Displaying items by tag: comedy theatre

Drury Lane Theatre continues its 2026/2027 season with the divine extravaganza Nunsense, featuring book, music and lyrics by David Goggin, directed by E. Faye Butler. Enjoy some holy hilarity with the Little Sisters of Hoboken in Nunsense, running June 10 – August 2, at Drury Lane Theatre, 100 Drury Lane in Oakbrook Terrace. 

Get ready to laugh the summer away with nuns from the Little Sisters of Hoboken. This beloved revue will have you in stitches as the five sisters stage a variety show fundraiser filled with outrageous musical numbers and zany comedy. 

The cast of Nunsense includes Aurora Boe (Sister Mary Leo), Rachel Carreras (Sister Robert Anne),  Kelly Felthous (Sister Mary Amnesia), Cory Goodrich (Reverend Mother), and Sharriese Hamilton (Sister Mary Hubert). Understudies include Marta Bady, Caron Buinis, and Kayla Shipman.

The creative team of Nunsense includes E. Faye Butler (Director), Kenny Ingram (Choreographer), Julia Schade (Music Director), Lauren Nichols (Scenic Design), Anna Finerty (Costume Coordinator) Lee Fiskness (Lighting Design), Stephanie Farina (Sound Design), Cassy Schillo (Properties Design), Casie Morell (Production Stage Manager).

Single tickets, priced $85-$150, are on sale now and are available by phone at (630) 530-0111 or online at www.drurylanetheatre.com. Groups of 10 or more can receive special group pricing.

About the Artists

Aurora Boe (Sister Mary Leo)  is thrilled to be back on the Drury Lane Stage! On-stage Credits Include: Drury Lane's "Sister Act" (Tina, Waitress, Ensemble, Mary Robert US), The Beautiful City Project's "Designer Run" (Choreographer, Dancer) & "We Will Rock You" (Ensemble), or Columbia College's "Sunday In The Park With George" (Dot/Marie). Aurora graduated with a BA in musical theatre from Columbia College Chicago in 2025, and recently received Chicago Cabaret Professionals 2025 Emerging Artists scholarship & 2026 New Vocalist Award. She gives special thanks to Gray Talent Group and her Family & friends that have supported her on this journey.

Rachel Carreras (Sister Robert Anne) is thrilled to be back in the habit after playing Sister Mary Patrick in Sister Act at Drury Lane last season! Other recent credits include: Amélie (Kokandy Productions), Brighter Futures (Paramount Theatre), Mary Poppins and Cinderella (Metropolis PAC), Honky Tonk Angels (LTOTS) and Into the Woods (Summer Lyric). Rachel is a Naperville native and proud Neuqua Valley alum! She is also a member of the professional Chicago/Macomb choir withonevoice. Special thanks to her family and friends for their unending love and support! Represented by Talent X Alexander. Psalm 28:7. I'm always singing for you, Grandma! www.rachelcarreras.com

Kelly Felthous (Sister Mary Amnesia) is thrilled to be back at Drury Lane having previously performed in Elf and Jeff nominated roles in Chicago and Little Shop of Horrors. Favorite credits include: Violet in Violet, Sally Bowles in Cabaret , Lauren in Kinky Boots, Judy in White Christmas, Mrs. Wormwood in Matilda and Dawn in Waitress. She originated the roles of Caroline in Trip of Love, Ruby in Max and Ruby, Eva in Bring it On, and Gloria in Flashdance. National Tours: Marty in Grease and Galinda/Nessarose u/s in Wicked. Kelly has also appeared on Law and Order SVU, Night Sky, and numerous commercials. NYU/CAP21 grad and proud AEA/SAG member. Shout out to her agents at DDO, her mama and Jess! Couldn't do this without y'all.  Follow @KellyFelthous for more!

Cory Goodrich (Reverend Mother) is a Jeff Award-winning actress, singer/songwriter, and author. She began her professional career at Drury Lane playing another Nun - Maria in The Sound of Music, and received Jeff awards for her roles as Mother in Ragtime (Drury Lane) and June Carter Cash in Ring of Fire (Mercury Theater Chicago).  Most recently, she played Heidi in What the Constitution Means to Me at Paramount's Copley Theatre. Her many projects include five albums, Hush, Wiggly Toes, W.O.M.A.N, Wildwood Flower, and Long Way Around, and her memoir, Folksong: A Ballad of Death, Discovery, and DNA. Visit corygoodrich.com.

Sharriese Hamilton (Sister Mary Hubert) is excited to be back at Drury Lane. Tour credits include: Come from Away (Broadway National/Australian). Regional credits include: Ain't Misbehaving Rock of Ages, James and The Giant Peach (Drury Lane), The Color Purple, The Nacirema Society, Wonderful Town (Goodman Theatre), Falsettos, Big White Fog (Court Theatre) It Came from Outer Space, Pericles (Chicago Shakespeare Theatre) A Gentleman's Guide To Love and Murder, How To Succeed In Business Without Really Trying , Pal Joey, Ain't Misbehavin, A Class Act, (Porchlight Music Theatre) Thaddeus and Slocum (Lookingglass Theatre) Rock of Ages (Mercury Theatre) Emmet Otter's Jug-band Christmas (Studebaker Theater) Passing Strange, See What I Wanna See, The Wild Party, (Bailiwick Chicago)The 25th Annual Putnam County Spelling Bee, Monty Python's Spamalot, Working (Timberlake Playhouse).

Season and Membership Information

The 2026/2027 season includes the wedding of the season in Father of the Bride (April 8 – May 31, 2026); holy hilarity with the Little Sisters of Hoboken in Nunsense (June 10 – August 2, 2026); the toe-tapping tribute to a rock'n'roll pioneer Buddy – The Buddy Holly Story (August 19 - October 11, 2026); the heartwarming family classic Annie (November 4, 2026 – January 10, 2027); and the musical office rebellion in heels 9 to 5 (January 27 - March 21, 2027).

Drury Lane Theatre's performance schedule for the 2026/2027 season is as follows: Wednesdays at 1:30 p.m., Thursdays at 1:30 p.m. and 7:00 p.m., Fridays at 7:00 p.m., Saturdays at 3:00 p.m. and 8:00 p.m., and Sundays at 2:00 p.m. and 6:00 p.m.

Lock in your seats for a season of spectacular theatre with Drury Lane's Membership Program! Members have exclusive access to uniquely tailored benefits designed to enrich their Drury Lane experience, all at a cost savings of up to 50% off single ticket prices. Membership includes Tier One seating for all five Drury Lane Theatre productions, free ticket exchanges, dedicated dining credits at Lucille Restaurant, one complimentary Champagne Brunch, exclusive event invitations, Member pre-sales and unlimited single ticket discounts. Membership prices range from $254 - $285. For more information, Call Memberships at 630-570-7280 or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Group tickets start at $45 and Student group tickets start at just $35. On-site dining is available at Lucille Restaurant with convenient pre-show or post-show prix fixe menus. To book a group of 10 people or more, call Group Services at 630-570-7272 or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Gift certificates to Drury Lane can be purchased in any denomination, never expire, and can be used for performances, at Lucille Restaurant or for Drury Lane Events. Gift certificates can be purchased online at drurylanetheatre.com/gift-certificates or by calling the box office.

Dining and Special Events

Excellence isn't limited to the stage at Drury Lane! Before or after the show, theatergoers can indulge in delicious onsite dining at Lucille Restaurant featuring seasonal pre-fixe menus and an elevated atmosphere to complete their experience. Boasting over a century of collective expertise in hospitality, the dedicated team ensures that you will be cared for with freshly prepared meals, handcrafted cocktails, and exceptional service. At Drury Lane, everything is in one place, so you will never be late for your performance.

Fact Sheet / Nunsense

Title:                                                    Nunsense

Book, Music and Lyrics by:                 David Goggin

Directed by:                                         E Faye. Butler

Featuring:                                            Aurora Boe (Sister Mary Leo), Rachel Carreras (Sister Robert Anne) Kelly Felthous (Sister Mary Amnesia), Cory Goodrich (Reverend Mother), Sharriese Hamilton (Sister Mary Hubert), understudies include Marta Bady, Caron Buinis, Kayla Shipman

Creatives:                                               E. Faye Butler (Director), Kenny Ingram (Choreographer), Julia Schade (Music Director), Lauren Nichols (Scenic Design), Lee Fiskness (Lighting Design), Stephanie Farina (Sound Design), Cassy Schillo (Properties Design), Casie Morell (Production Stage Manager)

Dates:                                                  June 10 – August 2, 2026

Press Opening:                                   Wednesday, June 17 at 7pm

Schedule:                                             Wednesdays: 1:30 p.m.

                                                            Thursdays: 1:30 p.m. and 7:00 p.m.

                                                            Fridays: 7:00 p.m.

                                                            Saturdays: 3:00 p.m. and 8:00 p.m.

                                                            Sundays: 2:00 p.m. and 6:00 p.m.                                

Location:                                             Drury Lane Theatre at 100 Drury Lane in Oakbrook Terrace

Tickets:                                               Tickets range from $85-150

Group discounts available to groups of 10 or more

Dining and show packages available

Senior discounts available

Box Office:                                          100 Drury Lane in Oakbrook Terrace

                                                            (630) 530-0111

                                                            Monday through Sunday from 10am to 5pm or visit DruryLaneTheatre.com

About Drury Lane Theatre    

Built from scratch. Built in Oakbrook. Built for you. 

Founded by Anthony DeSantis over 70 years ago, Drury Lane remains a family-run organization under the leadership of President Kyle DeSantis. Drury Lane Theatre continues as a major force in the Chicagoland theatre scene, producing world-class theatre in collaboration with some of the nation's leading actors, directors, and creative minds. Drury Lane Theatre produces the highest quality theatrical experience that immerses and supports artists and audiences in the exploration of what it means to be human and to experience the transcending power of the performing and visual arts. Drury Lane strives to create an environment in which every individual or group is welcomed, respected, supported, valued and able to fully experience and participate in this transformative art form. 

The theatre has staged more than 2,000 productions and has been nominated for over 360 Joseph Jefferson Awards. Drury Lane proudly employs thousands of professional actors, musicians, designers, and crew members to entertain upwards of nine million audience members and counting.

A show somewhere between a play, standup act, memoir, and PowerPoint presentation. A show so chaotic you think it could never work. A show only Brendan Hunt could so perfectly pull off. Hunt’s solo performance is as hilarious as it is unexpectedly emotional, striking a balance between humor and trauma that only a child of divorce could pull off.

Hunt begins in 2022 with the story of the impromptu opportunity he had to meet Paul McCartney. Despite getting the opportunity by virtue of being a celebrity himself, Hunt – a lifelong, second-generation Beatles fan – was starstruck and wanted to tell Paul everything. He refrained, however, and thus The Movement You Need was born: a show where, instead, Hunt tells you everything he wanted to tell Paul. What unfolds is less a traditional narrative and more a kind of extended, often chaotic, and retrospective confession that uses that near-miss encounter as a framing device. It’s a clever but risky structure that gives the show both direction and elasticity, allowing Hunt to bounce between stories, timelines, and emotional registers (as well as lean into his personal neuroticism) without ever letting us forget that he’s fangirling to Sir Paul McCartney.

Loosely structured like a memoir, the show traces Hunt’s life from his earliest memories through adulthood and into fatherhood. Along the way, he paints a picture of growing up as a child of divorce and the son of an addict, filtering those experiences through humor that feels both self-aware and disarmingly honest. The performance leans into its rough edges in a way that works in its favor – featuring remarkably bad impressions, authentically cringey home videos, and stories that range from deeply processed to intentionally brushed past. Often, the line between curated and embarrassing is difficult to walk well (and such is the risk of making art) but as both a writer and performer, under the incredible direction of Ashley Rodbro, Hunt does so perfectly.

The evening, however, actually included more than one Brendan: Brendan Hunt, an avid Beatles fan, and an audience member who we will refer to as Brendan #2 – the lone, brave audience member who admitted to not being a Beatles fan at all. Centering a play around a fandom, even one of the largest of all time, is a premise that, on paper, might seem limiting. And yet, while Hunt’s love for the Beatles is the backbone of the piece, it’s not the barrier to entry you might expect. The show ultimately isn’t about encyclopedic knowledge of the band; it’s about memory, identity, and the stories we carry with us, as well as the way that we use something – anything – to form connections with those around us, even in the hardest of circumstances.

Technically, the production is just as thoroughly considered as the writing. The set strikes a careful balance between cozy realism and subtle nostalgia, creating a space that feels lived-in without becoming cluttered. Design elements – from Meredith Ries’s scenic work to Nick Solyom’s lighting, Kate Marvin’s sound, and Stefania Bulbarella’s projections – support the storytelling without overpowering it. Under the direction of Ashley Rodbro, everything feels intentional, giving Hunt the space to carry the show while ensuring the world around him remains fully realized and reflects his theatrical background, but never overpowering his performance.

Brendan Hunt’s one-man play-comedy-memoir hybrid is, from its writing to acting to production, one of the most cohesive and well-executed pieces of art I have seen in a long time. One big creative risk, the result is a show that feels less like something you watched and more like something you experienced alongside him. It’s funny, yes, and often wildly so – but it’s the emotional honesty underneath that gives it weight, turning what could have been a niche concept into something far more universal.

The Movement You Need: An Evening with Brendan Hunt is running at Steppenwolf Theatre through May 10th. More information and tickets are available at https://www.steppenwolf.org/tickets--events/seasons-/2025-26/the-movement-you-need/.

You don’t know what you’ve got until it’s gone and married someone else – that’s how Noel Coward’s Private Lives sees it. For those unfamiliar with Coward, his scripts have bite and humor that were ahead of its time when they first hit the stage in the 1930s. Today, the edge may not be as sharp or controversial, but the dialogue and situational comedy still lend itself to a riotous evening.

BrightSide Theatre presents this playful comedy all about exes who happen to honeymoon with their new spouses at the same hotel.

What starts as a horribly awkward coincidence for Amanda and Elyot takes a turn when their mutual annoyance for their new partners rekindles their old flame. In no time, she climbs over into his adjoining terrace, and they run off, leaving their actual spouses to sort it out. They were kind enough to leave a note though. But it doesn’t take long for old patterns to rear their ugly head, and Amanda and Elyot, despite their promise not to bicker (even coming up with a game of silence when a fight is about to start), call it quits again. That is, until their old (new?) lovers find them and remind the on-again-off-again pair why they just can’t quit each other. There’s no end to the comedy as love is portrayed as messy, fickle, and volatile – with a few humorously choreographed fights mixed in.

Directed by Jeffrey Cass, also the Artistic Director, this rendition makes the most of Coward’s razor‑sharp script. The actors deliver lines with a lead foot, only pausing long enough for the audience to laugh before it’s on to the next joke. It’s a good thing, too, because in lesser hands this wordy play could have been stretched into a dull affair. While most of the zingers pack a punch, the script isn’t perfect. In fact, Act 1’s second scene spins its wheels before finally taking the plot where the audience already knew it was going. But in the hands of these capable actors, we can forgive Coward for being verbose.

Jon Cunningham and Jamie Marie DePaolo play Elyot and Amanda respectively, and their chemistry is the driving force of the evening. Their banter sizzles. DePaolo steals the show though with the firecracker energy she brings. There were several moments where just her facial expression got a laugh. She so thoroughly embodied this magnetic, yet mercurial she charmed everyone from her first entrance.

Portraying their other love interests are Matt Hellyer and Emily Sherman, who play their respective roles very capably – as perfect saps. After getting dumped on the first day of their honeymoon, their characters secretly hope that they’ll take them back. So, while you empathize, their lack of personal self-worth makes them unappealing – helping justify our leads horrid behavior. The cast works very well together, matching each other’s energy and comedic chops. In fact, their synergy was even evidenced by a scene change. They worked so quickly and efficiently in the dim light to transition a hotel’s terrace to a flat’s interior that everyone applauded when they were finished.

Along with plenty of laughs, there is also a lesson on love. These selfish characters demonstrate a total incomprehension of the true meaning of that four-letter word, which is ironic since the final act takes place in Paris, a city known for romance. But that’s the problem. These couples thrive on passion, and when the dust settles, they want the next hit for their heart. But true love is sacrificial, putting another’s needs before your own, which is something they don’t understand. It’s illustrated perfectly by Amanda’s French maid. When she speaks to them, they only nod and smile, since they don’t know French. In the same way, they don’t know the language of love either and fumble around, pretending with each other that they do. But while it may cause trouble for these characters, it’s a treat for the audience.

Private Lives runs through April 29 at BrightSide Theatre at the Theater at Meiley-Swallow Hall North Central College, 31 S. Ellsworth St. in Naperville. For tickets and/or more show information, click here.

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

The Chicago Metropolitan area has a soft spot for a beautiful disaster, and The Play That Goes Wrong delivers the kind of exquisitely engineered chaos that feels tailor‑made for this theater‑loving region. What begins as a straightforward 1920s whodunit quickly mutates into a full‑throttle demolition derby of missed cues, mutinous props, collapsing scenery, and actors clinging to their dignity by the frayed edges of their costumes. Still, this play-within-a-play has the Cornley Drama Society charging through their staging of Murder at Haversham Manor with heroic - if spectacularly misguided - determination, clinging to the illusion of control even as the entire production disintegrates with spectacular enthusiasm.

That staunch commitment - part boldness, part sheer delusion - is exactly where the comedy ignites. Each disaster tops the last, creating a giddy, snowballing momentum that captures the thrill of live theater at its most unpredictable: anything can happen, and in this gloriously unhinged production, absolutely everything does.

Now this wonderful wreckage has landed in the northwest suburbs, with Metropolis Performing Arts Centre in downtown Arlington Heights offering Chicago‑area audiences a prime view of just how fabulously wrong things can go - and how deliriously right it all becomes.

Adeptly directed by Jahanna McKenzie Miller, the production becomes a finely tuned symphony of disarray - each mishap landing with surgical precision, each failing set piece detonating like a perfectly timed punchline. What unfolds is a relentless cascade of comic disaster, the kind that sends laughter rolling through the audience in unstoppable waves and showcases just how artful a well‑executed trainwreck can be.

Ryan Armstrong (left) as Chris Bean / Inspector Carter and Ryan Michael Hamman as Max Bennett in The Play THat Goes Wrong at Metropolis Performing Arts Centre.

To pull off such a bang-bang comedy, it all starts with the cast - and we’ve got a good one here.

Ryan Armstrong leads the beautifully controlled bedlam with a performance steeped in delicious self‑importance, giving Chris Bean - director, actor, and self‑appointed guardian of “proper theatre” - a pompous grandeur that’s as funny as it is precise, while his turn as Inspector Carter unravels in a perfectly paced crescendo of exasperation. Eric Amundson’s Charles Haversham is a riot of physical comedy, playing a corpse who refuses to stay still (hilarious!), and Casey Ross leans into Thomas Colleymoore’s melodrama with booming gusto, turning every line into a wonderfully overwrought declaration.

David Blakeman’s Perkins is a standout of earnest incompetence, mangling lines and props with lovable sincerity, while Ryan Michael Hamman’s Max Bennett steals scenes with wide‑eyed enthusiasm, overacting and shameless audience‑wooing as Cecil Haversham and Arthur the Gardener.

Even the sound and light operator becomes a crucial player in the unfolding disorder. Richaun Stewart turns Trevor Watson into a wonderfully frayed bundle of barely contained madness, playing the chronically overtaxed tech operator whose deadpan, slow‑burn panic becomes one of the evening’s most dependable laugh generators. Teah Kiang Mirabelli dazzles as Florence Colleymoore, embodying Sandra Wilkinson’s diva bravado with such gleeful abandon that each unhinged beat lands bigger than the last.

Rounding out the cast, Natalie Henry turns Annie Twilloil into the production’s unlikely center of gravity in the second act, charting a sharp, hilarious rise from hesitant stagehand to full‑blown spotlight thief.

Together, this ensemble builds a beautifully calibrated disaster - each actor contributing a distinct flavor of chaos that makes the entire production detonate with joy.

And then there’s the set, an impressive spectacle in its own right. Scenic designer Angela Weber Miller, properties designer Gigi Wendt, and technical director David Moreland push the production well beyond a typical farce, each adding a distinct layer of precision and controlled mishaps. The set functions as a full-fledged character, engineered to collapse, misfire, and betray the actors with such precision that its breakdowns become part of the comedy’s rhythm. Each wobbling wall, treacherous platform, and ill-timed malfunction gives the performers a fresh obstacle to hurl themselves against, turning physical comedy into a kind of athletic endurance test. The design doesn’t just support the charade - it actively conspires in it, creating a living, booby‑trapped environment that amplifies every pratfall and heightens the sense that the entire world of the play is gleefully turning against its inhabitants.

Written by Henry Lewis, Henry Shields and Jonathan Sayer, the Olivier Award-winning The Play That Goes Wrong is the kind of theatrical joyride that reminds audiences why live performance is irresistible: it’s unpredictable, it’s explosive, and it’s crafted with such precision that the turmoil becomes its own kind of art. This production delivers laugh after laugh through fearless physical comedy, razor‑sharp timing, and a cast fully committed to the magnificent meltdown unfolding around them. It’s the rare show that guarantees a good time - whether you’re a seasoned theatre goer or someone who just needs a night of pure, cathartic laughter.

For tickets and/or more show information, visit https://www.metropolisarts.com/event/the-play-that-goes-wrong/. Through March 29^th.

Recommended.

Tickets: Regular $49, Preview $35, Students $25
Pay What You Can: February 25, 7:30 pm
Previews: Evenings, February 25 – February 27. Matinee, February 28.
Opening: February 28, 7:30 pm

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