theatre

Wednesday, 20 May 2026 14:53

Steppenwolf Theatre Presents ALEX EDELMAN: WHAT ARE YOU GOING TO DO

Following a critically-acclaimed, sell-out run of Just For Us at Steppenwolf Theatre and around the globe, Tony and Emmy Award-winning comedian Alex Edelman returns with another hilarious and thought-provoking dissection of identity: What Are You Going to Do, playing five performances only August 12 – 16, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Tickets ($54* – $94*) are now on sale at steppenwolf.org or by calling the Box Office at (312) 335-1650. *includes $10 processing fee

This all-new show finds the Bostonian sweetheart asking different and more unsettling questions. Primarily, should he spend his time doing something else? Should he be saving lives like his physician father? Should he be trying to return to the sense of community he experienced growing up among Israelis and Palestinians? In a show that reckons with the effects of time spent in trauma, Edelman deftly weaves in and out of examinations of faith broadly – not just Judaism – and wonders if, perhaps, there might be better things out there for him.

Performance Schedules:

Wednesday, August 12 at 7:30 pm
Thursday, August 13 at 7:30 pm
Friday, August 14 at 7:30 pm
Saturday, August 15 at 7:30 pm
Sunday, August 16 at 3 pm

Artist Biography

One of the most critically hailed comedians of his generation, Alex Edelman is best known for solo shows that blur the line between his stand-up comedy roots and narrative-driven storytelling. His last offering, Just For Us, played more than 500 performances all over the world - including acclaimed runs off- and on-Broadway. It premiered as an HBO original comedy special in April of 2024, earning him a place on the Time 100 list, a Tony Award and an Emmy Award for Best Writing for a Variety Special. Edelman appeared in Jerry Seinfeld's directorial debut for Netflix, Unfrosted. Beyond stand-up, he writes regularly for TV and can be seen starring in Peacock's The Paper, a Greg Daniels-helmed spiritual successor to The Office. He also writes on the show as a Consulting Producer.

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices 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. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

Sponsor Information:

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, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Polk Bros. Foundation, Sacks Family Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo and Bryan Traubert and Penny Pritzker. 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 50 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 Theatre and Chicago's cultural landscape. Founded in 1975 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of young people in their teens and early 20s 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 E. 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.

Published in Upcoming Theatre

Wednesday, 20 May 2026 12:46

Chicago Shakespeare Theater announces As Long As You're Asking: A Conversation with Jason Alexander

Chicago Shakespeare Theater (CST) announces the return of Jason Alexander for a special event, As Long As You're Asking: A Conversation with Jason Alexander. In this evening of comedy, musical performance, and conversation with the Emmy and Tony Award-winning star of stage and screen, the audience determines what they want to know the most. Alexander presents a variety of topics for the audience to pick and choose, culminating in behind-the-scenes stories of his life, career, and social activism. Or ask about anything you've always wanted to know and see if he can answer. It's all on the table and the conversation is completely in your control—making for a once-in-a-lifetime evening, June 25 & 26 only in The Yard.

About Jason Alexander

Though best known for his award-winning, nine-year stint as the now iconic George Costanza of television's Seinfeld, Jason Alexander has achieved international recognition for a career noted for its extraordinary diversity. Aside from his performances on stage, screen, and television, he has worked extensively as a writer, composer, director, producer, and acting teacher. In between all that he has also become an award-winning magician, a notorious poker player and a respected advocate on social and political issues. For his depiction of George on Seinfeld, Jason garnered six Emmy nominations, four Golden Globe nominations, an American Television Award, and two American Comedy Awards. He won two Screen Actor Guild Awards as the best actor in a television comedy despite playing a supporting role, and he was honored to receive the Julie Harris Award for Lifetime Achievement from the Actors Fund in 2012.

Aside from Seinfeld, Jason has starred and guested in such shows as The Marvelous Mrs. Maisel, Mad About You, The Grinder, Drunk History, Friends, Two and a Half Men, The New Adventures of Old Christine, Criminal Minds, Monk, Franklin and Bash, Curb Your Enthusiasm, Bob Patterson, Listen Up, Hit the Road, Orville and Young Sheldon. He also starred in the television films of Bye Bye Birdie, Cinderella, A Christmas Carol and The Man Who Saved Xmas. Additionally, his voice has been heard most notably in Duckman, The Cleveland Show, American Dad, Tom and Jerry and Kody Kapow. He can also be heard in the animated series Harley Quinn. His many films include Electric State, Pretty Woman, Jacob's Ladder, Love Valor Compassion, Rocky and Bullwinkle, Dunston Checks In, The Hunchback of Notre Dame, and Shallow Hal. In addition, he directed the feature films For Better or Worse and Just Looking. He is also a distinguished television director, overseeing episodes of Seinfeld, Everybody Hates Chris, Mike and Molly, Criminal Minds, Franklin and Bash and Young Sheldon. He won the American Country Music Award for his direction of Brad Paisley's video "Cooler Online."

While still in college, Alexander's desire to work as a stage actor in New York came to be with his debut in the original Broadway cast of the Hal Prince and Stephen Sondheim musical Merrily We Roll Along. He continued starring on Broadway in the original casts of Kander and Ebb's The Rink, Neil Simon's Broadway Bound, Rupert Holmes' Accomplice and his Tony Award-winning performance in Jerome Robbins' Broadway. He also authored the libretto for that show, which went on to win the Tony Award for Best Musical. After moving to LA, Jason continued working in the theater, notably serving as the artistic director for the Reprise Theatre Company and for the hit West Coast production of Mel Brooks' The Producers, in which he starred alongside Martin Short. Alexander returned to Broadway to star in the Larry David comedy Fish in the Dark at the Cort Theater and in John Patrick Shanley's The Portuguese Kid at Manhattan Theatre Club. He also starred in the world premiere of Rob Ulin's Judgment Day at Chicago Shakespeare Theater.

He also helmed a number of stage productions including: The God of Hell at the Geffen Playhouse; Broadway Bound at the Odyssey; an updated revival of Damn Yankees and The Fantasticks, as well as Sunday in the Park with George for Reprise; the world premiere of Windfall by Scooter Pietsch for the Arkansas Repertory Theater; Native Gardens at the Pasadena Playhouse; The Joy Wheel at The Ruskin Group Theatre; If I Forget at the Fountain Theater; and The Last Five Years at Syracuse Stage. He directed Sandy Rustin's The Cottage on Boradway in 2023 and is set to direct the film version in 2026. Earlier this year, Alexander directed an exciting, newly conceived production of Sondheim's Sweeney Todd for La Mirada Theatre, along with the world premiere of Scooter Pietsch's new play Fault at Chicago Shakespeare Theater. Alexander also hosts a weekly podcast, Really No Really, with Peter Tilden.

More information at chicagoshakes.com/jason-alexander or on social media at @chicagoshakes.

Published in Upcoming Theatre

Monday, 18 May 2026 13:34

A Red Orchid’s The Targeted Builds a Case for Compassion

(left to right) Stephanie Shum, Ensemble Members Natalie West and Sadieh Rifai, Glenn Obrero and Ensemble Member Kirsten Fitzgerald in A Red Orchid Theatre’s world premiere of The Targeted.

If you’ve ever worked in an urban coffee shop, chances are you’ve encountered at least one ultra-paranoid kook who believes the government is spying on them. Often they’re filling out long journals or manifestos. Or perhaps that one crazy uncle we all seem to have who believes in way too many conspiracy theories. These loveable, but disturbed weirdos commonly refer to themselves as “targeted individuals.”

Hanna Kime’s new play The Targeted makes its world premiere at A Red Orchid Theatre. In it, she empathetically explores the lives of these folks and what draws them to their beliefs. Though it is at times humorous, Kime’s play is not exploitative. Rather, she builds an entire ecosystem for not only those affected by this kind of thinking, but the ways in which others profit from it.

Grace Dolezal-Ng directs a bonafide dream cast of some of Chicago’s best actresses. They turn the main stage at The Chopin into a woodsy, weekend retreat called The Solidarity and Truth Summit. Rhonda (Kirsten Fitzgerald), Didi (Natalie West) at first seem very nice and chummy when welcoming newcomer Sherry (Sadieh Rifai), but as the weekend wears on, fractures begin to form. Rhonda is immediately mistrustful of Mia (Stephanie Shum), another newbie who is very upfront about not being a believer in government tracking conspiracies; she’s only there to support her misguided younger brother Eric (Glenn Obrero). The power structure becomes more complicated once the organizer of the summit, Jeff (Lawrence Grimm), starts giving whacky lectures.

In 95 minutes of quick-moving scenes, each character reveals how this affliction has sabotaged their personal lives. At the beginning, you can almost convince yourself these people are normal, just with some strange ideas. Sadieh Rifai plays Sherry with such naive conviction that you can’t imagine a simple, suburban housewife could ever be tempted by this rabbit hole. Through her character, Kime makes a thinly veiled parallel to the “Q-Anon” to “Trad Wife” pipeline. In contrast, Kirsten Fitzgerald’s Rhonda is hard as nails and her desire to control the weekends’ narrative speaks directly to just how dangerously persuasive conspiratorial ideology can be.

The central storyline presents itself in the relationship between Eric and Mia though. As a non-believer, Mia is outnumbered and it’s not long before she begins questioning her own sanity. Stephanie Shum plays the voice of reason with a quintessential authority. Her character’s demand for truth shows how frustrating independent thinking can feel in group settings.

While there is certainly a rubber-necking quality to the topic at hand, Kime never treats her characters as some sort of Netflix documentary sideshow specimens. Natalie West plays one of the weirder believers but her quirky softness makes her one of the show’s most endearing characters, even if she is hawking metaphoric snake oil for a living.

In the end, Kime lets the audience make up their own mind as to whether these folks actually believe what they’re talking about, or whether they’re just extremely lonely. It’s hard to criticize conspiracy theorists in an era in which almost every aspect of our federal government seems to be conspiring against its people. Kime builds a case for compassion with The Targeted.

Through June 14 at A Red Orchid Theatre. At Chopin Theatre. 1543 W Division St. 773-278-1500.

Published in Theatre in Review

Friday, 15 May 2026 20:31

C'est Drôle: Tartuffe, or, The Charlatan brings classic humor to Wrigleyville theatre

(L-R) Henry DelBello and Deacon Leer in the Conspirators production of Tartuffe, or, The Charlatan.

While many of my classmates were signing up for Spanish classes, I thought it would be terribly useful to sign up for French. French? In Southern California? What good would that possibly do? A degree and several trips to French-speaking countries later, and I’m proud to say French is not only useful, but I also find it in use in the very theatres I now have the privilege to patronize. Unbeknownst to many, theatre is deeply rooted in French, and French words span everything from the venue to the play’s structure and how we, as audience members, engage with the play. We often enter through the foyer (hearth or lobby), take seats in the balcony (borrowed via the French balcon), to become part of the audience (from Old French audience, meaning the act of hearing), to watch a drole (from the French adjective meaning amusing, or comical) production with witty repartee (from the French repartie, which means "to reply quickly.”) The French also gave us hundreds of pieces of work, none more famous than the master of modern comedy himself, Molière, with plays such as Tartuffe, or, The Charlatan, now playing at Stars & Garters Theatre.

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Photo by Logan and Candice Conner, Oomphotography.

Tartuffe, or The Charlatan’s is a story that takes place in the home of the wealthy Orgon, where Tartuffe - a fraud and a pious charlatan - has insinuated himself. He succeeds in winning Orgon’s respect and devotion, then attempts to marry his daughter, seduce his wife, and seize the deed to his property. Tartuffe nearly gets away with it, too, but an emissary from THE KING arrives in time to recover the property, free Orgon and haul Tartuffe off to jail. The charlatan’s duplicity is finally exposed and punished, but not before the author mercilessly skewers the evil that men can commit with the right cult following. Tartuffe, or The Charlatan, is a comedy about the dangers that imperil those who would believe only what they choose to believe despite a mountain of evidence to the contrary.

Conspirators Tartuffe 3

Photo by Logan and Candice Conner, Oomphotography.

It’s easy to see why director Wm. Bullion chose to stage such a farce (borrowed from the Middle French word farce, meaning "to stuff", referring to short comic sketches that were “stuffed” between the scenes of serious religious plays). It’s a satirical piece written in rhyming couplets, which makes the play fast-paced, with an easy-to-follow storyline that has an almost musical, sophisticated quality. Despite being written in 1664, the story is not only relatable but humorously relevant today; a charlatan pulling the wool over a single man’s eyes who ignores everyone’s warnings and fact-based evidence to the contrary of what he believes, eerily and frustratingly relevant today. Hundreds of years after the controversial play was written, it still makes for a hilarious performance, and The Conspirators managed to stage a punk-esque (from the French suffix -esque denoting "in the style of" or "resembling") production that would make Molière himself proud, so long as The King was in good spirits.

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(L-R) Anthony Soto with Tucker Privette. Photo by Logan and Candice Conner, Oomphotography.

Whether you catch a matinée (from the French matinée, meaning morning or daytime) or an evening show, don’t commit a Chicago faux pas (French meaning "false step”) and miss your opportunity to see this play. Tartuffe, or The Charlatan, is now playing at Stars & Garters (3914 N. Clark St., Chicago), through June 7. Tickets are $30 and may be purchased online at Humanitix.com. For more information about The Conspirators, please visit ConspireWithUs.org. J'espère que vous avez appris un ou deux mots de français. Maintenant, allons au théâtre!

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

Published in Theatre in Review

Monday, 11 May 2026 20:33

The Real Crime Would Be To Miss This: Crime and Punishment at TUTA Theatre

Clifton Frei as Raskolnikov in Crime and Punishment

Real Chicagoans don’t gatekeep hidden gems. Whether it’s hidden bars behind laundromats, the best Billy Goat location (under Mag Mile), the best desserts or street tacos, the best place to catch a local game (insert season + sport), or a must-see show or concert, real Chicagoans share the hidden gems and surprise experiences. They share because it's thoughtful, considerate, and they want others to experience the same joy and elation they themselves experienced. Most importantly, they want to talk about the shared experience after, preferably at a hidden beach adjacent gem. Today’s hidden gem is TUTA, a theatre company staging a heavy-themed production of Crime and Punishment.

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The story of Crime and Punishment follows the mental anguish and moral dilemmas of Rodion Raskolnikov, an impoverished former law student in Saint Petersburg who plans to kill an unscrupulous pawnbroker. The play is a stage adaptation of Fyodor Dostoevsky's 1866 novel of the same name, co-written by Marilyn Campbell and Curt Columbus. The authors of the adaptation condensed a heavily philosophical and psychological novel into a 90-minute, three-person play where the actors portray multiple characters without losing any of the depth or themes conveyed in the novel. Themes like isolation, morally gray ambiguity, faith, and fairness all still resonate today over 100 years later.

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The TUTA Theatre (The Utopian Theatre Asylum) really proves that good things really do come in small packages. The small theatre found through an alleyway and accessed through a garage provided an unintentional eerie setting, winding your way to a small enclosure similar to the run-down windowless room the protagonist lives in. The minimalist-yet-evocative stage design also lent itself to the poignantly punishable psychology of Dostoevsky's play. By having Raskolnikov kneeling in dirt in supplication, having characters move behind sheer yet blurry plastic tarps, making you question if they were really there or if the character was descending into the madness of his own logic. In a way, the stage was the fourth cast member, moodily setting the tone with lights and effects that aided the claustrophobic and alienation the protagonist was showing on stage. And big talent filled the room with the incredible talent of TUTA company members Felix as Sonia, Huy Nguyen as Inspector Porfiry, and Clifton Frei as Raskolnikov.

TUTA is a fascinating theatre company with a pay-what-you-choose ticket structure. As a non-profit theatre, TUTA relies on ticket sales as well as grants, donations, and in-kind gifts of labor and talent to create art. For Crime & Punishment, for example, a price of $100 per ticket is what it would take to cover the costs of the production. By choosing a higher ticket price, you are creating opportunities for others to attend at lower prices who may not be able to enjoy this performance otherwise. If you want a guaranteed seat in the small theatre, reservations are available online, and you can choose one of four suggested prices ($20, $45, $60, and $100). The higher price you pay or donate, the more affordable future tickets can become throughout the production’s run time.

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Whether a production is staged in a garage that borders the Brown Line or the finest auditoriums the city has to offer, Chicago proves time and time again that it houses a thousand treasures. And if you don’t know how to find them, don’t worry, there’s always a friendly Chicagoan ready to tell you all about it. Crime and Punishment is now playing at the TUTA Theatre (4670 N. Manor, Chicago) through June 28^th. To purchase reservations and guarantee a seat to the performance of your choice, visit www.tutatheatre.org. It'd be a Crime if you didn't get the chance to see this one.

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

Published in Theatre in Review

Monday, 04 May 2026 13:59

Chicago's Favorite Kids Show Returns This Summer The Second City's No Grown-Ups Allowed Starts June 6

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

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

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

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

About The Second City

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

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

Published in Upcoming Theatre

Friday, 01 May 2026 14:21

Chicago Shakespeare Theater announces North American Premiere production of Brokeback Mountain

Jack Cameron Kay as Jack Twist and Harrison Ball as Ennis Del Mar in Chicago Shakespeare’s North American premiere production of Brokeback Mountain, Ashley Robinson’s new adaptation of the captivating novella by Annie Proulx that inspired the Academy Award-winning film. Directed by Jonathan Butterell, the production runs May 28 - June 28, 2026, in the Courtyard Theater at Chicago Shakespeare.

Chicago Shakespeare Theater (CST) announces the cast and creative team for Brokeback Mountain, the North American premiere production of Ashley Robinson's adaptation of the captivating novella by Annie Proulx that inspired the Academy Award-winning film. The production is directed by Jonathan Butterell and plays May 28–June 28 in the Jentes Family Courtyard Theater. Brokeback Mountain stars Harrison Ball as Ennis Del Mar and Jack Cameron Kay as Jack Twist, leading an ensemble cast that also features Thomas Cox, Cordelia Dewdney, Kat Eggleston, and Alina Jenine Taber.

Wyoming 1963: a wild landscape of extreme rural poverty and insular conservative communities. When Ennis and Jack take jobs on the isolated Brokeback Mountain, all their certainties of life change forever as they flounder in unexpected emotional waters of increasing depth. This intense tale of an irresistible and hidden love spans twenty years and is interwoven with soulful, original Country Western songs by Dan Gillespie Sells, performed live onstage.

"It's a huge pleasure to launch this beautiful love story in the Midwest, so close to its spiritual home," said Artistic Director Edward Hall. "Audiences will enjoy a truly immersive experience watching this in the intimacy of the Courtyard Theater, where every glance, every breath and every absence deepens what is unsaid and felt beneath the surface."

Harrison Ball (Ennis Del Mar, CST debut) is an actor, choreographer, writer, and producer with a dynamic career spanning ballet, film, and theatre. A former principal dancer with New York City Ballet, he spent 13 years performing a vast repertoire that included works by George Balanchine, Jerome Robbins, Justin Peck, and many others. In 2022, Ball starred alongside Debbie Harry in Catharsis, a short film that premiered at the Tribeca Film Festival.

Jack Cameron Kay (Jack Twist, CST debut) is an actor, songwriter, and Juilliard-trained classical singer. His breakout role came as Joshua "Jones" in Netflix's Boots (2025), a coming-of-age dramedy set in 1990s Marine boot camp. He also appeared in the short film Bird in Hand and the upcoming Club Kid, premiering at the 2026 Cannes Film Festival.

The cast also features Thomas Cox as Joe Aguirre/Bill/Jack's Father (CST debut; founding ensemble member of Lookingglass Theatre Company, many additional credits including at Goodman Theatre, Steppenwolf Theatre, and more), Cordelia Dewdney as Alma (Ashland Avenue at Goodman Theatre, Steel Magnolias at Drury Lane), Kat Eggleston as the Balladeer/Jack's Mother (CST debut; musical artist with multiple recordings, including her award-winning solo album Speak; credits at Briar Street Theatre, Steppenwolf Theatre, and Victory Gardens), and Alina Jenine Taber as Lureen (Arwen in The Lord of the Rings: A Musical Tale at CST, A Streetcar Named Desire at Paramount Theatre, Beautiful: The Carole King Musical at Marriott Theatre). Understudies include Meghan Maureen McDonough, Laura Nelson, Matt Rosin, and Andrew Shipman.

Ashley Robinson is a Brooklyn based writer/actor who grew up in rural Lockhart, South Carolina. In addition to Brokeback Mountain, he has also conceived and penned the books for musicals Fall of '94, 5 & Dime, and Lockhart. As an actor, Robinson has performed in Floyd Collins (Wiltons Music Hall, London), A Clockwork Orange (New World Stages), Casa Valentina (Original London Cast), Truman Capote's A Christmas Memory (New York Premiere/ 2015 Outer Critics Award Nom), Merrily We Roll Along (Menier Chocolate Factory and West End), The Last Goodbye (Williamstown Theatre Festival), and Wicked (Original Chicago Company). He also originated the role of Jett Rink in the World Premiere of the musical Giant (Helen Hayes Award nomination, Best Actor).

Jonathan Butterell is a director and choreographer who has worked in London, New York, and around the world. He directed the movie Everybody's Talking About Jamie, released globally on Amazon Prime in 2021. Prior to that he spent time developing and directing the award-winning stage musical Everybody's Talking About Jamie. Further directing credits include: Alone Together, Michael Ball's one man show (Donmar Warehouse and Theatre Royal Haymarket); Floyd Collins (Wilton's Music Hall); Peter Pan (Royal Festival Hall); How to Succeed in Business Without Really Trying (Royal Festival Hall); Second Chance (Signature Theatre and Public Theater); Whida Peru: Resurrection Tangle (Inner Voice for Premier Stages); and Tres Niñas (Zipper Theatre). Butterell created the musical staging for the Tony Award-winning shows The Light in the Piazza (Lincoln Center Theater) and Assassins (Broadway), as well as the revival of Fiddler on the Roof (Broadway) and the musical staging for the original workshop of Sondheim's musical Wise Guys at New York Theatre Workshop, directed by Sam Mendes. Butterell also choreographed the Tony award-winning Nine on Broadway, and further productions in London, Buenos Aires and Tokyo.

The creative team for Brokeback Mountain also includes Dan Gillespie Sells (Composer), Jacob Yates (Music Director), Tom Pye (Scenic and Costume Designer), David Finn (Lighting Designer), Christopher Shutt (Sound Designer), Stephanie Farina (Sound Recreation and Additional Content), Zev Steinrock (Fight and Intimacy Coordinator), Sammi Grant (Dialect Coach), Christopher Chase Carter (Associate Director), Emily Hayman (Associate Sound Designer), Brenden Marble (Assistant Lighting Designer), Ethan Smith (Assistant Intimacy Choreographer), Christine D. Freeburg (Production Stage Manager), Danny Fender (Assistant Stage Manager), and Bruno Diaz Miranda (Production Assistant).

Playwright Ashley Robinson said, "I'm thrilled that Chicago Shakespeare will host the US Premiere of Brokeback Mountain. Chicago is the perfect city in which to premiere this working-class story of star-crossed lovers. I'm looking forward to bringing the play home, at a time when this beloved story feels more resonant and needed than ever."

The novella's author Annie Proulx shared, "Brokeback Mountain has been recreated in several different forms, each with its own distinctive moods and impact. Ashley's script is fresh and deeply moving, opening sight lines not visible in the original nor successive treatments. The story has always projected a sense of the difficult fated solitudes that echo in Wyoming's tawny landscapes. The joinery of script, actors, director, theatre, audiences becomes a complex watershed of dozens of mountain streams finally merging into a river of sensibility."

Opening is set for 7:00 p.m. on Thursday, June 4.

Special events include:

PRIDE Night at Brokeback Mountain will take place Tuesday, June 2 at 7:00 p.m. with a pre-show party beginning at 5:30 p.m. Gather around the "CAMPfire" for a joyful celebration to kick-off Pride Month with Western music, dancing, community, and a splash of camp. Each ticket to the show includes one free drink, light bites, and special pre-show activities in the lobby.
On Wednesday, June 10 after the 1:00 p.m. performance, CST will host a post-show discussion on LGBTQIA+ experiences of health and history as part of the national Seven Days in June campaign to ensure "Health is Primary." Marking the 45th anniversary of the first known case of what became HIV/AIDS, the panel will be moderated by journalist and community leader Tracy Baim, co-founder of Windy City Times and executive director of Press Forward Chicago.
All Wednesday and Saturday evening performances will be perfectly timed to enjoy Navy Pier summer fireworks after the performance (beginning at 9:00 p.m. on Wednesdays, 10:00 p.m. on Saturdays).

Brokeback Mountain

A Play by Ashley Robinson
Songs by Dan Gillespie Sells
Based on Annie Proulx's short story
Directed by Jonathan Butterell

May 28–June 28, 2026
The Jentes Family Courtyard Theater

PERFORMANCE LISTING

Tuesdays at 7:00 p.m. (no performance on June 16)
Wednesdays at 1:00 p.m. 7:00 p.m. (no matinee June 3)
Thursdays at 7:00 p.m. (plus 1:00 p.m. performance on June 18)
Fridays at 7:00 p.m.
Saturdays at 2:00 p.m. and 7:00 p.m. (no matinee April 4)
Sundays at 2:00 p.m.

Chicago Shakespeare strives to make its facility and performances accessible to all patrons. Accessible seating, assistive listening devices, large-print and Braille programs, and sensory tools are available at every performance. Enhanced performances include:

Audio-described performance – Sunday, June 21 22 at 2:00 p.m.

A program that provides spoken narration of a play's key visual elements for patrons who are blind or have low vision.

Open captioned performance – Wednesday June 24 at 1:00 p.m. and 7:00 p.m.
A text display of the words and sounds heard during a play, synced live with the action onstage.
ASL interpreted performance – Friday, June 26 at 7:00 p.m.
All dialogue and lyrics are translated into American Sign Language by two certified interpreters

Brokeback Mountain is presented by special arrangement with Nica Burns and Adam Blanshay. Originally produced by Nica Burns, Adam Blanshay Productions, Lambert Jackson and Katy Lipson for Aria Entertainment, @sohoplace in 2023.

More information at www.chicagoshakes.com/brokeback or on social media at @chicagoshakes.

CREATIVE TEAM

Ashley Robinson – Playwright

Jonathan Butterell – Director

Dan Gillespie Sells – Composer

Jacob Yates – Music Director

Tom Pye – Scenic and Costume Designer

David Finn – Lighting Designer

Christopher Shutt – Sound Designer

Stephanie Farina – Sound Recreation and Additional Content

Zev Steinrock – Fight and Intimacy Coordinator

Sammi Grant – Dialect Coach

Christopher Chase Carter – Associate Director

Emily Hayman – Associate Sound Designer

Brenden Marble – Assistant Lighting Designer

Ethan Smith – Assistant Intimacy Choreographer

Christine D. Freeburg – Production Stage Manager

Danny Fender – Assistant Stage Manager

Bruno Diaz Miranda – Production Assistant

CAST

Harrison Ball – Ennis Del Mar

Thomas Cox – Joe Aguirre / Bill / Jack's Father

Cordelia Dewdney – Alma

Kat Eggleston – Balladeer / Jack's Mother

Jack Cameron Kay – Jack Twist

Alina Jenine Taber – Lureen

Meghan Maureen McDonough – Understudy

Laura Nelson – Understudy

Matt Rosin – Understudy

Andrew Shipman – Understudy

BAND

Jacob Yates – Music Director / Piano / Conductor

Paul Mertens – Harmonicas

Tom McGettrick – Pedal Steel Guitar

Mary Halm – Bass

Ryan Blihovde – Copyist

Heather Boehm – Musicians Contractor

CHICAGO SHAKESPEARE THEATER (CST)

CST is a leading international theater company and the nation's largest year-round theater dedicated to the works of Shakespeare. Under the visionary leadership of Artistic Director Edward Hall and Executive Director Kimberly Motes, the Regional Tony Award recipient is committed to creating vivid, entertaining theatrical experiences that invigorate and engage people of all ages and identities by illuminating the complexity, ambiguity, and wonder of our world. Each year, nearly a quarter of a million people experience CST's artistry through more than 12 productions. With Shakespeare at the heart of the artistic work, CST also produces compelling, contemporary stories from fresh voices of today. CST brings the world to Chicago and sends Chicago out into the world as Chicago's foremost presenter of international theater, and consistent producer of North American and world premieres. Serving more students and teachers than any theater in the city, CST annually welcomes more than 20,000 students to performances and programs like Chicago Shakespeare SLAM, alongside professional development opportunities for teachers. CST activates its campus with three venues: 700-seat The Yard; the 500-seat Jentes Family Courtyard Theater; and the 200-seat Carl and Marilynn Thoma Upstairs Studio. Free programs like Shakes in the City bring performances to parks and community spaces across Chicago's 77 neighborhoods. Shared humanity and unforgettable stories—now THIS is Chicago Shakespeare. www.chicagoshakes.com

Published in Upcoming Theatre

Thursday, 30 April 2026 15:48

BTE marks 40 years with new season: 'Little Women," "Dial M for Murder" and “One Man, Two Guvnors”

Buffalo Theatre Ensemble (BTE), the professional Equity theater company in residence at the McAninch Arts Center (MAC), announced it will mark its 40th anniversary season with three productions spanning beloved literary adaptations, classic suspense and broad British comedy. The season opens with "Louisa May Alcott's Little Women," by Lauren Gunderson (Nov. 12-Dec. 13). It will be followed by "Dial M for Murder" adapted by Jeffrey Hatcher, from the original by Frederick Knott, directed by Steve Scott (Jan. 28-Feb. 28) and Richard Bean's "One Man, Two Guvnors" directed by Ensemble member Connie Canaday Howard (May 6-June 6).

"Forty years of sharing stories on stage has been made possible by our outstanding community of audience members who have made Buffalo Theatre Ensemble their theatrical home. These plays, filled with humor and heart, are a thank you to our loyal patrons and an open invitation to new friends to experience Buffalo Theatre Ensemble during this milestone season,"says Daniel Millhouse, Interim Managing Artistic Director.

BTE's 2026-2027 three-play season is as follows.

"Louisa May Alcott's Little Women"
By Lauren Gunderson
Director to be Announced
Nov. 12 – Dec. 13, 2026
Preview: Thursday, Nov. 12, Press Opening: Friday, Nov. 13
Performances: 7:30 p.m. Thursday - Saturday and 3 p.m. Sunday
Note: No show on Thursday Nov. 26 (Thanksgiving); added performance Saturday, Nov. 28 at 3 p.m.

In Lauren Gunderson's fresh and heartfelt adaptation of Louisa May Alcott's classic novel "Little Women," the beloved four March sisters step onto the stage with new vitality and emotional clarity. As Jo, Meg, Beth and Amy navigate growing up during the Civil War in Massachusetts, they chase dreams, confront loss and discover the fierce power of family. Gunderson, co-writer of the popular "Christmas at Pemberly" trilogy, illuminates Alcott's timeless story, celebrating imagination, resilience and the enduring bonds that shape who we become. Splash Magazine calls it, "an absolute delight from start to finish," and Chicago Stage and Screen calls it, "a heartwarming experience perfect for the holiday season."

"Dial M for Murder"
Adapted by Jeffrey Hatcher from the original by Frederick Knott
Directed by Steve Scott
Jan. 28 – Feb. 28, 2027
Preview: Thursday, Jan. 28, Press Opening: Friday, Jan. 29
Performances: 7:30 p.m. Thursday - Saturday and 3 p.m. Sunday

A sophisticated game of cat and mouse unfolds in this classic suspense thriller when a carefully constructed murder plot begins to unravel in unexpected ways. What follows is a razor-sharp battle of wits filled with deception, twists and chilling surprises. The Chicago Sun-Times says, "'Dial M' calls up a noirish universe filled with shady corners and shadier characters," and the Chicago Tribune calls it, "an entertaining evening of old-fashioned suspense." Originally written for a 1952 BBC broadcast, Knott's play was adapted for London and Broadway stages, TV and a 1954 Alfred Hitchcock film starring Ray Miland, Grace Kelly and Robert Cummings.

"One Man, Two Guvnors"
By Richard Bean
Based on "The Servant of Two Masters" by Carlo Goldoni
With "Tomorrow Looks Good from Here," Music by Grant Olding, Lyrics by Richard Bean and Grant Olding
Directed by Connie Canaday Howard
May 6-June 6, 2027
Preview: Thursday, May 6, Press Opening: Friday, May 7
Performances: 7:30 p.m. Thursday - Saturday and 3 p.m. Sunday

The perpetually hungry Francis Henshall accidentally winds up employed by two men: a fearsome gangster and a criminal on the run. Both guvnors are entangled in a web of schemes, shakedowns and seductions. To keep his double-dealing a secret, Henshall must juggle both guvnors, chase a decent meal and win the girl. Playwright Bean transports the classic commedia dell'arte tale "The Servant of Two Masters" (1746) into the bright, brash world of seaside Brighton in 1963. Daily Variety calls "One Man, Two Guvnors" "...sheer comic delirium," and London Theatre calls it "one of the funniest shows I've seen ... a rip-roaring hit."

For each play, there will be a pre-show discussion before the Thursday preview performances, and a post-show discussion following the second Friday performance. There will be an ASL Performance on the fourth Thursday of each run.

Tickets

Subscriptions are now on sale. Those subscribing by June 10 save 25% off single show ticket prices. After that date, subscribers receive 20% off single show ticket prices. A Season Flex-Pass is also available redeemable for each production during BTE's 2026-2027 Season. Subscriber benefits include free ticket exchanges, invitations to subscriber nights, a subscription to the SuBTExt newsletter, 10% discount at the MAC Gift Shop and two complimentary tickets to a COD student performance. Subscriptions are $103.50 (Adult) and $99 (Senior) - add $9/subscription for all-in pricing. Online flex-pass subscription is $103.50, plus $9 subscription fee and additional online fees.

Single show tickets for all BTE shows are $46. For all-in pricing visit AtTheMAC.org or call the box office at 630.942.4000. BTE's 2026-2027 Season performances will take place in the Playhouse Theatre of the McAninch Arts Center located at 425 Fawell Blvd. on the campus of College of DuPage. .

Single show tickets go on sale in July. For all-i n]pricing visit AtTheMAC.org or call the box office at 630.942.4000. Single show tickets for all BTE shows are $46. BTE's 2026-2027 Season performances will take place in the Playhouse Theatre of the McAninch Arts Center located at 425 Fawell Blvd. on the campus of College of DuPage.
About Buffalo Theatre Ensemble

The mission of Buffalo Theatre Ensemble is to provide a forum in which artists, scholars, writers, students and community members explore new ideas and provocative issues through the production of quality theater for the enjoyment of its audiences. Since 1986 BTE has staged more than 125 productions. The Artistic Staff for BTE includes Daniel Millhouse* (Interim Managing Artistic Director), and Bryan Burke+* (Business Manager).

BTE Ensemble members are Aly Renee Amidei^, Robert Jordan Bailey*, Amelia Barrett*, Bryan Burke*, Connie Canaday Howard*, Rebecca Cox, Lisa Dawn, Nick DuFloth, Jon Gantt, Christopher Kriz^, Laura Leonardo Ownby, Michael W. Moon, Kurt Naebig*, Galen G. Ramsey*, William "Sandy" Smillie* and Kelli Walker. For more information about BTE, visit btechicago.com.

*Denotes member of Actors' Equity; ^Denotes member of United Scenic Artists

Buffalo Theatre Ensemble is partially supported and funded by generous grants from Arts DuPage, Choose DuPage, College of DuPage Foundation, The Norm Woodel Inspiration Fund, the DuPage Foundation, and the Illinois Arts Council Agency.

About The MAC

McAninch Arts Center at College of DuPage is located 25 miles west of Chicago near I-88 and I-355. It houses three indoor performance spaces (the 780-seat proscenium Belushi Performance Hall; the 186-seat soft-thrust Playhouse Theatre; and the versatile black box Studio Theatre), the outdoor Lakeside Pavilion, plus the Cleve Carney Museum of Art and classrooms for the college's academic programming. The MAC has presented theater, music, dance and visual art to more than 1.5 million people since its opening in 1986 and typically welcomes more than 100,000 patrons from the greater Chicago area to more than 230 performances each season. For more information visit AtTheMAC.org.

Published in Upcoming Theatre

Wednesday, 29 April 2026 21:47

Free Metra rides for all Broadway In Chicago Shows all summer

Broadway In Chicago and Metra are pleased to announce a new promotion featuring nine shows coming to Chicago this summer: CHICAGO THE MUSICAL, LES MISÉRABLES, SPAMALOT, KINKY BOOTS, WATER FOR ELEPHANTS, SUFFS, & JULIET, THE NOTEBOOK, and THE OUTSIDERS.

Getting there is easy — and free! Ride Metra free to and from the theatre with your show ticket, valid on the date of your performance only. This special offer is available throughout the run of each show and includes round-trip travel. Just show your ticket to the conductor each way and enjoy a relaxing ride into the city before the curtain rises and back home after the show! Metra offers a short, walkable connection from any of its five downtown stations, each less than a mile away from the Cadillac Palace Theatre, James M. Nederlander Theatre, CIBC Theatre, and The Auditorium™ located in the heart of the Loop—and has compatible schedules with both shows throughout the day and evening. Metra provides the ideal solution for theatre lovers seeking a safe, convenient, and stress-free ride.

Tickets may be purchased at www.BroadwayInChicago.com or any Broadway In Chicago venue box office. Additional fees apply to online purchases. Group reservations for 10 or more are available by calling 312-977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Current subscribers may add these shows when renewing by clicking here or calling 312-977-1717. Individual ticket information for each show can be found below.

For information on Metra schedules, click here.

CHICAGO THE MUSICAL
May 5 – May 10, 2026
The Auditorium™, 50 E. Ida B. Wells Dr.
Link to EPK

CHICAGO is still the one musical with everything that makes Broadway shimmy-shake: a universal tale of fame, fortune, and all that jazz, with one showstopping song after another and the most astonishing dancing you’ve ever seen.

In the whirlwind of Chicago’s Jazz Age, two of the Cook County Jail’s most notorious Murderesses — vaudeville star Velma Kelly and chorus girl Roxie Hart — become fierce rivals as they compete for headlines amidst a media frenzy.

Broadway’s longest-running musical has been razzle dazzling audiences for over 29 years, and after more than 10,000 performances, 6 Tony Awards®, 2 Olivier Awards, and a Grammy®, we’re just getting started.

Come on, babe! Head back to CHICAGO!
We’re hotter than ever.

Individual tickets are on sale now and range from $40.00 to $130.00. Additional fees apply for online purchases.

LES MISÉRABLES
May 12 – May 24, 2026
Cadillac Palace Theatre, 151 W. Randolph St.
Link to EPK

Cameron Mackintosh presents the acclaimed production of Boublil and Schönberg’s Tony Award®-winning musical phenomenon, LES MISÉRABLES. This brilliant staging has taken the world by storm and has been hailed as “a reborn dream of a production” (Daily

Telegraph). Set against the backdrop of 19^th century France, LES MISÉRABLES tells an enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. The magnificent score of LES MISÉRABLES includes the songs “I Dreamed a Dream,” “On My Own,” “Bring Him Home,” “One Day More” and many more.

Individual tickets are on sale now and range from $49.00 to $170.00. Additional fees apply for online purchases.

SPAMALOT
May 19 – May 31, 2026
CIBC Theatre, 18 W. Monroe St.
Link to EPK

THE TONY AWARD-WINNING BEST MUSICAL COMEDY IS BACK!

SPAMALOT, which first galloped onto Broadway in 2005, features a book & lyrics by Eric Idle and music by John Du Prez and Eric Idle.

The original Broadway production was nominated for fourteen Tony Awards and won three, including best musical. The musical comedy lovingly ripped off from the film classic, Monty Python and the Holy Grail, SPAMALOT features well-known song titles such as “Always Look on the Bright Side of Life,” “The Song That Goes Like This,” “Find Your Grail” and more that have become beloved classics in the musical theatre canon.

Individual tickets are on sale now and range from $35.00 to $130.00. Additional fees apply for online purchases.

KINKY BOOTS
June 9 – June 21, 2026
James M. Nederlander Theatre, 24 W. Randolph St.
Link to EPK

Everybody say “Yeah!” and let KINKY BOOTS lift your spirits to high-heeled heights! Winner of the Tony®, Grammy®, and London’s Olivier Awards for Best Musical, KINKY BOOTS captivates and entertains audiences around the world with a Tony-winning score

by Cyndi Lauper, book by four-time Tony Award-winner Harvey Fierstein , and original direction and Tony-winning choreography by Jerry Mitchell.

Based on true events, KINKY BOOTS follows the journey of two people with nothing in common… or so they think. The unlikely pair find that they have more in common than they realized and discover that you change the world when you change your mind.

Individual tickets are on sale now and range from $49.00 to $126.00. Additional fees apply for online purchases.

WATER FOR ELEPHANTS
June 23 – July 5, 2026
James M. Nederlander Theatre, 24 W. Randolph St.
Link to EPK

“Many wonders await audiences in this gorgeously imaginative Broadway musical.”- The New York Times

The critically acclaimed bestselling novel comes to “thrilling,

dazzling” life (Time Out New York) in a unique, spectacle-filled new musical! Hailed as a Critic’s Pick, The New York Times calls it “stunning, emotional, heart-filled and gorgeously imaginative.”

After losing what matters most, a young man jumps a moving train unsure of where the road will take him and finds a new home with the remarkable crew of a traveling circus, and a life—and love—beyond his wildest dreams. Seen through the eyes of his older self, his adventure becomes a poignant reminder that if you choose the ride, life can begin again at any age.

So, step right up to the “spellbinding entertainment” (Variety) at WATER FOR ELEPHANTS, “the best new musical on Broadway” (Theatermania).

Individual tickets are on sale now and range from $39.00 to $130.00. Additional fees apply for online purchases.

SUFFS
July 7 – July 19, 2026
CIBC Theatre, 18 W. Monroe St.
Link to EPK

BEHIND EVERY POWERFUL WOMAN… ARE MORE POWERFUL WOMEN.

Direct from Broadway, comes the acclaimed Tony Award®-winning

musical SUFFS about the brilliant, passionate, and funny American women who fought tirelessly for the right to vote. Created by Shaina Taub, the first woman to ever independently win Tony Awards for Best Book and Best Score in the same season, this “thrilling, inspiring and dazzlingly entertaining” (Variety ) new musical boldly explores the triumphs and failures of a struggle for equality that’s far from over. Winner of the Outer Critics’ Circle Award for Best New Musical.

“Like all of the best Broadway musicals, SUFFS humanizes, empowers, moves, and entertains.” Chicago Tribune

Individual tickets are on sale now and range from $37.00 to $132.00. Additional fees apply for online purchases.

& JULIET
July 22 – August 2, 2026
The Auditorium™, 50 E. Ida B. Wells Dr.
Link to EPK

Created by the Emmy®-winning writer from “Schitt’s Creek,” this hilarious new musical flips the script on the greatest love story ever told. & Juliet asks: what would happen next if Juliet didn’t end it all over Romeo? Get whisked away on a fabulous journey as she

ditches her famous ending for a fresh beginning and a second chance at life and love — her way.

Juliet’s new story bursts to life through a playlist of pop anthems as iconic as her name, including "Since U Been Gone‚" "Roar," "Baby One More Time," "Larger Than Life‚" "That’s The Way It Is,“ and "Can't Stop the Feeling!"—all from the genius songwriter/producer behind more #1 hits than any other artist this century. Break free of the balcony scene and get into this romantic comedy that proves there’s life after Romeo. The only thing tragic would be missing it.

Individual tickets are on sale now and range from $49.00 to $175.00. Additional fees apply for online purchases.

THE NOTEBOOK
August 4 – August 16, 2026
James M. Nederlander Theatre, 24 W. Randolph St.
Link to EPK

Based on the best-selling novel that inspired the iconic film, THE NOTEBOOK tells the story of Allie and Noah, both from different worlds, who share a lifetime of love despite the forces that threaten to pull them apart. “Full of butterfly-inducing highs and beautiful

songs” (Entertainment Weekly), THE NOTEBOOK is a deeply moving portrait of the enduring power of love, and features music by singer-songwriter Ingrid Michaelson and a book by TV’s Bekah Brunstetter (“This Is Us”).

Individual tickets go on sale on May 4 and will range from $37.00 to $127.00. Additional fees apply for online purchases.

THE OUTSIDERS
August 4 – August 16, 2026
Cadillac Palace Theatre, 151 W. Randolph St.
Link to EPK

The winner of four 2024 Tony Awards®, including Best Musical, is THE OUTSIDERS. This classic coming-of-age story takes you to Tulsa, Oklahoma in 1967, where Ponyboy Curtis, his best friend Johnny Cade, and their family of Greaser “outsiders” dream about

who they want to become in a world that will never accept them. THE OUTSIDERS features Danya Taymor’s Tony Award winning direction that’s “refreshing, gritty, and endlessly effective.” (The New York Times). With “high-octane choreography” (New York Magazine), THE OUTSIDERS has been described as “more pulse-pounding than anything else on Broadway!” (Time Out New York).

Individual tickets are on sale now and range from $49.00 to $160.00. Additional fees apply for online purchases.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at The Auditorium™.

For more information, visit www.BroadwayInChicago.com.
Follow @broadwayinchicago on Facebook, Instagram, TikTok, and Bluesky #broadwayinchicago

Published in Theatre Buzz

Tuesday, 21 April 2026 14:16

At Steppenwolf, Windfall Doesn’t Cash In on Its Promise

(left to right) Ensemble member Glenn Davis with Michael Potts in Steppenwolf Theatre Company’s world premiere of Windfall.

Steppenwolf Theatre Company’s, Windfall arrives with all the promise its pedigree suggests. Written by Academy Award–winning ensemble member Tarell Alvin McCraney and directed by Awoye Timpo, the production aspires to be a pulsing, lyrical meditation on grief, justice, and the uneasy intersection of activism and capitalism. What unfolds instead is a work rich in intention but frustratingly elusive in execution.

The play centers on a protest encampment that erupts into violence, culminating in the shooting of Eli, a member of Never Wrestle Justice - a group of activists unafraid to raise their voices. In the aftermath, Marcus (Glenn Davis), who has transitioned, lingers alongside his aging adoptive father, Mr. Mano (Michael Potts). Mano is left reeling, unable to fully accept the reported death of his child, Eli (Esco Jouléy). It’s a potent premise: a father who refuses to confirm his child’s death, a government eager to offer a financial settlement, and a moral dilemma that questions whether survival can - or should - be measured in dollars. Tarell Alvin McCraney frames the story as a “chosen family” drama, but the emotional foundation never fully coheres.

Marcus urges Mano to identify Eli’s body and accept the settlement, arguing that “blood money is still money.” Yet Mano resists, clinging to the unbearable ambiguity of loss. The arrival of various state representatives - played with dynamic range by Alana Arenas as First Lady, Miss Second, and The Last One - pushes the narrative into increasingly surreal territory. These figures, along with Jon Michael Hill and Namir Smallwood in multiple roles, embody a bureaucratic machine that is at once apologetic, predatory, and opaque.

There are flashes of McCraney’s signature lyricism, particularly in the spectral appearances of Eli. Whether ghost, memory, or manifestation of guilt, Eli’s presence should anchor the play’s emotional core. Instead, it muddies the stakes. When Eli ultimately reappears - alive, defiant, and ready to fight - the revelation feels less like a cathartic turn and more like a narrative sleight of hand that the play hasn’t earned.

This points to the central issue: the characters are too thinly drawn to sustain the weight of the play’s ideas. We see Mano’s grief, Marcus’s urgency to settle, and Eli’s activism, but we rarely feel them. The stakes, which should be life-altering, register as curiously low. Even the moral dilemma - to take the money or resist the system - never fully ignites because the emotional investment isn’t there.

Timpo’s direction leans into the play’s abstraction, emphasizing its communal and ritualistic elements. At times, this works; the staging has a fluidity that suggests a world where reality and memory bleed into one another. But the lack of clarity ultimately undermines the experience. Confusion becomes less a deliberate aesthetic choice and more a barrier to engagement.

There is also the question of place. Though the play is set in Chicago, it rarely feels rooted there. References to Rainbow Beach or Pequod’s Pizza read as surface-level markers rather than lived-in details. For a story so deeply tied to protest, policing, and community, the absence of a tangible sense of Chicago is a missed opportunity.

Still, the performances strive to elevate the material. Arenas is the undeniable standout, bringing vitality and nuance to each of her roles. Whenever she takes the stage, the play briefly finds its pulse. Potts lends dignity to Mano, though the script gives him limited room to build a fully realized arc.

McCraney has proven himself to be a playwright of profound depth and clarity. Windfall gestures toward that brilliance but never quite achieves it. It is a communal experience, yes - but one that leaves you searching for emotional and narrative footing long after the final moment fades.

Somewhat Recommended

When: Through May 31

Where: Steppenwolf Theatre, 1650 N. Halsted

Tickets: $20 - $148.50

Box Office: 312-335-1650

www.steppenwolf.org

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

Published in Theatre in Review