In the spirit of excellent novels coupled with Lifeline Theatre’s equally inventive stage adaptations, The Piano Tuner, by Daniel Mason, is as brilliantly crafted for the stage as originally written. Tailored for a visual audience by James E. Grote, this exotic adventure concerning a British War Office and an ordinary piano tuner comes alive through the masterful direction of Jonathan Berry.

The House is arguably the best thing to happen to Chicago’s theatre scene. Totally innovative and wildly entertaining, this theatre is practically a lifestyle. The brainchild of a fascinating group of friends, the majority of company members are graduates from Southern Methodist University. Nearly thirty young adults make up this groundbreaking ensemble. They consist of actors, writers, directors, musicians, dancers, producers, graphic designers, and more.

The Blue Man Group is innovative and fresh, trendy, yet deservingly so. Therein lies their success. The artistry of color, lights, sounds, visuals, and audience participation is what sets them apart. The show is a completely out of mind and sensory rich experience. Blue Man Group has ventured out extensively beyond New York City’s original Astor Place Theatre. They have opened productions of equal success around the globe.

Frank McCourt once said “Malachy stood behind the bar and told his customers stories. I stood before the blackboard and told my students stories. At holiday gatherings we told our families stories. Why not get together, cobble these stories into a script and tell the world?” and so they did. Apart, the brothers McCourt have two incredibly interesting life stories. Together, they have one great play.

Embarking on the end of her undergraduate years at Brown University as an English Major in 2004, Sara Ruhl wrote her first play. Instead of writing a 100-page thesis paper, Paula Vogel (a teacher and Pulitzer Prize-winning playwright) aided her in writing the three part series, wrapped up in one innovative package that has come to be known as Passion Play.