seek hidden meaning between the witty one-liners, and we don’t need to laugh at every joke we’ve heard at countless Thanksgiving tables by distant relatives. We should endeavor to seek out light and warmth as the days grow shorter and the darker nights descend. Rapornzel beckons Chicagoans inside and endeavors to thaw critical hearts this holiday season. It’s a healthy reminder that it’s okay to shout, especially when asked or directed to do so. It’s fine to laugh or simply smile. And it’s encouraged, and I daresay desperately needed, to remember that nothing, including fairy-hairy-overly-share-y-tales, is really that serious. Funny, yes. Serious, no. That in and of itself is a gift.

 Rapornzel is playing for a short while longer through December 14^th at the Hoover-Leppen Theatre in Center on Halsted (3656 N. Halsted, Chicago). Grab your winter jacket and your tickets today, available at www.pridearts.org, and warm up with a few hearty belly laughs guaranteed to shake away your winter blues.

Christmas cheer is here. Or rather... CHRISTMAS CHEER IS HERE!!!

Based on the 2003 blockbuster hit movie Elf with Will Ferrell and Zooey Deschanel, Elf the Musical is a glittering holiday stage confection that mixes slapstick comedy, heartfelt family drama, and a score full of catchy tunes like “Nobody Cares About Santa,” and “Never Fall in Love with an Elf” (one of the musical’s best song and dance numbers). It’s a show designed to leave audiences laughing, humming, and perhaps even believing in Christmas magic again. The stage adaptation of Elf transforms the beloved film into a glittering Broadway spectacle, guided by the comic touch of Bob Martin and Thomas Meehan’s book.

Buddy the Elf is anything but ordinary - mainly because he isn’t an elf at all. Accidentally tucked into Santa’s sack as a baby and raised among the North Pole’s toy-making crew, Buddy grows up brimming with candy-cane energy and a grin as bright as the Rockefeller Center tree (after all, smiling is his favorite). When the truth of his human identity comes to light, he heads to New York City in search of his real father, Walter Hobbs - a cranky children’s book publisher whose name sits squarely on Santa’s naughty list. What follows is a merry storm of comic misadventures, from Buddy’s chaotic debut at Walter’s office to his glitter-drenched takeover of Macy’s, capped by the showstopping ensemble number “Sparklejollytwinklejingley.”

Buddy’s relentless cheer doesn’t always hit its mark - especially with Jovie, the world-weary Macy’s employee who slowly softens to his quirky charm. At home, Walter’s wife Emily and son Michael yearn for connection, their longing beautifully voiced in the ballad “I’ll Believe in You.” As Buddy’s antics spiral from comic chaos to heartfelt desperation, Walter’s patience frays, setting the stage for a holiday crisis that peaks when Santa’s sleigh sputters to a halt in Central Park.

In true Christmas fashion, it’s Buddy’s infectious joy - and the collective power of a crowd singing together - that rekindles belief in magic. By the final curtain, Walter has embraced Buddy as his son, Jovie has discovered love, and the city itself has been swept up in a wave of rediscovered holiday spirit. The message is simple yet enduring: sometimes it only takes one elf to remind us of the wonder we’ve forgotten.

Currently lighting up Auditorium Theatre in a limited engagement through December 14^th, this zany holiday romp delivers a burst of festive cheer guaranteed to lift spirits high enough to send Santa’s sleigh soaring once more.

Jack Ducat slips seamlessly into Buddy the Elf’s candy-cane-striped shoes, radiating a charm that feels tailor-made for the role. His wide-eyed innocence glows like twinkle lights across the stage, a pure embodiment of childlike wonder that never dims. With boundless energy and an infectious grin, Ducat magnifies Buddy’s relentless optimism until it fills the entire theatre, wrapping the audience in holiday warmth. His comedic instincts are razor-sharp, turning even the smallest quip or physical gag into a laugh-out-loud moment, while his musical bursts sparkle with joy. In every scene, Ducat channels the essence of Christmas spirit - reminding us that Buddy isn’t just a character, but a cultural touchstone of holiday cheer, beloved for the way he makes us believe in magic all over again.

The production’s heart is amplified by its supporting cast, each bringing dimension and warmth to Buddy’s journey. Felicia Martis crafts a Jovie with delightful complexity - her initial cynicism and guarded demeanor provide a sharp contrast to Buddy’s boundless optimism, making her eventual embrace of Christmas cheer all the more rewarding. As Walter Hobbs, Buddy’s beleaguered father, Jeff Brooks anchors the story with a commanding presence, capturing both the stern pragmatism of a businessman and the gradual softening of a man rediscovering family and faith. Yara Martin, as stepmother Emily Hobbs, is nothing short of luminous; her nurturing spirit radiates throughout, and she truly dazzles in her duet with son Michael. Camden Kwok, in turn, delivers a wonderfully earnest Michael, whose youthful sincerity makes “There is a Santa Claus” a standout moment along with Martin - an anthem of belief that sparkles with joy and reminds audiences of the magic at the core of the season. (*Ryan Duck alternates performances with Camden Kwok as Michael).

Darius J. Manuel proves to be a dynamic force onstage, stealing scenes with not one but two memorable turns. As the exuberant hotdog vendor, he serves up laughs alongside “The World’s Greatest Hotdog,” infusing the moment with infectious energy. Later, he reappears as the genial store manager whose good intentions lead to comic gold when he assumes Buddy’s elf costume marks him as a holiday department employee. Manuel’s sharp comedic instincts shine in both roles, blending physical humor with a warmth that keeps audiences leaning in. The highlight comes when Buddy nudges him into song, unlocking Manuel’s impressive vocal range.

Katelyn Lauria lights up the stage as Hobb’s office assistant Deb, delivering a performance brimming with comic zest. Her sharp timing and playful wit turn every moment into a laugh, while her buoyant presence injects a spark into the office scenes, ensuring Deb stands out as one of the production’s most memorable delights. Equally compelling is Andrew Kendrick, who demonstrates remarkable versatility in two sharply contrasting roles. As Santa Claus, he radiates warmth and joviality, embodying the very essence of holiday cheer with a twinkle in his eye and a booming laugh that instantly charms the audience. Then, in a striking shift, Kendrick inhabits the stern, impatient Mr. Greenway - Walter Hobbs’ demanding boss - capturing the character’s rigid authority with crisp precision. The contrast between these extremes not only highlights Kendick’s impressive range but also deepens the production’s narrative, balancing the magic of Christmas spirit against the hard edges of corporate life.

Director Philip Wm. McKinley orchestrates this holiday jewel with remarkable finesse, shaping each moment to shimmer with the warmth and sparkle of Christmas spirit. His vision transforms the stage into a living snow globe, where sweeping scenic designs unfold into breathtaking tableaux and glittering special effects ignite a sense of wonder that keeps audiences spellbound. The humor is delivered with impeccable timing, sending waves of laughter through the theatre, while the dance numbers dazzle with precision and exuberance, bursting forth like fireworks of festive joy. At the center of it all is a radiant ensemble whose collective energy and talent elevate the production beyond mere entertainment, crafting instead a jubilant celebration of the season - one that leaves audiences glowing with holiday cheer long after the curtain falls.

Overflowing with laughter and festive cheer, Elf the Musical is the perfect gift to unwrap this season. A joyous addition to any holiday wish list, the production delivers sure-fire fun for audiences of all ages, blending heartwarming spirit with playful humor that keeps the Christmas magic alive from start to finish.

Highly recommended.

Elf the Musical is being preformed at Auditorium Theatre through December 14^th. For tickets and/or more show information, visit https://elfmusicaltour.com/.  

I’ll admit it—I’ve never watched an episode of The Real Housewives. So, heading into Hell in a Handbag’s latest holiday production inspired by the series, I braced myself for a barrage of references that might slip past me. Turns out, I caught the vibe almost instantly—and once I did, the jokes flew fast and furious.

So, after a bit of research - for anyone else walking in blind - The Real Housewives is a reality TV juggernaut that blends glamour, intrigue, and high-stakes drama into a cultural phenomenon - and yes, the claws can come out. For nearly twenty years, the franchise has captivated audiences with its blend of luxury lifestyles, fiery confrontations, and unforgettable personalities - cementing its place as one of the most influential and enduring phenomena in modern pop culture. What began in Orange County soon spread to New York City, Atlanta, New Jersey, and beyond. But thanks to Hell in a Handbag, it was only a matter of time before The Real Housewives set up shop at the North Pole. That’s right - The Real Housewives of the North Pole is here.

The North Pole has never looked frostier. When Santa and his circle of high-powered holiday elites find themselves slapped with indictments for fraud, sending shockwaves through the snowy kingdom, the glittering facade of candy-cane wealth begins to crack. Now it falls to the women to rescue their families from looming financial ruin. Though practical survival skills are in short supply, the burden falls squarely on the housewives to rebuild an empire. Years of privilege have left them with closets overflowing in luxurious clothing and jewels, but little else to shield them when their glittering world is suddenly under threat.

In quintessential Handbag camp style, we’re introduced to the housewives who truly matter the most when the holidays roll around. At the heart of the series is Santa’s wife, Ruth Claus (Honey West), freshly embracing sobriety while wrestling with the family finances. Her anchor in the storm is the irresistibly suave Carlos (Taylor Mercado Owen), a sobriety coach whose steady charm keeps her grounded amid the glitter, chaos, and sappy drama of the North Pole. Always on the hunt for drama and the makings of a hit, BRAVO network producer Andy Cohen (David Lipschutz) wastes no time assembling a roster of North Pole divas. Enter Mrs. Samantha Frosty (Robert Williams), Mrs. Gladys Dasher (David Cerda), Clarice, the long-suffering wife of Rudolph (Anna Rose Steinmeyer), and Suzy Snowflake, Jack Frost’s icy better half (Britain Shutters). Once these housewives collide, the antics escalate at lightning speed - each outrageous clash topping the last, turning the show into a blizzard of hilarity and brawls.

As petty catfighting and ditziness reach new heights, make-up artist Cookie (Terry McCarthy) goes to heroic lengths to keep the housewives looking fabulous - even if it requires the occasional power tool. Meanwhile, the poor Production Assistant (Kelly Opalko) can’t catch a break, as no one seems able to remember her name… Petra, maybe?

(front, center) Anna Rose Steinmeyer with (back, l to r) Robert Williams, Taylor Mercado Owen, David Cerda and Britain Shutters in Hell in a Handbag Productions’ world premiere of The Real Housewives of the North Pole.

While visually filling to watch the chaos and absurdity unfold on stage, The Real Housewives of the North Pole also makes clever use of multimedia, employing dual screens to showcase interviews not only with the housewives themselves but also with a parade of special guests - including Santa (Michael Hampton) and Bernice (Ed Jones), the typical “average housewife.”

Amid the whirlwind of onstage action, there’s still another performance that deserves recognition. Stage Manager/Board Operator Conor Frank delivers one of the production’s most quietly dazzling performances, orchestrating an entire symphony of effects from the wings. With remarkable precision, he juggles live foley work and layered audio cues, transforming everyday objects into bursts of comic timing or atmospheric texture. Watching him at the side of the stage is its own kind of theater - an intricate dance of concentration and creativity that underscores the madness onstage.

A genuinely one-of-kind theatre company, Handbag’s comedic talent never fails to impress as their entire ensemble was outstanding, and their uncanny knack for casting ensures each role feels tailor-made. And just in time for the holidays, Hell in a Handbag has pulled it off yet again - another dazzling feather tucked neatly into their fabulously overstuffed cap. With David Cerda’s sharp pen and Tommy Bullington’s spirited direction, The Real Housewives of the North Pole serves up a frosty feast of holiday hilarity that should not be missed.

Recommended for lots of laughs and Handbag-style holiday cheer!

The Real Housewives of the North Pole is being performed at The Clutch Chicago (4335 N. Western Ave) through January 4^th. For tickets and/or more show information, visit www.handbagproductions.org.

*Special note - FOLLIES the Annual Hell in a Handbag 2025 Benefit will be taking place at Ebenezer Lutheran Church in Chicago’s Andersonville neighborhood this Sunday, December 7^th at 5:30pm-9pm. Per Handbag’s site, the evening will include dinner, drinks, entertainment, a raffle and silent auction.

Tickets ($104 general admission, $129.75*) are available (click HERE for tickets). *Prices include processing fees.

Handbag celebrates its 24th year with a very abbreviated production of Follies – performed Hell in a Handbag style! Watch as aging showgirls, draped in sequined desperation, reunite to belt out twisted parodies of Stephen Sondheim's most iconic numbers including “I'm Still Here,” “Losing My Mind,” “Broadway Baby,” “Beautiful Girls” and other favorites It'll be the hits you love and a show you'll desperately try to forget (with apologies in advance to the spirit of Mr. Sondheim).

The entertainment line-up features ensemble members David Cerda, Sydney Genco, Caitlin Jackson, Ed Jones, Lori Lee, David Lipschutz, Stevie Love, T.J. O'Brien, Michael Rashid, Danne W. Taylor and Robert Williams, along with some surprise guests.

"The course of true love never did run smooth." No, wait, that’s from A Midsummer Night's Dream

"I do desire we may be better strangers." Mmmm … closer, but this one’s As You Like It

" Many a good hanging prevents a bad marriage".  A worthy sentiment, but it appeared in Twelfth Night, not …

“Thou and I are too wise to woo peaceably.” Aha! There we go … Benedick says this to Beatrice during one of their incessant arguments in MUCH ADO ABOUT NOTHING. And if you don’t believe me, you can hear it yourself at Chicago Shakespeare Theater – and I very highly recommend you do just that! And don’t dawdle – when I was there last Sunday it was sold out.

A quick-and-dirty rundown of the story:  the beautiful Hero (Mi Kang) has just fallen ass-over-teakettle in love with the courageous young soldier Claudio (Samuel B. Jackson), who reciprocates immediately and enthusiastically. Accompanying Claudio is his senior military officer, Hero’s father Don Pedro (Debo Balogun); also aristocratic soldier and avowed bachelor Benedick (Mark Bedard). Benedick is an Old Family Friend who’s maintained a long-standing verbal battle with Hero’s shrewish [get it? shrewish? nod, nod, wink, wink] cousin Beatrice (Deborah Hay). There’s no questioning the authenticity of their dissension, but from the outset we sense the infatuation lurking just under their squabbles and know that this will be mined for all its chucklesome gold. After all, the most perennial subject of comedy is love, as the Bard knew very well.

Tom Piper does a fabulous job with the set, creating an ethereal fantasy world in the beautiful courtyard of nobleman Leonato (Kevin Gudahl). Lavish garlands festoon balconies and arches, defining the ambience without distracting from the action. A tree stands prominently at stage left and comes into frequent use; there’s even a swing! Several characters have occasion to hide behind its trunk and even up in its branches (clearly a very sturdy piece, that tree). Piper’s choice to design costumes in contemporary style provides another discordance to mirror the ever-present yet ever-changing infighting among the characters.

British actress Selina Cadell directs, exhibiting her long experience with and conspicuous mastery of both Shakespeare and comedy. The story is told cleanly; the pacing is perfect and miraculously the cast has thoroughly conquered iambic pentameter – though a screen displayed open captioning I didn’t need it – every line is intelligible.

The characters interact with the audience throughout. Realism is interchanged with physical comedy, as when Hay ‘hides’ within the audience by shielding her face with a program (and helping herself to her seat-neighbor’s drink!), and Bedard vows ‘I will live a bachelor’ to a member of the audience, shaking his hand on it. Though this physical contact with the characters was limited to the fortunate attenders in front-row seats, the cast regularly invited collusion from the audience as a whole. At one point they convince the audience is to join them in singing ‘hey, nonny’ and there were amazingly few holdouts. I almost never sing along but I did this time!

Bob Mason built a remarkably diverse cast. Between Debo Balogun as Don Pedro, Samuel B. Jackson playing Claudio and Jaylon Muchison taking several comic roles, this production is an excellent showcase for the Black male actors in Chicago.  

Traditionally Shakespeare’s romantic dyads are played by blooming fledgling players –cute kids. Mason choosing fully grown Bedard and Hay as Beatrice and Benedick deepens everyone’s experience. It’s unfair to ask adolescents – kids! – no matter how talented, to develop characters as complex as Hamlet, and inexperienced comediennes fall too easily into Three Stooges-ish slapstick.

It requires a woman well past menarche to fathom Beatrice’s temperament. She’s not so much choosing between different men as she is wondering aloud whether she needs a man at all. She pretty much decides ‘not’, a decision that the majority of modern women can at least understand, if not agree with. A woman must have traversed the estrogen-saturated third and fourth decades of life before she can begin to discern what an equal relationship is, let alone how to construct one.   Beatrice trusts that Benedick will help ease her pain, but it takes a terrific actor to convince the audience to trust him. Benedick in turn must check his Italianate machismo at the door and demonstrate his own vulnerability, not only to Beatrice but to a house full of cynical, overeducated twenty-first century women. Luckily these two actors are exceptionally skilled.

Act Two is markedly darker: Don Pedro’s illegitimate brother Don John (Erik Hellman) is a fellow with an axe to grind. Why? Maybe because he’s illegitimate, a motive as common as it is irrational; any road, his motives are unimportant to the basic story. Suffice to say he has it in for his legit sibling and maliciously chooses to attack him through young Hero. He plots with Borachio (Yona Moises Olivares) and Conrade (Colin Huerta) to disseminate a false story that Hero has been unfaithful to her fiancé Claudio, who’s unfortunately a gullible twit and falls for these unsubstantiated rumors.  

Fortunately, Hero’s suffering is (at least partially) balanced by the clodhopping Dogberry dropping one hilarious malapropism after another. I always have one favorite character (yeah, I’m a bad mom) and in this piece my pick of the litter is Dogberry, particularly as so wonderfully played by Sean Fortunato. Fortunato’s long face and longer body seem custom-designed for the rollicking physical comedy of this wonderful role (though actually he has a phenomenal range). Dogberry’s performance was enhanced by the antics of his constable Verges (Jaylon Muchison), who literally and hilariously dogs Dogberry’s footsteps, resulting in several collisions.

We all know a Dogberry – the nincompoop who sucks up with highfalutin’ speeches that lavishly display he has no clue what the hell he’s talking about. I can’t resist including a quote (no spoiler, promise!) from Dogberry’s account to his boss: “Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.” You have to pay attention though, as many of his drollest maxims are far briefer.

Unexpected but welcome was original music composed by Eliza Thompson, with cast members playing accordion, saxophone, drum, flute, banjo, and guitar. Sound designer Nicholas Pope used excerpts of Thompson’s score to indicate the passage of time between scenes, with lighting refinements imbued with the prevailing comedic zeitgeist – though how one makes lighting funny is a mystery to me. Fortunately, light designer Jason Lynch knows how.

MUCH ADO ABOUT NOTHING is the original romcom and this production channels the spirit of the classic 1940s romantic comedies. Rosalind Russell / Cary Grant and Katharine Hepburn / Spencer Tracy stem from Beatrice and Benedict as directly as the Sharks and the Jets are drawn from the Capulets and Montagues. The characters and their adventures are, after all, timeless. With uncanny prescience MUCH ADO ABOUT NOTHING examines major twenty-first century courtship issues: the disproportionate consequences for women, differentiating between humor and ardor, finding balance in inherently unbalanced relationships, even cyber-bullying! I’m not a Shakespeare scholar but I’m willing to bet the man never so much as sent a text message.

MUCH ADO ABOUT NOTHING is arguably Shakespeare’s best comedy, and Chicago Shakespeare Theatre delivers just that, secured by the warmth, maturity and phenomenal talent of the cast. It’s good solid unadulterated Shakespeare and, though the physical comedy is uproarious, the shenanigans never overshadow the linguistic magnetism. This production of MUCH ADO ABOUT NOTHING is totally irresistible!

VERY HIGHLY RECOMMENDED

Running until December 11 at Chicago Shakespeare Theater 800 East Grand Avenue Chicago

Under the deft direction of American Blues Theater’s Executive Artistic Director Gwendolyn Whiteside, Frank Capra’s beloved holiday classic It’s a Wonderful Life is reborn as a charming 1940s radio broadcast. With vintage microphones, live foley effects, and a versatile ensemble shifting seamlessly between characters, the production becomes more than a retelling - it’s a joyous homage to the art of storytelling itself. Audiences are invited to step back into the golden age of radio, where imagination takes center stage and George Bailey’s timeless journey resonates anew.

In Bedford Falls, George Bailey devotes his life to helping others, setting aside his own dreams for the good of his community. But when financial disaster strikes on Christmas Eve, he begins to doubt his worth. Enter Clarence, a guardian angel, who reveals a chilling vision of a world without George - a town consumed by Mr. Potter’s greed and stripped of hope. Confronted with the profound impact of his generosity, George rediscovers the value of his life. As his neighbors rally to support him, he learns that true wealth lies not in money, but in friendship, love, and the lives he’s touched.

By casting the audience as “studio listeners,” the production erases the boundary between stage and spectator. Foley effects—the slam of doors, the crunch of snow—lend a tactile realism that cinema rarely achieves. The ensemble’s deft shifts in voice and character populate Bedford Falls with remarkable clarity, their energy carrying the narrative even through George’s darkest moments. The touchstones are all here: George’s sacrifices, Potter’s greed, Clarence’s intervention, and the jubilant finale of community over isolation. In radio-play form, these familiar beats gain fresh resonance, reminding us that sound and imagination can be more powerful than spectacle.

The ensemble of It’s a Wonderful Life: Live in Chicago! shines with warmth, artistry, and undeniable chemistry, breathing vibrant new life into this holiday treasure. At the heart of the production, Brandon Dahlquist embodies George Bailey with a sincerity that feels both timeless and immediate. His performance is layered with emotional depth - capturing the optimism of youthful dreams, the weight of sacrifice, and the aching vulnerability of despair. Dahlquist’s portrayal is not only heartfelt but profoundly inspiring, reminding us why George Bailey remains one of the most enduring figures in American storytelling. With every gesture and inflection, he draws the audience into Bailey’s journey, making the character’s triumphs and struggles resonate as if they were our own. It is a performance that anchors the show with humanity and elevates it with grace.

Equally compelling is Ian Paul Custer, who delivers a masterful dual turn that showcases both his range and precision. As Clarence, he radiates warmth and gentle humor, embodying the guardian angel with a tender humanity that uplifts the story and offers moments of levity. In stark contrast, his portrayal of Mr. Potter is steeped in chilling authority - a ruthless presence whose greed and menace cast a long shadow over Bedford Falls. The seamless transition between these two extremes underscores not only Custer’s remarkable skill but also the production’s emotional contrasts, reminding us that the heart of It’s a Wonderful Life lies in the tension between compassion and cruelty, hope and despair.

Justin Banks infuses Harry with an effortless charm, while Audrey Billings embodies Mary Bailey with a luminous blend of grace, resilience, and radiant warmth. Her presence anchors every scene, offering both steadiness and emotional depth as she navigates the joys and hardships of George’s journey. Manny Buckley lends Joseph a dignified gravitas, and Dara Cameron sparkles as Violet, bringing wit, vivacity, and a touch of glamour to Bedford Falls. Michael Mahler elevates the atmosphere as the charismatic Announcer, while his live piano accompaniment bathes the production in nostalgic glow, perfectly evoking the golden age of radio.

Rounding out the ensemble, J.G. Smith delivers a dazzling performance as the Foley artist, transforming everyday objects into extraordinary tools of imagination. With impeccable timing and inventive flair, Smith crafts the soundscape that breathes life into Bedford Falls - snow crunching underfoot, doors creaking open, coins clinking, and bells ringing with holiday cheer. Each effect is not merely background noise but a vital layer of storytelling, immersing audiences so completely that George Bailey’s world feels tangible and immediate. Smith’s artistry underscores the magic of live radio theater, reminding us that sound alone can transport us across time, space, and emotion. It’s a masterclass in creativity and precision, and his contribution ensures the production resonates with authenticity and wonder.

Together, this gifted ensemble weaves storytelling, music, and imagination into a seamless tapestry - proving that collaboration, heart, and craft are what make this production truly wonderful.

The magic begins even before the curtain rises. Arrive early and you’ll be treated to a lively pre-show experience, where the stage comes alive with playful antics, warm laughter, and spirited music. Cast members set the tone with a burst of energy that instantly draws the audience into the festive spirit. It’s more than a warm-up - it’s an invitation to step into the world of Bedford Falls with joy already in the air. By the time the official performance begins, you’ll feel like part of the celebration, swept up in the camaraderie and holiday cheer.

For close to 25 years, American Blues Theater has brought Frank Capra’s classic to life in the form of a 1940s radio broadcast. It’s a Wonderful Life: Live in Chicago! has earned its place as the second longest-running holiday production in the city.

American Blues Theater has discovered a beautiful new permanent home just west of Andersonville. The venue strikes the perfect balance - intimate yet expansive - with seating that is both comfortable and generously spaced. Fully ADA accessible and thoughtfully designed, the theater even offers the convenience of its own dedicated parking lot right beside the building. The parking is easy and the theater offers free spots for disabled patrons.

Recommended!

It’s a Wonderful Life: Live in Chicago! is being performed at American Blues Theater through December 28^th. For tickets and/or more show information, visit https://americanbluestheater.com/2025-its-a-wonderful-life-live-in-chicago/.

Goodman Theatre’s 2025 production of A Christmas Carol delivers a reimagined yet reverently faithful vision of Charles Dickens’ enduring holiday masterpiece. Directed by BOLD Artistic Producer Malkia Stampley, the staging infuses fresh energy into the familiar tale, striking a delicate balance between honoring tradition and embracing innovation.

Charles Dickens’ A Christmas Carol follows Ebenezer Scrooge, a cold-hearted miser who scorns Christmas and human kindness. On Christmas Eve, he is confronted by the ghost of his former partner, Jacob Marley, and guided by three spectral visitors - the Ghosts of Christmas Past, Present, and Yet to Come. Their haunting revelations force Scrooge to witness his own failings, the hardships of others, and the bleak destiny awaiting him. Awakened to the power of compassion and generosity, he greets Christmas morning as a transformed man - joyful, benevolent, and fully embracing the spirit of the season.

At the center of this transformation is Christopher Donahue, returning to the role of Ebenezer Scrooge with a performance that brims with nuance. Donahue embodies the character’s frosty detachment and biting cynicism with precision, while gradually revealing the vulnerability and humanity that make Scrooge’s redemption so powerful. His portrayal anchors the production, ensuring that audiences experience not only the spectacle of Dickens’ ghosts and festive scenes, but also the emotional depth of one man’s journey from isolation to generosity.

Surrounding him is an ensemble that blends the wisdom of seasoned Goodman veterans with the energy of exciting newcomers, forging a dynamic interplay that keeps the production alive and ever-evolving. Their chemistry, paired with imaginative staging and subtle special effects, ensures that longtime patrons experience the story anew while first-time audiences are swept into its magic.

Beyond the performances, the production dazzles with fresh choreography, inventive musical direction, revitalized design elements and special effects that elevate the performance. The stage becomes a canvas of contrasts: the eerie, otherworldly visitations of Marley and the Ghosts unfold with haunting theatricality, while the warmth and intimacy of the Cratchit household radiate joy and tenderness.

Every moment is meticulously layered with detail, reminding us that Dickens’ tale is more than a seasonal tradition—it is a living parable of generosity, compassion, and the enduring bonds of community.

(L-R) Jon Hudson Odom, Ella Boparai, Carmelo Kelly, Viva Boresi, Bethany Thomas, A’mia Imani, Henry Lombardo, Sól Fuller and Helen Joo Lee.

For close to fifty years, Goodman Theatre’s A Christmas Carol has stood as a defining ritual of Chicago’s holiday season—a theatrical gathering place where generations of families, friends, and theatergoers return year after year. More than just a retelling of Dickens’ classic, the production has become a civic tradition, woven into the fabric of the city’s winter celebrations.

This year’s staging carries that legacy forward with renewed vitality, reminding audiences why the story continues to resonate across centuries. At its core, A Christmas Carol is not simply the tale of Ebenezer Scrooge’s redemption; it is a parable about the power of empathy, generosity, and human connection. Goodman’s production magnifies those themes by transforming the theatre itself into a communal space - where laughter, music, and the haunting presence of Dickens’ ghosts converge to awaken the spirit of compassion.

The endurance of this holiday cornerstone lies in its dual nature: it is both deeply personal, charting one man’s journey from isolation to belonging, and profoundly collective, celebrating the bonds that unite a community. Each performance becomes a reminder that the true gift of the season is not material wealth, but the shared warmth of kindness and fellowship.

The cast assembled for Goodman Theatre’s A Christmas Carol is nothing short of outstanding. Christopher Donahue, stepping into the role of Ebenezer Scrooge after Larry Yando’s celebrated tenure, delivers a performance that is both commanding and deeply human. His portrayal captures the character’s sharp edges and biting cynicism, yet gradually reveals the warmth and vulnerability that make Scrooge’s transformation so moving - you can’t help but be won over by him. Donahue was nothing short of electrifying, also bringing a masterful sense of graceful physical comedy to the role. He embodied the rakish, childlike exuberance and sheer JOY that floods Scrooge when he discovers it’s not too late to transform his life.

One of the evening’s biggest laughs came as Donahue realized that only a single night had passed with the spirits—despite their showing him years of missteps and warning that he must change his ways immediately or face a hated death and generations of sorrow. The audience roared, and I’ve never heard such sustained laughter in this production before. It was pure delight.

Ella Boparai brings a radiant charm to Tiny Tim, embodying the innocence and hope that anchor the story’s emotional core. The ensemble as a whole is vibrant and cohesive, each member contributing to the production’s energy and richness.

Among the spirits, Bethany Thomas shines with grandeur and generosity as the Ghost of Christmas Present, while Daniel José Molina delivers a chilling, spectral presence as the Ghost of Christmas Future. Lucky Stiff rounds out the trio with a compelling and evocative Ghost of Christmas Past, guiding Scrooge through memories with both tenderness and gravity.

 (L-R) Christopher Donahue and Daniel José Molina.

Jon Hudson Odom brings remarkable depth to Bob Cratchit, embodying Dickens’ humble clerk with a warmth and sincerity that make him the beating heart of the production. His performance captures Cratchit’s quiet resilience and steadfast kindness, elevating the role from supporting character to emotional cornerstone. Odom’s nuanced portrayal balances gentle humor with the weight of hardship, reflecting the struggles of working families while never losing sight of Cratchit’s unwavering optimism.

In scenes with the Cratchit family, Odom radiates tenderness and devotion, particularly in his interactions with Tiny Tim. The father-son bond he conveys is both poignant and inspiring, a reminder of the fragile yet enduring hope that sustains the family through adversity. His presence underscores the stark contrast between Scrooge’s cold isolation and the Cratchits’ warmth, amplifying the play’s central themes of compassion, perseverance, and the transformative power of love.

Together, this company breathes fresh life into Dickens’ timeless tale, ensuring that every scene resonates with theatrical magic and emotional depth.

I wholeheartedly encourage audiences to experience this beloved Goodman holiday tradition - an annual production that never fails to capture the true spirit of the season. For anyone eager to embrace the warmth, wonder, and festive magic of Christmastime, A Christmas Carol at Goodman Theatre is the perfect way to step into the holiday “spirit.”

A Christmas Carol is being performed at Goodman Theatre through December 31^st. For tickets and/or more show information, visit https://www.goodmantheatre.org/show/a-christmas-carol/.

The Ensemble Español Spanish Dance Theater’s 50th Anniversary Celebration was a gorgeous tribute to the history, culture and romance of Spanish dance. From the moment the dancers stepped onstage I was immediately drawn in by the burst of color, the pulse of the music and the intricate, lightning-fast footwork.

The celebration took place at the Auditorium Theatre in downtown Chicago on Saturday, November 15th at 7:30 p.m. The evening was led by Dame Libby Komaiko Legacy Artistic Director Irma Suárez Ruiz, Executive Director Jorge Pérez and Associate Artistic Director José Torres.

The show opened with a slideshow of Spanish artwork glowing across the backdrop, which then transitioned smoothly into the first dance. Women glided across the stage with scarves swirling around them as the men tapped their heels in perfect rhythm. It was the kind of opening that instantly set the tone for the night.

A live band added an incredible layer of richness. Acoustic guitar, percussion and an emotive vocalist brought the music to life in a way recordings never could. The dancers clapped, tapped and interacted with the music, weaving it into the fabric of their movement. José Moreno’s voice was especially memorable. His singing filled the auditorium and transported me straight to what felt like a summer night in Madrid.

As the show moved through a variety of pieces, I found myself constantly amazed by the beauty and passion onstage. There wasn’t much in terms of staging or decoration, and it honestly wasn’t needed. The dancers were the artwork. The crowd clearly agreed, cheering, clapping and shouting “jaleos” of encouragement throughout the night.

The ensemble moved easily between styles, from fiery flamenco to graceful classical and folkloric suites, plus a bold new work that managed to feel both modern and rooted in tradition. The live music elevated every moment.

One piece that really stood out to me began in a dramatic way. A bright light beamed out into the audience while the stage remained hidden behind a black screen. Slowly a silhouette of a solo dancer appeared and began moving to a flamenco piece performed live behind him. When the screen finally rose and the light shifted, he burst into sharp, precise movements, clapping and striking the floor with the heels of his boots. The crowd erupted when he finished.

The costumes throughout the night were another highlight. Layered skirts, red flowers, elegant high-waisted pants and rich colors brought the dances to life. Castanets clicked rhythmically in the dancers’ hands. Everything felt thoughtfully chosen and rooted in tradition.

Another favorite moment for me was a duet performed by what seemed to be two older dancers. Their chemistry and elegance were magnetic. The woman wore a stunning blue-green gown with a long-ruffled train that she incorporated into the choreography. The dance began gently, then grew in intensity as the music picked up tempo. It was romantic, soulful and beautifully paced. The audience couldn’t help but call out “Ole!” and “Bravo!”

The auditorium was filled with a wonderfully diverse audience, from young kids to older adults and people from all kinds of backgrounds. Everyone came dressed for the occasion and I even spotted a few Spanish-inspired outfits in the crowd. Floral hair clips, flowing skirts, colorful scarves and flower pins added to the festive atmosphere and made the whole night feel even more celebratory.

One thing I did miss was having a more detailed program. It would have been helpful to see a breakdown of each dance, the performers in each piece and the titles of the songs that were played. With so many talented dancers and musicians onstage, a clearer program would have made it easier to recognize who was who and to remember the music afterward. It felt like a small but meaningful detail that could have added even more depth to the experience.

The finale closed the night with a burst of energy. It mirrored the show’s opening with images of Spanish art and then shifted into a large group number. The women wore bright red dresses with yellow underskirts reminiscent of the Spanish flag, while the men wore sleek black suits with red trim. What started as a slow, deliberate piece exploded into fast spins, clapping and zapateado footwork. When the show ended, the entire crowd rose to their feet for a long and well-deserved standing ovation.

What sets Ensemble Español apart isn’t just the talent onstage. It’s the mission behind it all. For 50 years they have been educating, building community and preserving Spanish dance traditions through their youth company, education programs and partnership with NEIU. They don’t just perform this art form. They protect it and pass it on. That heart and purpose shine through every performance.

This anniversary celebration felt like both a homecoming and a fresh beginning. Ensemble Español doesn’t just perform Spanish dance. They live it, breathe it and make it feel alive for modern audiences. Even though this was their only show for the anniversary, I absolutely recommend seeing any of their future productions. It’s a must for dance lovers, cultural enthusiasts or anyone who appreciates the power of movement and music.

For anyone thinking about seeing Ensemble Español, they’ve announced their upcoming Flamenco Passion 2026 series. Performances will take place June 12, 13 and 14 at the North Shore Center for the Performing Arts. The celebration continues June 15 through 20 with Spanish dance classes, seminars, workshops, community performances and a symposium at Northeastern Illinois University and the Old Town School of Folk Music. More details for events will be announced on their website https://ensembleespanol.org/events.