Displaying items by tag: theatre

When we think of summertime in Chicago, we probably wouldn’t associate it an existential play set in a small Russian town filled with woe and dread and longing. That style of play would fit better with the dark winter days. But like a required literature course in high school, or a classic novel from another century we had to read, it’s often later that we realize why we took that course, why we read that book Like Chicago itself, with its long dark winters, there is a beautiful tapestry of people with thriving, complex lives, with dreams and desires sometimes unrealized or just out of reach. That is at the theme at the heart of Anton Chekhov’s classic Three Sisters, now playing at Invictus Theatre for a limited time.

Anton Chekhov was a Russian playwright and short-story writer. Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. Chekhov was a physician by profession. "Medicine is my lawful wife," he once said, "and literature is my mistress." The playwright penned Three Sisters in 1900 and the four-part play was first performed in 1901. This seminal classic chronicles three and a half years in the falling fortunes of the four children of a recently deceased Colonel in the Russian army, notably three sisters: Olga (played by Maria Stephens), Masha (played by Katherine Schwartz), and Irina (played by Ellie Duffey). They have been living in a small town in Russia for the past 11 years and yearn to return to the excitement of Moscow. Their dreary provincial life is enlivened only by the arrival of the Imperial Army. The sisters' dreams of a new life are crushed when their brother marries a woman they consider ill-bred and mortgages the house.

Like the green light at the end of Daisy’s dock, the eventuality of a courtship in Netflix’s One Day, like a Bears dynasty, the three sisters within the play long for something more than their lives. Throughout the first act they long to work, to contribute to society if only to fight the boredom a privileged life affords them. In the second act, they loathe work and long for a life of elegance and ease. Throughout the play they and others put Moscow on a pedestal, often whispering the name with reverence, like a prayer, as though the city would hold the promise to their happiness, the end to their misery. Juxtaposed against minor characters who are happy and contented, the stark contrast forces the audience to determine if the protagonists are justified in their woes or drowning in their self-made misery.

Chekhov’s Three Sisters has a timeless staying power that still resonates in the modern world and is a perfect existential piece to juxtapose against the beautiful Chicago summer evenings. Invictus Theatre Company took on the lofty goal of putting on the production as the first run in its new home at The Windy City Playhouse in Irving Park. Paul Schmidt’s translation and condensation of the four-part play into two acts highlights all the key points and themes. Set against an intimate and enchanting set by Kevin Rolfs, Director Charles Askenaizer transports us to the small Russian town filled with existential woe, philosophical debates on life and love, and bridges the centuries with this timeless classic.

As summer kicks off in Chicagoland, don’t pine for an evening out or promise yourself you’ll see this play one day. Seize your Moscow and see Three Sisters. Three Sisters is playing in a limited run at Invictus Theatre at The Windy City Playhouse at 3014 W Irving Park Rd through July 14th. Tickets are available at www.invictustheatreco.com. ваше здоровье.

This Pride Month, the electrifying musical "SIX" playing at the James Nederlander Theatre isn’t just a celebration of female empowerment – it's a vibrant anthem for self-expression and defying societal expectations. Forget the dusty history books and the traditional view of Henry VIII's wives as mere pawns. "SIX" explodes onto the stage with a pop-infused rebellion, reclaiming the narrative and reminding us that queens can tell their story in their own way.

"SIX," created by Toby Marlow and Lucy Moss, reimagines the six wives of Henry VIII as pop divas, each telling her story through a series of show-stopping songs. The musical is a fusion of history, pop culture, high camp, and a feminist reawakening, presented with a diverse and inclusive cast that adds layers of contemporary relevance.

From the moment the lights go down and the opening chords reverberate through the theater, "SIX" grabs the audience’s attention and never lets go. The set, minimalist yet striking, thanks to lighting design by Tim Deiling, serves as a dynamic playground for the queens, with each number featuring dazzling choreography and impressive vocal performances. The cast, a powerhouse ensemble of six immensely talented women, delivers each song with such conviction and charisma that it's impossible not to be swept up in their stories. They are accompanied by The Ladies in Waiting - a four-piece band consisting of Jane Cardona on keyboard, Sterlyn Termine on bass, Rose Laguana on guitars and Kami Lujan on drums

The show kicks off with the exuberant "Ex-Wives," an introduction immediately establishing the premise: the six queens are here to reclaim their narratives, casting off the shadow of Henry VIII to shine in their own right. Each queen’s song is distinct, reflecting her unique personality and circumstances.

Catherine of Aragon’s (Kristina Leopold) "No Way" is an anthem of resilience and defiance, performed with fiery passion that sets the tone for the show’s celebration of female strength. Anne Boleyn’s (Cassie Silva) "Don’t Lose Ur Head" blends humor with tragedy, capturing her youthful rebellion and ultimate downfall. Jane Seymour’s (Kelly Denice Taylor) heart-wrenching ballad, "Heart of Stone," showcases vulnerability and loyalty, providing a poignant contrast to the more upbeat numbers.

“House of Holbein,” set in the portrait studio of Germany's Hans Holbein the Younger, is the most techno-infused song of the evening. From the costumes to the lighting to the song's lyrics ("Try these heels, so high it’s naughty, but we cannot guarantee that you’ll still walk at forty"), the musical number transported me back to the iconic club scene of NYC’s Limelight circa 1989.

Anna of Cleves (Danielle Mendoza) brings the house down with "Get Down," a confident assertion of independence that resonates with themes of self-acceptance and freedom, core values of Pride Month. Katherine Howard’s (Taylor Sage Evans) "All You Wanna Do" is a powerful critique of objectification and a moving testament to her desire for genuine love and respect. Finally, Catherine Parr’s (Adriana Scalice) "I Don’t Need Your Love" is a triumphant declaration of self-worth and autonomy, a fitting culmination that leaves the audience empowered and inspired.

What sets "SIX" apart is not just its infectious music and compelling performances but also its underlying message of reclaiming identity and rewriting history. In the context of Pride Month, this theme takes on added significance. The LGBTQ+ community has long fought to assert their identities, often in the face of marginalization and erasure. "SIX" echoes this struggle, as each queen refuses to be defined by her relationship to Henry VIII, instead asserting her individuality and worth.

The production’s commitment to diversity is also noteworthy. The casting is refreshingly inclusive, reflecting a range of ethnicities and body types, which enhances the show’s relatability and appeal. This inclusiveness extends beyond mere representation; it is woven into the fabric of the performance, celebrating differences and promoting a message of unity and acceptance.

The show’s structure as a pop concert allows for a level of interaction and engagement that traditional musicals might not achieve. The queens frequently break the fourth wall, directly addressing the audience and inviting them into their world. This interactive element creates a sense of community and shared experience, much like the atmosphere of Pride celebrations.

"SIX" is more than a musical; it is a powerful declaration of empowerment and identity. The vibrant celebration of the queens’ stories beautifully aligns with the values of Pride Month, making it an essential production to experience during this time of year. With dynamic performances, infectious energy, and profound messages, "SIX" leaves an indelible mark on its audience, emphasizing the importance of owning our narratives and celebrating our true selves. It's a reminder that finding your voice and claiming your story is the ultimate act of rebellion. "SIX" is a celebration of defying expectations and embracing who you are, unapologetically. So, get ready to "Get Down With Herstory" because this show reminds us that even queens can rock.

When: Through July 14

Where: James Nederlander Theatre 24 W. Randolph Chicago

Running time: 1 hour, 25 minutes

Tickets: $35.50-$95.50 at 800-775-2000

                  www.broadwayinchicago.com

"Stokely: The Unfinished Revolution" a world premiere written by Nambi E. Kelley and directed by Tasia A. Jones, ambitiously attempts to capture the essence of civil rights icon Stokely Carmichael in a mere 90-minute play. The title, hinting at a deep dive into Carmichael's revolutionary ideologies, might mislead audiences expecting a detailed exploration of his political maneuvers. Instead, the play serves more as a biographical sketch, intricately weaving his personal and public life, spotlighting his relationships and the internal and external battles he faced.

The enormity of condensing Carmichael's life into such a brief performance is a challenge that Nambi E. Kelley undertakes with both reverence and creativity. Kelley is no stranger to tackling monumental projects; her play "Native Son," based on Richard Wright's 400+ page book, is currently receiving a formidable production at Lifeline Theatre. In "Stokely: The Unfinished Revolution," the narrative framework is structured around Carmichael's awareness of his impending death, prompting him to reflect on his life and legacy. This introspective journey provides a poignant lens through which the audience views Carmichael not just as a historical figure but as a man grappling with his mortality and the weight of his contributions to the civil rights movement.

While Tasia A. Jones has made quite a name for herself in Chicago theaters, this production marks her directorial debut at Court Theatre. Jones's direction shines with emotional depth, sharp focus, and a remarkable ability to elicit compelling performances from her actors. She adeptly handles a challenging script, showcasing her exceptional directorial skills. The ensemble's stellar performance is a testament to her distinct and impactful style.

Anthony Irons delivers a compelling performance as Stokely Carmichael. His portrayal captures the charismatic and fiery spirit of Carmichael, while also delving into his vulnerabilities and moments of introspection. Irons manages to convey the depth of Carmichael's character, balancing his revolutionary zeal with the emotional complexities of his personal relationships.

Melanie Brezill stands out with her portrayal of Tante Elaine, Stokely’s aunt, as well as Miriam Makeba and other influential women from the civil rights era. Brezill's performance is marked by a powerful presence and a keen sense of empathy, bringing to life the experiences and struggles of these women. Her versatility and emotional range make her scenes particularly memorable, adding depth and resonance to the play.

Dee Dee Batteast is versatile in her roles, including Cecilia Carmichael, Stokely’s grandmother, and other characters. She adds layers of historical and emotional context to the narrative, seamlessly transitioning between different personas. Her ability to inhabit multiple characters with distinct voices and mannerisms enriches the storytelling and provides a broader perspective on Carmichael's life.

Kelvin Roston Jr. is reliably excellent in his multiple roles, including Adolphus Carmichael, Stokely’s father, and significant figures like Martin Luther King Jr and James Baldwin. Rolston’s ability to embody such diverse and iconic characters with authenticity and gravitas anchors the play, providing continuity and a sense of historical significance.

Wandachristine, playing May Charles, Carmichael’s mother, offers a nuanced performance that highlights the familial tensions and deep love that defined their relationship. Her interactions with Irons are charged with emotion, revealing the often-complicated dynamics between a mother and her son, particularly when that son is a prominent figure in a tumultuous era.

The fluidity of the play’s structure is mirrored in its set design. Yeaji Kim’s creation of a massive chest of drawers, filled with books and papers, serves as a dynamic backdrop. This design not only symbolizes the vast repository of knowledge and history that Carmichael sought to preserve but also facilitates quick transitions between different times and places. The set is both functional and metaphorical, enhancing the thematic elements of legacy and memory.  The main set piece transforms in a surprising and unexpected manner I won't reveal here, preserving the thrill of discovery.

Daphne Agosin's lighting design and Willow James's sound design work in harmony to create a vivid sense of time and place. The lighting shifts subtly yet effectively, guiding the audience through various moments in Carmichael's life. Meanwhile, the sound design incorporates period-specific music and ambient sounds, grounding the narrative in its historical context and enhancing the emotional impact of the scenes.

Kelley’s script is a deft blend of personal reflection and historical narrative. The dialogue is sharp and evocative, capturing the essence of Carmichael's rhetoric while also revealing his personal struggles. The tension between Carmichael and his mother is a central theme, adding a deeply human dimension to the story. This relationship is portrayed with honesty and sensitivity, illustrating how personal bonds can influence and complicate one's public mission.

"Stokely: The Unfinished Revolution" succeeds in presenting a multifaceted portrait of Stokely Carmichael. The production humanizes him by portraying his strengths, flaws, public triumphs, and private tribulations. While the play might not satisfy those seeking an exhaustive examination of Carmichael's revolutionary strategies — I would have loved to have seen the transformation from Stokely Carmichael to Kwame Ture—it offers a rich, intimate glimpse into his life and legacy.

In capturing the essence of a man who was both a pivotal figure in the civil rights movement and a son, "Stokely: The Unfinished Revolution" provides a powerful theatrical experience. It serves as a reminder of Carmichael's enduring impact and the personal sacrifices that underpin the fight for social justice. The performances, direction, and design elements coalesce to create a compelling and thought-provoking tribute to a man whose revolution, indeed, remains unfinished.

Highly Recommended

When: Through June 16

Where: Court Theatre, 5535 S. Ellis Ave.

Tickets: $23.50 - $69.50

Info: CourtTheatre.org

Run time: 90 minutes, no intermission

It’s often quoted in reviews that we are unworthy of such beauty or splendor the arts and humanities afford us. The turn of phrase elicits images of Wayne and Garth of Wayne’s World bowing at the feet of Alice Cooper, or a dashing Bridgerton man dropping to a knee at the feet of a lithe debutante to profess his unworthiness of her affections. But in a world that increasingly takes more and more from us, we mere mortals, I challenge that we are worthy. We are worthy of beauty, of art, of the humanities. We are worthy to see the amalgamation of when talented artists bring a work of fiction to a stage, to hear clever prose intermingled with catchy musical numbers, and be visually wowed and transported out of our reality, if only for a few short hours. We are worthy of magic. And magic is precisely what Cadillac Palace Theatre is granting us in Death Becomes Her, the musical, now playing through June 2nd.

(l to r): Megan Hilty (Madeline Ashton), Jennifer Simard (Helen Sharp)

Death Becomes Her, hailed as musical comedy revitalized, is a new musical adaptation based on the 1992 Universal Pictures movie of the same name. When a novelist loses her man to a movie star and former friend, she winds up in a psychiatric hospital. Years later, she returns home to confront the now-married couple, looking radiant. Her ex-husband's new wife wants to know her secret and discovers that she has been taking a mysterious, magical potion which grants eternal life to the person who drinks it. The actress follows suit but discovers that immortality has a price in this supernatural, dark comedy. Producer and writer Marco Pennette transformed the play for the theater, which is directed and choreographed by Tony-nominated Christopher Gattelli. Tony Award nominees Jennifer Simard and Megan Hilty take the lead roles as Helen Sharp and Madeline Ashton, the former friends competing for the same man’s affection and finding a solution that is simply to die for. Renowned stage actor Christopher Sieber and millennial’s goddess Michelle Williams of Destiny’s Child round out the cast as Dr. Ernest Menville and Viola Van Horn (que thunder and lightning). It’s a dark comedy essential to add to any playbill collection.

Christopher Sieber (Ernest Menville)

Few Broadway shows, let alone any play, have had such an illustrious reception in Chicago. The gays, the theys, girlies young and old, allies and kings all donned their best summer theatre attire to attend last night’s performance, all dutifully in their seats the moment the play started with a literal CRASH of magenta-hued thunder. Lightning struck and we were all worthy to be transported to the magical world of New York City to follow the story of best frenemies Madeline Ashton and Helen Sharp. For the entire run time of 2 hours and 30 minutes (with a 15-minute intermission), Chicagoans were treated to an artistic cornucopia for the senses. The live orchestra playing catchy tunes, lavish scene and stage designs, alluring and dramatic costume designs, the illusion and fight sequencing, the lighting, the makeup, the sound, the dancing and musical arrangements, the orchestration, every single solitary artistic element left the audience spellbound and awestruck. Brought to life with the incredible talents of the four main cast members, supported by an inclusive, talented, and drop-dead gorgeous ensemble cast, Death Becomes Her is sure to be a powerhouse on the Broadway circuit for decades to come.

The cast of Death Becomes Her

In addition to the production quality and value delivered, what makes this adaptation so flawless is the story itself. The elegant-gothic motifs in Death Becomes Her are timeless and hold up in 2024 just as well as it did in 1992; beautiful women feeling the pressure of unrealistic societal beauty standards and attempting to defy the natural order of aging, friends as fierce rivals and competitors, love triangles, and the desire to remain as we are, to stop time. While Death Becomes Her might not be able to defy gravity, it does stop time for a blissfully fun three hours. And that is pretty damn magical.

Balanced with witty banter, clever one-liners, raunchy humor, and exceptionally timed comedic delivery, Death Becomes Her is exactly the realistic escapism we need in our chaotic world and one we are all supremely worthy to behold. The musical comedy is now playing at The Cadillac Palace Theatre (151 W Randolph St, Chicago) through June 2nd. Get your tickets today before they magically disappear.

Growing up our radio dial was tuned to one channel, K-Earth 101. In Southern California that station was the oldies, the classics, belting out hits from the 1950s and 60s; Sam Cooke, Buddy Hall, Mel Carter, Peggy Lee, The Ronettes, and so many more artists’ melodies and lyrics that are permanently tattooed on my brain. That music knowledge didn’t particularly help during middle school dances where 13 years olds grinded to The Bad Touch by The Bloodhound Gang but it did provide a solid foundation for an eclectic music playlist I continue to grow and curate today. Thanks to modern music apps we can now not only know the song but who sang it, and more astonishingly who wrote the music and lyrics. It is fascinating to find your favorite artists often wrote and composed songs for other artists, or your favorite songs are written by the same composer or produced by the same producer. It’s another level to musical appreciation that gets to the very heart and soul of the music. Music afficiandos loving to discover the artists behind the music will simply love Beautiful: The Carole King Musical, now playing at The Paramount Theatre. 

Beautiful: The Carole King Musical tells the story of Carole King, played by Tiffany Topol, and her musical journey and career. Starting out in Brookly we meet a 16-year-old aspiring songwriter in Carolee and journey through her early career composing music at 1650 Broadway for music publisher Donnie Kirshner, played by Ian Paul Custer. When she meets her future husband and lyricist Gerry Goffin, played by C.J. Blaine Eldred, we follow their early marriage and burgeoning careers as they team up to write some of the most iconic and lasting melodies and lyrics from huge 1960s artists like The Drifters and The Shirelles. Carole King’s career was filled with playful rivalries, endearing classics and emotional heartbreak but through it all she managed to see the beauty around her and become an era defining musician and artist and go on to become one of the most successful singer, songwriter and musicians in popular music history. 

First premiering in 2013, this modern musical is unlike any that you have ever seen. Synopsis and summaries about the play and captured in reviews are, in my humble opinion, purposely vague. The beauty of this musical is that it doesn’t have any original numbers nor does it sing-tell the story. Instead the writer Douglas McGrath uses King’s life story along with the music she wrote to show us her life, not tell us. He cleverly teases the music out, not immediately revealing the song, but having King or Goffin's characters slowly unveil the song to us. More satisfying than an unboxing video, the moment the first lyrics are sung or the melody tinkled on the piano keys, there is a collective and satisfying flutter of your heart, a spark in your brain at the recollection of the familiar song. It is made only more incredible as mini concerts within the play are performed by an incredible ensemble cast; The Righteous Brothers, performed by Luke Nowakowski, Matt Thinnes, The Shirelles performed by Marta Bady, Lydia Burke, Ariana Burks, Shelbi Voss, The Drifters, performed by Averis I. Anderson, Corey Barrow, Jared David Michael Grant, Calvin Scott Roberts, the incredibly talented ensemble cast embody the musical legends and perform just as they would have in the 1960s, fully immersing you into the heart and soul of King’s craft and talent. There is also a deep appreciation and respect for Carole King and how much influence she truly had on an entire generation of music, not counting her residual influence throughout her career with other artists. The satisfying, gratifying, and inspiring aspects of King’s life and influence is slowly unveiled to you as the audience and at times you’ll hardly be able to stay seated you’ll want to sing and dance along with the cast. The story telling is superb. It’s a love letter not only to King’s contribution to music but her rivals as well, Cythnia Weil and Barry Mann, played by Rebecca Hurd and Christopher Kale Jones respectively, and the music they all wrote that defined an era. You’ve never seen anything quite like Beautiful: The Carole King Musical. 

Going into this show I did not research Carole King's life story nor her songbook collection. I wanted to go in blind, knowing of the singer-songwriter but not being able to name many of her songs from memory. I had many people tell me what the musical was about and provide a brief summary of what it was about. All of their words failed to truly capture the magic and beauty of this show. I’m afraid my review will also fail to articulate and capture the true essence of the story. This Musical is like a song I must share with you but like a good song you cannot appreciate it until you hear it for yourself, experience it for yourself. If you see one show this summer, take a drive and enjoy the charming city of Aurora. Paramount Theatre is a gorgeous hidden gem nestled within the walkable and charming downtown community. It’s a perfect date night opportunity complete with theatre and live concerts mixed in. Theatre lovers will love the storytelling of the musical and music lovers will rejoice at the familiar melodies, only needing to resist singing along with the timeless classics. One fine day you’re gonna want to check off this musical from your list, don’t miss your chance to do so in 2024.

 Beautiful: The Carole King Musical is now playing at The Paramount Theatre in Aurora, Illinois and runs through June 16^th. Tickets are available at www.paramountaurora.com.

It’s often said that in the workplace you should refrain from talking about politics and religion; too personal, too easy to offend someone. Throughout my working years the only topic of conversation that has caused controversy is that around children; Do you have any? Are you trying for one? You’re having another? Well why don’t you want a kid? They’re the best thing. They’re the worst thing. In my experience, there is no topic more invasive or sensitive topic to bring up in the workplace than pregnancy and childbirth. Oscar Wilde once said that ‘Life imitates art far more than art imitates life.’ While there is no greater culturally universal experience than pregnancy and childbirth, the way we approach these conversations has changed and should continue to change. In the artistic medium of Theatre, BABY the musical, now playing at the Citadel Theatre, neither helps to change these conversations nor helps us view our lives in a different way.

BABY the musical follows three couples on a university campus deal with the painful, rewarding and agonizingly funny consequences of the universal experience of pregnancy and upcoming parenthood. There are the college students, Danny and Lizzie (played by Ben Ballmer and Madison Jaffe-Richter), in their junior year of college barely at the beginning of their adult lives facing an unplanned pregnancy; Pam and Nick (played by Katie Engler and Mark Yacullo) the thirty-somethings, having trouble conceiving but determined to try, Alan and Arlene (played by Joe Lehman and Julie Bayer) and the middle-aged parents, looking forward to seeing their last child graduate from college when a night of unexpected passion lands them back where they started.

Originally written and premiering on Broadway in 1983, BABY was updated in 2004. Twenty years later, the play needs another revision if not retired entirely. While pregnancy and birthing is an integral part of life and universal across all cultures, this musical performing in 2024 is as dated as Hello, Dolly or The Music Man; time capsules of a bygone era that simply doesn’t resonate with audiences today as they did in the eras they premiered. The musical is predictable, filled with overplayed tropes and stereotypical cliches, but the musical is really a love letter to pregnancy which for many is not possible and not a walk in the park. There are incredible plays that look at pregnancy, birthing, and parenthood through satirical, dramatic, or humorous lenses. BABY the musical’s only lens is that pregnancy is wonderful and everyone should do it regardless of the circumstances they find themselves in, broke college student, infertility troubles, unhappy older couple, everyone should want a baby. This type of art doesn’t reflect life as it’s viewed today.

Citadel Theatre’s ensemble cast performed beautifully with the material they had to work with. The trouble is not in their musical talents or acting abilities, the trouble with BABY is it simply is outdated and can’t stand on a modern stage. The way we as a society approach pregnancy nowadays has changed. More modern musicals such as Mom! The Musical or MotherFreakingHood! approach the same conversation in a way that resonates with audiences today, steering away from tropes to tell real, raw, stories of the pitfalls, trials, and highs of pregnancy. Even with an update in 2004, it’s been 20 years since it’s been revised and 40 since it was created. Watching the play, despite the exceptional cast, staging, and direction at Citadel, it simply felt tired and outdated, and at times downright cringy. Life can be cringe but art shouldn’t be.

BABY the musical is now playing at the Citadel Theatre (300 S. Waukegan Road, Lake Forest) through Sunday May 19, 2024. Tickets are available on the company’s website at www.citadeltheatre.org.

Throughout Women's History Month this March, many Chicago theatres are presenting productions that encourage and celebrate the vital role of women in American history.

Additional details about each of the Women's History Month offerings are available at ChicagoPlays.com and HotTix.org, Chicago's local, discounted ticketing service.

"We invite Chicagoans to celebrate women this month by taking in one of the many shows on our stages," comments League of Chicago Theatres Executive Director Marissa Lynn Ford. "Women's History Month is a reminder of women's strong voices and triumphs today and throughout history. In addition, we have a tradition of uplifting women both on and off our stages. We salute the women artists in the industry and the excellent work they create on our stages."

The following is a selection of work in Chicago available in February in celebration of Women's History:

Dracula: A Feminist Revenge Fantasy, Really, Wirtz Center at Northwestern University

Through March 3, 2024

In this thrilling new adaptation that bounces between horror and humor, playwright Kate Hamill confronts the sexism in Bram Stoker's original work. By upending the familiar tropes of damsels in distress and dashing villains, Hamill reimagines the vampire classic as a full-throated feminist battle cry driving a gleeful stake through the heart of toxic masculinity.

Mothers, The Gift Theatre

Through March 3, 2024

Three moms, a stay-at-home dad, and a nanny watch their kids play at Mommy-Baby Meetup. One mom is the queen bee and one is here to shake things up. The dad just wants to fit in, and the nanny doesn't say a word. When catastrophe comes, the five of them have to figure out how to survive a war and each other. MOTHERS examines the primal heartache of raising children in a disintegrating world.

Richard III, Chicago Shakespeare Theater

Through March 3, 2024

Tony Award nominee, Paralympic champion, and bilateral above-knee amputee Katy Sullivan makes her Chicago Shakespeare debut in Edward Hall's first production as artistic director. Full of scathing dark comedy and high-stakes family drama, a divided kingdom provides fertile ground for the charismatic, unscrupulous Richard to seize power and exact revenge—and no one is safe from his tyranny. This marks the first major US production of Richard III to feature a woman with a disability in the title role.

Plays for Women!: A collection of overlooked suffrage plays, Ghostlight Ensemble

Wednesday, March 6, 2024

Ghostlight Ensemble presents Plays for Women!: A collection of overlooked suffrage plays — a reading of short suffrage works, most of them largely unknown and rarely performed, to coincide with March as Women's History Month. This is a co-production with the Richard H. Driehaus Museum and is part of Ghostlight's For Your (Re)Consideration series.

WIPEOUT, Rivendell Theatre Ensemble

Through April 6, 2024

Chicago's only Equity theatre dedicated to advancing the lives of women through the power of theatre, presents the world premiere about three women, friends for decades, who throw themselves into their first-ever surfing lesson with the help of a young instructor. As the women learn how to paddle and navigate the currents of the Pacific Ocean, they also learn how to navigate their friendships, their fears, and just how hard it can be to let it all go. Set on surfboards, WIPEOUT is a poignant comedy about friendship, grief, and the unpredictable tides of life.

Mother Courage and her Children, Trap Door Theatre

Through March 9, 2024

Mother Courage becomes a parasite of war as she, hell bent on her own survival, celebrates the Thirty Years War as the source of her prosperity. Considered one of the greatest plays of the 20th century, Wartime virtues become fatal to their possessors in this stark, anti-capitalist, and music filled play.

Flood, Shattered Globe Theatre

Through March 9, 2024

An apartment on the 19th floor. All Edith wants — it's not too much to ask, is it? — is to sit and have some tea with her husband, someday, when he's done with building his masterpiece. The kids don't call enough, and when they do, they seem full of accusations. Meanwhile, outside their apartment, the waters are rising, rising, rising... This Chicago Premiere is a dynamic comedy about love and companionship across gender and generational divides.

Meditations on Being, Chicago Danztheatre Ensemble

March 1 - 9, 2024

Stories from and about our community. It is told through dance, storytelling, poetry, music, video installations, and art. What do we know about the people we see every day, the nature that surrounds us, and the gift of the moment? What do we remember? Playing with our friends on the playground, the sound of water or the beating of our heart when in solitude.

ECHO, Chicago Sinfonietta

March 15-16, 2024

Join the Chicago Sinfonietta in celebrating Women's History Month with ECHO, a stunning program featuring a lineup of works that highlights the artistry and creativity of women in music.

Pretty Woman, Broadway In Chicago

March 12 - 17, 2024

Pretty Woman: The Musical, based on one of Hollywood's most beloved romantic stories of all time, springs to life with a powerhouse creative team led by two-time Tony Award®-winning director and choreographer Jerry Mitchell (Hairspray, Kinky Boots, Legally Blonde).

My Fair Lady, Broadway In Chicago

March 12 - 17, 2024

Boasting such classic songs as "I Could Have Danced All Night," "The Rain in Spain," "Wouldn't It Be Loverly" and "On the Street Where You Live," My Fair Lady tells the story of Eliza Doolittle, a young Cockney flower seller, and Henry Higgins, a linguistics professor who is determined to transform her into his idea of a "proper lady." But who is really being transformed?

La Pinche India, Aguijón Theater Company

Through March 17, 2024

Gigi is an upper-class girl who one day wakes up turned into an indigenous woman. Given her new appearance, her life changes completely and she begins to realize all the privileges she had as a green-eyed blonde. Her search for a new identity leads her to discover a great secret that had always been there: racial discrimination.

Silent Sky, Citadel Theatre

Through March 17, 2024

When 19th-century astronomer Henrietta Leavitt began work at the Harvard Observatory in the early 1900s, she wasn't allowed to touch a telescope or express an original idea. Instead, she joins a group of women "computers," charting the stars for a renowned astronomer who has no time for the women's probing theories. As Henrietta, in her free time, attempts to measure the light and distance of stars, she must also take measure of her life on Earth, trying to balance her dedication to science with family obligations and the possibility of love. SILENT SKY explores a woman's place in society during a time of immense scientific discoveries, when women's ideas were dismissed until men claimed credit for them.

On Your Feet!, Broadway In Chicago

March 19 - 24, 2024

ON YOUR FEET! is the inspiring true story about heart, heritage and two people who believed in their talent—and each other—to become an international sensation: Emilio and Gloria Estefan.

Notes from the Field, TimeLine Theatre Company

Through March 24, 2024

This strikingly intimate piece presents snapshots from a variety of real people, documenting their intersections with the American dream and the obstacles that work to block them from it. Utilizing verbatim dialogue pulled from more than 250 accounts from students, faculty, prisoners, activists, politicians, and victims' families, Notes from the Field takes audiences on an emotional journey through the faults and injustices of an American criminal justice system that seems more focused on incarceration over education. Deeply human, profoundly moving, and full of moments of humor, compassion, and resilience, it's a masterful work that asks you to observe, be present, and join the call for urgent and necessary change.

Party at the Pantheon: A Modern Greek Stoner Comedy, The Factory Theater

Through March 23, 2024

Orpheus is still big mad after his girlfriend, Eurydice, died. It wasn't his fault. Good thing his friend, Dionysus, can throw a sick party. Hopefully Sisyphus can keep these two on speaking terms long enough for the disco ball to drop. Now all they gotta do is find some food, some drink, and some music for this thing. Peep them and a cast of characters straight out of English Class, in this modern take on the ancient classics.

The Penelopiad, Goodman Theatre

March 2 - 31, 2024

It's her turn. Penelope has waited 20 years for her husband to return from the Trojan War. Now, as authorial control shifts to Odysseus' long-suffering wife—and the 12 faithful maids who have long tended to her—we discover a new perspective on the domestic vigil. This ancient tale told anew by "one of the most admired authors in North America" (NPR) gives voice to those left behind.

Love Song, Remy Bumppo Theatre Company

March 21 - April 21, 2024

Beane has always been different. Joan, his sister, is his only real bridge to the outside world, but she is consumed with her own life, climbing the corporate ladder and sparring with her husband, Harry. When Beane falls madly in love with Molly, Beane's world suddenly expands, and the seismic shift forces all of them to reexamine their own relationships and discover new facets of human connection. An off-kilter romantic comedy, Love Song by John Kolvenbach is a quick-witted exploration of the countless complexities of love and the endless capacity of the heart.

The Good, Curious Theatre Branch

March 29 - April 20, 2024

What is goodness? How are we supposed to be good and interesting? Is the pressure to be good, to be proper, to not hurt others, to not transgress, actually a way to hold one down? Can someone be not good but in tiny ways no one might notice? And what about the word, "virtue"?

Inanimate, Theater Wit

March 22 – May 4, 2024

Erica has never quite fit in. She was never popular in high school and—as the years have gone by—she's felt more and more disconnected from the people in her life. Even her sister seems more preoccupied with her political ambition for town counsel than their mother's recent passing. Normally, that would be just fine with Erica, but she's been asking herself if this was all she could expect: a job at the local grocery and evenings alone.

A Streetcar Named Desire, Paramount Theatre

March 13 - April 21, 2024

NEW ORLEANS. The heat is sweltering; the liquor flows, and the secrets are thick as humidity. Pull up a chair and join the high-stakes game of cards. To your left is Stella Kowalski, married, loves her husband and will do anything for him. On your right is Stanley Kowalski, hard drinking, hard playing and hard fists that get used a lot. Across from you is Blanche DuBois, vulnerable, alone and ready to break. Streetcar confronts us with the tenuous relationship between reality and illusion, hope and despair and the brutal battle for beauty and tenderness when the world feels like it's conspiring against you. The players are in place. The cards are dealt. Hold on for your life.

Improvised Jane Austen, iO Theater

Saturday Evenings at 8pm, Tickets currently on sale through June 1

Improvised Jane Austen tells a tale, on the spot, in the style of the most beloved 19th-century author. In each original story, you may be introduced to headstrong heroines, steadfast suitors, meddling mothers, charming cads, auspicious aunts, silly sisters, boisterous brothers, verbose vicars, fastidious fathers, and any number of Austenesque auteurs! The audience can expect to laugh heartily, be wooed to tears, and be made to think on how much, and how little, has changed in two hundred-plus years.

For a comprehensive list of Chicago productions, visit the League of Chicago Theatres website, ChicagoPlays.com. Available half-price tickets will be listed at HotTix.org. Chicago theatres prioritize safely gathering. Patrons are encouraged to confirm current protocols at each theatre. Shows and protocols are subject to change.

About Chicago theatre 

Chicago theatre is the leader in the U.S. with more than 250 theatres throughout Chicagoland, comprising a rich and varied community ranging from storefront, non-union theatres to the most renowned resident theatres in the country, including 6 which have been honored with Regional Tony Awards, and the largest touring Broadway organization in the nation. Chicago's theatres serve 5 million audience members annually and have a combined budget of more than $250 million. Chicago produces and/or presents more world premieres annually than any other city in the nation. Each year Chicago theatres send new work to resident theatres across the country, to Broadway, and around the world. For more information, visit www.chicagoplays.com.

The League of Chicago Theatres' Mission Statement

Theatre is essential to the life of a great city and to its citizens. The League of Chicago Theatres is an alliance of theatres, which leverages its collective strength to support, promote and advocate for Chicago's theatre industry. Through our work, we ensure that theatre continues to thrive in our city.

Chicago Shakespeare Theater presents a perfect introduction to Shakespeare's work for young audiences with a 75-minute abridgement of Romeo and Juliet, adapted and directed by Mikael Burke. This production reimagines Shakespeare's tale of young love found—and tragically lost—in the 1980s. During a four-week run of weekday matinees, Chicago Shakespeare welcomes thousands of middle and high school students from across the region to the Courtyard Theater. In addition, performances are open to the public on Saturdays at 11:00 a.m., through March 16, 2024. After each performance, the actors remain on stage for a question-and-answer session about the production. Tickets for public performances start at just $26 for students ages 18 and under.

Verona burns under summer's heat—and the division of two prominent families. Against a backdrop of violence and an endless cycle of vengeance, this adaptation of Shakespeare's text poses a profound question—can true love survive in a divided community? Combining Shakespeare's original verse, dynamic staging, and a high-energy 1980s setting, Short Shakespeare! Romeo and Juliet offers a new lens for young people to experience this enduring tale.

Adapter and director Mikael Burke said, "It's a cautionary tale that proves if we can't figure out how to disentangle love from violence in our world, violence will always win. And every time it does, we stand to lose the greatest and purest things in life. That was true 400 years ago and is certainly still true today. Love and violence are scarily and upsettingly tied together in this play in a way we don't always consider, but Shakespeare really commands us to pay attention to how closely these two things are related—and hopefully compel us to action."

Burke is a Princess Grace Award winner and Jeff Award nominee, with credits at Goodman Theatre, TimeLine Theatre Company, Remy Bumppo Theatre Company, and more in Chicago, as well as regionally with Yale Repertory Theatre, Theatreworks Hartford, Forward Theatre, Milwaukee Chamber Theatre, Indiana Repertory Theatre, and more. He previously served as the associate artistic director at About Face Theatre and is an adjunct faculty member at DePaul and Roosevelt Universities.

The company of Romeo and Juliet features Kenneth La'Ron Hamilton as Romeo and Felicia Oduh as Juliet. The company also includes Adeoye (Prince/Apothecary), Bobby Bowman (Gregory/Lord Montague), Ronald L. Conner (Lord Capulet), Jack DeCesare (Paris/Abraham), Barbara Figgins (Nurse), Rasell Holt (Mercutio), Carolyn Kruse (Lady Capulet), Ian Maryfield (Tybalt), Alex Benito Rodriguez (Benvolio), Donovan Session (Sampson/Peter), and Jonah D. Winston (Friar Laurence). Understudies include Benjamin Jenkins, Diego Longoria, Carlos Olmedo, Bradford Stevens, Priscilla Torres, and Sarafina Vecchio.

In addition to Burke, the creative team for Romeo and Juliet includes Scenic Designer Alyssa Mohn, Costume Designer Gregory Graham, Lighting Designer Eric Watkins, Sound Designer and Composer Ethan Korvne, Intimacy Director Courtney Abbott, Fight Choreographer Rachel Flesher, Choreographer Frankie DiCiaccio, Verse Coach Tyler Meredith, Assistant Director Christina Casano, Casting Director Bob Mason, Costume Design Assistant Janelle Smith, Stage Manager Danny Fender, Assistant Stage Manager Lucy Whipp, and Production Assistant Gianni Carcagno.

Chicago Shakespeare's Short Shakespeare! series is part of the Theater's nationally recognized Team Shakespeare education programs, which have impacted two million students to date. Chicago Shakespeare brings Shakespeare's work to life in the school curriculum—through live performance, professional learning for educators, comprehensive teaching resources, and opportunities for students to perform Shakespeare. These initiatives—in concert with the free citywide Chicago Shakespeare in the Parks tour and summer family musical series—exemplify the Theater's steadfast commitment to young audiences.

Accessible and enhanced performances for Short Shakespeare! Romeo and Juliet include:

• ASL-Interpreted & Open-Captioned performance
  Sat, March 9, 11:00 a.m.
  All dialogue and lyrics are translated into American Sign Language by two certified interpreters. Also, a text display of the words and sounds heard during a play, will be synced live with the action onstage.

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

Short Shakespeare! Romeo and Juliet is presented to the public on Saturdays at 11:00 a.m. from February 24–March 16, 2024, in Chicago Shakespeare's Courtyard Theater. Single tickets ($26 for audience members age 18 and under; $42 for adults) are on sale now. Special discounts will be available for groups of 10 or more. For more information or to purchase tickets, contact Chicago Shakespeare Theater's Box Office at 312.595.5600 or visit the Theater's website at www.chicagoshakes.com.

ABOUT CHICAGO SHAKESPEARE THEATER

Regional Tony Award-recipient Chicago Shakespeare Theater produces a bold and innovative year-round season—plays, musicals, world premieres, family productions, and theatrical presentations from around the globe—alongside nationally recognized education programming serving tens of thousands of students, teachers, and lifelong learners each year. Founded in 1986, the Theater's onstage work has expanded to as many as twenty productions and 650 performances annually. Chicago Shakespeare is dedicated to welcoming the next generation of theatergoers; one in four of its audience members is under the age of eighteen. As a nonprofit organization, the Theater works to embrace diversity, prioritize inclusion, provide equitable opportunities, and offer an accessible experience for all. On the Theater's three stages at its home on Navy Pier, in classrooms and neighborhoods across the city, and in venues around the world, Chicago Shakespeare is a multifaceted cultural hub—inviting audiences, artists, and community members to share powerful stories that connect and inspire. www.chicagoshakes.com.

Why do we learn about history?

This question has been asked for ages and is often met with the response: So that history does not repeat itself. When it comes to plays about history, that question is often met with some version of the same answer. We witness historical events in a live, theatrical setting so that among other things, we can learn to do better.

Playwright Anna Deavere Smith invites us to consider that question, but adds another layer: How are we meant to learn about our mistakes in history if we do not first get to know the people involved? As with many of her other plays, Notes from the Field is documentary theatre, and comprised of verbatim dialogue pulled from more than 250 accounts from students, faculty, prisoners, activists, politicians, and victims’ families. Smith conducted these interviews during President Barack Obama’s term, and while this may not quite be present day, the subject matter is certainly contemporary. Over the course of the play, we meet 19 individuals – all fighting to overcome and change America’s educational and criminal justice systems – especially with the tendency to focus on incarceration.

The catch? This play does not feature 19 actors, but rather three women – Mildred Marie Langford, Shariba Rivers, and Adhana Reid. Skillfully directed by Mikael Burke, the transitions between characters feel seamless, and every individual whom one of these actors embodies feels distinct and specific. While Smith brings humor into the script, many of the stories reveal heartbreaking memories, and the three actors fill each of these moments with an authentic balance of compassion and anger.

And so, we return to this question: How are we meant to learn about our mistakes in history if we do not first get to know the people involved?

One of the many individuals whom Langford embodied in this performance was Denise Dodson, an inmate who detailed what she learned from prison. Scenic Designer Eleanor Kahn has left the space fairly minimal – allowing the text to do its work as we hear each individual’s story. Langford is alone on a chair, and Lighting Designer Eric Watkins fills the space with just enough light to cast a large shadow behind her. Nothing is hidden as Dodson reflects with the audience on how education could have given her (and many young people like her) a different path. She explains:

“They have to see’em as people. They have to see them as the future. They have to see them as people who are gonna go out and be their next-door neighbors… ‘Cause they’re… at that stage where they absorb everything. And if they not absorbing all the right things, then… yeah. That’s… barbaric.”

Smith creates an opportunity for us as an audience to learn from a first-hand account how this country’s system has failed so many young people. We have created a system that forces them to so many to see themselves in a specific way. Langford’s matter-of-fact approach to the material is at times hard to hear. However, based on the silence surrounding me at this performance, it’s clear that I was not the only one hooked on every word, listening to this personal story unfold.

Dodson shares a warning. A desire for us as a country to offer stronger support for young people so we can change this school-to-prison pipeline. In the process, you may also notice that Smith is succeeding at something else. It’s one thing to write a story about incarceration and the failings of the education system. It’s another to look a human in the eye and hear their story – their personal account of how their life could have been different, a plea that we listen. Smith’s approach brings light to 19 of these accounts that may never have been heard otherwise – of “broken people’ as she puts it in her play. You may just find that this hits a little different. That Smith invites empathy in a different way. Maybe this approach can lead to the change that we as a country so desperately need.

Powerful performances and a hard-hitting script make this play an experience to remember. To put it simply, Notes from the Field is a must-see.

HIGHLY RECOMMENDED

Running through March 24, 2024 at Timeline Theatre – 615 W. Wellington Avenue.

I thoroughly enjoyed this modern and timely play on both the issues of Hollywood stars whose lives are constantly scrutinized by complete strangers and how easily it is for any person now to be fed false information online in ways that can affect their lives either positively or negatively regardless of the intentions of the sender. Highway Patrol is being performed at Goodman Theatre’s Albert Stage and is funny, haunting, and engaging through and through. 

Dana Delaney, who plays herself, is best known for her roles in the TV series China Beach and the hit film Tombstone, and she looks and sounds fantastic. I have always liked her plucky, no-nonsense energy as an actress, and in this true-life story of her work life and internet/social media interactions the audience gets a very accurate glimpse of how lonely a life in the arts can be and also how badly many actors are treated by the industry at the expense of their physical and mental health.

I don't want to give away any spoilers because half the fun of this show is the whodunnit twists and turns her life took back in 2012 that continued for several years, sometimes dominating her private life at all hours... 24/7. The story begins when the actress decides to interact directly with one fan on social media, Cam. Thomas Murphy Molony is a very talented young actor who makes you feel deeply for Cam, a young Twitter fan who is suffering from a chronic and terminal illness, a recipient of two heart transplants who is innocently and adoringly in love with Delaney. While Cam enjoys his conversations with Delaney, his grandmother often provides updates regarding the boy’s health and upcoming procedures to keep her in the loop. Dot-Marie Jones, who takes on the role of Cam’s caretaker, Nan, is a very gifted character actress best known for her work on Glee and Desperate Housewives. Jones really displays her versatile acting range playing such a multifaceted character and does so beautifully with depth and complexity. 

Peter Gallagher’s highly recognizable voice is also strategically used in this production as he plays the true-life friend and confidant of Delaney’s that he has been throughout most of her career. The recognizability of his voice in this show gives real weight to the fact that a human voice is like a fingerprint and gives much more honest information and clarity as to whom we are communicating over the voices we imagine in our minds when reading our own DM's or emails.

Director Mike Donahue does a great job staging the show into two compelling acts and theatre goers should arrive early to see Dana Delaney in character on stage prior to the start of the play. Having Delaney onstage beforehand is a very interesting choice and sets the tone of the play, acknowledging that most people, fans or not, are fascinated by seeing stars in person that they have "known" for decades.

I enjoyed Dane Laffrey’s set design and Yee Eun Nam’s projection designs so much! The colorful and quick changing sets along with large high-definition projections not only help the audience follow along with the digital clues based on the digital archives of actor Dana Delaney (with text curation from playwright Jen Silverman), but they also combine to form beautiful and realistic backdrops depicting the glamorous luxury, palm trees, sunshine, and sometimes loneliness of Delaney’s Los Angeles home and also her work life on set. 

The most fascinating thing I took away from this very enjoyable piece of theatre was not about the necessity of verifying and protecting oneself from the many digital communications we all send and receive every day. What struck me rather was the idea presented to the audience that sometimes we as isolated humans living in this new frontier of instantaneous digital communication, including celebrities who appear to "have it all", can possibly grow to miss fictional love messages and reassurances of digital communication even after discovering their true source. 

Dana Delaney is absolutely outstanding in this production, as is the entire cast. I highly recommend this funny, touching, yet haunting, modern play. 

Highway Patrol is being performed at Goodman Theatre though February 18^th. For tickets and/or more information visit www.goodmantheatre.org.