Displaying items by tag: family theatre

Metropolis Performing Arts Centre’s new staging of The Wizard of Oz sends audiences down the yellow brick road with a production that balances classic nostalgia with a warm, community centered spirit. Before the story unfolds, it’s worth remembering the legacy behind it: L. Frank Baum’s 1900 novel first introduced readers to Dorothy and the fantastical land of Oz, but it was the landmark 1939 MGM film that transformed the tale into a cultural touchstone. Judy Garland’s performance, the Technicolor world, and the Oscar winning score cemented the story’s place in American imagination. The film’s success inspired decades of stage adaptations, culminating in the Royal Shakespeare Company’s 1987 musical version by John Kane, which became the foundation for most modern theatrical productions, including Metropolis’ interpretation.

Under Tor Campbell’s direction and choreography, the familiar tale unfolds with clear narrative focus: Dorothy Gale’s unexpected journey from Kansas to the magical land of Oz, where she meets the Tin Man, Scarecrow, and Cowardly Lion and joins them on a quest to reach the Emerald City and seek help from the great and powerful Wizard of Oz. Along the way, the group navigates enchanted forests, poppy fields, and the looming threat of the Wicked Witch, discovering courage, heart, and the strength of friendship as their path winds toward home.

This stage version also introduces several comedic moments you won’t find in the classic film, a choice that gives the production a fresh, playful spirit. Campbell sprinkles in light audience interaction, small winks to the crowd, and character specific jokes that open up the world of Oz in ways only live theatre can. These additions never undermine the story’s sincerity; instead, they create a sense of shared fun between the performers and the audience, reminding viewers that Oz is not just magical - it’s delightfully unpredictable when experienced onstage.

While the larger roles across the cast are played with skill and presence, three performers emerge as the evening’s defining performances: Nora Wragg’s Dorothy, Jake Elkins’ Cowardly Lion, and Genevieve Thiers’s Wicked Witch. Wragg stands at the heart of the evening, offering a Dorothy shaped by sincerity, emotional clarity, and a vocal warmth and control that give her songs an effortless lift. Her speaking voice is particularly striking, at times uncannily reminiscent of Judy Garland, deepening the role’s authenticity without ever tipping into imitation. Elkins bursts onto the stage with bold humor and irresistible personality, turning the Cowardly Lion into a crowd-pleasing force of nature. Thiers brings commanding theatrical bite to the Wicked Witch, leaning into the character’s menace with sharp timing, confident presence, and seasoned comedic instincts that add a delicious flair to her villainy.

Nora Wragg as Dorothy Gale and Jake Elkins as Cowardly Lion in THe Wizard of Oz at Metropolis Performing Arts Centre. Nora Wragg as Dorothy Gale and Jake Elkins as Cowardly Lion. Photography by Jennifer Heim.

Around them, Gabriel Fries provides steady, grounded work in his dual roles as the Wizard and Professor Marvel, shifting between Marvel’s warmth and the Wizard’s bluster with ease. David Omari’s Tin Man adds soft vulnerability that complements the ensemble, and Corey Barlow, stepping in for Nolan F. Robinson II as the Scarecrow in the performance I saw, brings relaxed, playful movement and an easy charm that keeps the character loose-limbed throughout. Adding to the production’s appeal is Caliban Marie Spence, a real-life little dog who plays Toto and becomes an instant audience favorite with every appearance, a lovely touch of authenticity that heightens the show’s sense of wonder. Caliban was trained for the role by Danielle Spence, who is delightful onstage as Glinda the Good Witch, exuding kindness, confidence, and the gentle assurance that everything will be all right. Together, these performances guide the audience through Oz with warmth, personality, and a touch of real magic.

Two of the strongest forces pulling Dorothy toward home are the deep bond she shares with her dog Toto - whom she feels is her only true companion on the lonely Kansas farm and is threatened with being destroyed by the stern, vindictive neighbor Miss Gulch, who later appears in Oz as the Wicked Witch of the West - and the steadfast love of her hardworking Aunt Em, who has stepped into the role left vacant by Dorothy’s late mother. The Wizard of Oz is also one of the few films of its era to make a four‑legged companion feel like a true co‑star, and it’s always striking to me how naturally the actors work with Toto and how deeply he’s woven into Dorothy’s emotional world. In many ways, the entire story is set in motion because of him: Dorothy finding her inner self by rescuing Toto.

Metropolis’ use of a lightly trained dog reinforces that bond beautifully, grounding the story in something real and tender. Seeing an actual dog onstage makes the audience instantly understand Dorothy’s desperation to protect him from Miss Gulch’s threat, and her fierce devotion to Toto remains a surprisingly radical idea for a story of its time. He’s the companion who saved her from loneliness, and her determination to keep him safe becomes the catalyst for her entire journey - willing to leave everything she knows behind if it means preserving the friendship, love, and life of her dog. 

As of 2026, animal abuse - especially toward domesticated dogs and cats - remains a heartbreaking problem around the world. That’s part of why stories like The Wizard of Oz still matter: they show a young person treating her pet with genuine love, loyalty, and protection, reminding audiences how powerful and important that bond can be.

Shifting back to the company, Metropolis Performing Arts Centre’s Youth Ensemble brings the Munchkins to life with fun energy and crisp character work- along with other roles played, enriching every scene they step into. Their musical numbers sparkle with bright, unified group vocals, and their choreography is impressively sharp, full of buoyant movement and clean formations that give Munchkinland its joyful pulse.

The production’s technical storytelling reaches an early high point with the tornado sequence, staged with impressive clarity and imagination. Dancers swirl across the stage, waving billowing grey scrims that evoke churning storm clouds, while Forrest Gregor’s sound design layers convincing wind roars, rattling impacts, and atmospheric rumble. Tony Churchill’s projection design adds spiraling debris and sweeping gusts that intensify the chaos, culminating in a striking moment when Alyssa Mohn’s scenic design reveals Dorothy’s house splitting cleanly in half. Once Dorothy lands in Oz, the creative team transforms the stage from plain Kansas farmland into a magical, richly colored world through Sierra Walker’s strategic lighting, Churchill’s dynamic projections, and Theresa Ham’s vivid, whimsical costumes. The projections also allow both the Wizard and the Wicked Witch to appear larger than life, giving their scenes an added theatrical punch that heightens the story’s sense of wonder.

All of this visual ingenuity supports the larger emotional themes at the center of Metropolis’ interpretation. As director Tor Campbell notes, “At its heart, The Wizard of Oz is not about a destination. It is about resilience,” and “After every storm comes the possibility of a rainbow,” a pair of reflections that beautifully frame the production’s spirit and its enduring message.

Danielle Spence as Glinda and Nora Wragg as Dorothy Gale in The Wizard of Oz at Metropolis Performing Arts Centre.

One of the joys of this production is hearing the show’s classic songs delivered with such affection. Metropolis keeps all the musical touchstones that audiences expect, from the sweeping simplicity of “Somewhere Over the Rainbow” (beautifully sung by Wragg) to the buoyant charm of “We’re Off to See the Wizard,” “If I Only Had a Brain,” “If I Only Had a Heart,” and “If I Only Had the Nerve.” The familiar melodies land with an easy warmth, and Sharon Mason’s music direction ensures each number feels both lovingly preserved and freshly energized. Whether you grew up with the film or are discovering Oz for the first time, the score remains one of the production’s most delightful anchors, offering moments of nostalgia, humor, and pure musical joy.

This staging taps into the broad, welcoming appeal that has kept The Wizard of Oz alive for generations, offering a family friendly experience that works just as well for first‑timers as it does for lifelong fans. Young audiences get the magic, color, and adventure, while adults appreciate the faithful storytelling, classic score, and standout character work. With its beloved characters, recognizable songs, and heartfelt performances, Metropolis’ production celebrates courage, companionship, and the reminder that home is never as far away as it seems. Most of all, it rekindles that unmistakable childhood wonder the story has carried for decades, letting audiences feel like kids again as they’re swept up in bright colors, familiar melodies, and the simple joy of watching Dorothy and her friends discover who they are. It’s the kind of show where adults smile at memories they haven’t visited in years and younger audiences fall in love with Oz for the first time, a blend of fun, heart, and theatrical playfulness that sends you out of the theatre lighter than you walked in.

What also stands out in revisiting The Wizard of Oz is how much strength Baum gave his female characters, especially considering the story’s early 20th century origins. Dorothy may be young, but she drives the narrative through her choices, her compassion, and her determination to return home. Glinda’s calm authority and the Wicked Witch’s fierce, commanding presence form a striking contrast - two powerful women shaping the world of Oz in very different ways. Even within a fantasy framework, there’s symbolic weight in that dynamic: Dorothy’s journey becomes a quiet assertion of agency, resilience, and moral clarity at a time when female protagonists were rarely allowed such depth. Metropolis’ production highlights that legacy, reminding audiences that beneath the magic and spectacle lies a story where women hold the narrative’s heart, its danger, and its wisdom.

Audience logistics at Metropolis are refreshingly convenient. A free, multi-level parking garage sits just around the corner, making arrival and departure remarkably easy, and the surrounding streets offer a wide range of restaurants only steps from the theatre for pre- or post-show dining. Inside, the venue’s cozy seating creates an intimate viewing experience, and while the concessions stand offers a fine assortment of drinks, snack options are extremely limited. Patrons may want to bring their own munchies for intermission, though outside food is prohibited inside the theatre, making a quick bite before or after the show the most practical choice.

With the practicalities so thoughtfully handled, what remains is the simple joy of being swept into a world where imagination leads the way. In the end, this Wizard of Oz proves that the road to Emerald City is still paved with imagination, heart, and just enough whimsy to make you believe in magic all over again.

Recommended.

For tickets and more show info, visit https://www.metropolisarts.com/.

The timeless magic of Arnold Lobel’s beloved children’s book series comes to life in the Marriott Theatre’s delightful production of A Year with Frog and Toad. With book and lyrics by Willie Reale and a score by Robert Reale, this whimsical musical adaptation perfectly captures the endearing spirit that resonates with children young and young-at-heart.

Directed by Elizabeth Romero, the production finds its heart in the friendship between the jovial Frog and the temperamental Toad. Told through a series of lighthearted vignettes, the duo navigates an embarrassing swimsuit mishap, a baking conundrum, a spooky story, and a bumpy sled ride. Despite these ups and downs, the amphibians hold fast to one another, offering a poignant lesson that kindness is the foundation of a lasting relationship. 

Callan Roberts is a standout as Frog, serving as the production's steady, joyful anchor. Roberts possesses a fantastic physicality that imbues the character with a fun-loving nature that elevates the role beyond the page. His clever use of inflection and vocal intonation brings the humor to life; with his expressive range and infectious energy, one could easily imagine him as an excellent Willy Wonka. 

Opposite him, Karl Hamilton offers a fascinating interpretation of Toad. Rather than leaning into a one-note “grumpy” persona, Hamilton makes the creative choice to play Toad with a sensitive, child-like disposition. He portrays the character as someone easily overwhelmed by confusion or sudden emotional disruption, which adds depth to their dynamic.

The ensemble cast deserves immense credit for their versatility, seamlessly juggling multiple roles. Their high-energy performances effectively propel the story through the changing seasons, keeping the audience engaged from start to finish.

The vibrant stage design is equally playful, featuring giant flowers, leaves, and bubbles. 

The cast portrays various forest animals with costumes that lean into abstraction, transforming bird wings into shawls and turtle shells into backpacks. While these conceptual choices are creative, they occasionally feel slightly underdone. Characters like the mouse and the birds would have benefited from a few additional flourishes to fully accentuate the ensemble’s flair.

For parents bringing their children, this production does an excellent job of being accessible for children. The story provides a gentle exploration of emotions—such as anger, sadness, and loneliness - offering a format for children to see how characters process and overcome negative experiences. The narrative encourages community and kindness, demonstrating the power of working together.

In many ways, Frog assumes a protective, almost parental role toward Toad, calming him during tense circumstances and actively seeking opportunities to encourage him—a touching lesson that young audience members are sure to notice.

The production also features a post-show question-and-answer session. This is a wonderful addition, allowing children to engage directly with the cast and learn about the behind-the-scenes nature of theater, from the mechanics of props to the process of putting a musical together. 

Ultimately, A Year with Frog and Toad is a heartwarming reminder of the value of friendship, making it a perfect outing for families. Kids of all ages are sure to enjoy the wholesome entertainment and take away valuable lessons.

https://www.marriotttheatre.com/

Join the fun this summer as PlayMakers Laboratory (PML) celebrates a major milestone at That's Weird, Grandma's 25^th Birthday, marking a quarter century of the company's long-running original sketch comedy show. Directed by Program Director Brandon Cloyd, the family-friendly comedy extravaganza will play five performances only August 23 – September 6, 2026 at the Neo-Futurist Theater, 5153 N. Ashland Ave. in Chicago. Tickets go on sale Wednesday, July 1, 2026 at www.playmakerslab.org. The press opening is Sunday, August 23 at 2 pm.

That's Weird, Grandma's 25^th Birthday will feature current Company Members with PML emeritus members making cameo appearances throughout the run. The cast currently includes Company Members Linnaea Groh, Barry Irving, Lucas Johnson, Indi Gutierrez Marrero, Sam Nieves, Yongwoo Park, Lee Peters, Allison Sokolowski, Brad Stevens, Lex Mann Turner and Tyara Whitted, with emeritus Company Members Nancy Casas, Allison Grischow, Ricky Harris, Jasmine Hernri Jordan, Tom Malinowski, Kate Staiger, Mary Tilden and more!

That's Weird, Grandma features adaptations of stories written during PML's creative writing residencies in Chicago elementary schools. PML's ensemble of professional actors, comedians and musicians bring the young authors' stories to life as raucous sketches, songs and movement pieces, performing first for students in their schools and then for the public. These stories – from hilarious dialogues between unlikely characters to poignant pleas for social change, along with holiday-inspired stories – resonate with adults while celebrating the imaginations of young people.

Production team: Daniel Parsons (Stage Manager).

Performance Schedule:

Sunday, August 23 at 2 pm

Saturday, August 29 at 2 pm

Sunday, August 30 at 2 pm

Saturday, September 5 at 2 pm

Sunday, September 6 at 2 pm

Ticket Prices: adults: $26.06*; youth (aged 4 – 15) $15.76*; Children 3 and under: free **Ticket prices include a processing fee Tickets go on sale Wednesday, July 1, 2026 at www.playmakerslab.org.

About the Director

Brandon Cloyd joined PlayMakers Laboratory in 2007 and has been deeply involved in many facets of the company ever since. Prior to joining PML, Brandon graduated from Northwestern University with a Bachelor of Arts in Theatre and a minor in Business Institutions. Brandon has held many roles in PlayMakers Laboratory before becoming the company's Artistic & Program Director in September 2017. He served with PML as an actor, teaching artist, lead teacher, a member of Teacher Corps, as well as directing shows for schools and public performances of That's Weird, Grandma. Outside of PML, he worked as the Associate Director of Camp Echo, where he has spent 13 summers managing campers and staff at a co-ed sleepaway camp in Upstate New York. Brandon has worked with other theatre companies including Urban Theatre Company, American Theater Company, Filament Theatre, InGen Productions, ACLE's Teatrino in Italy and a founding director with Purple Crayon Players at Northwestern University. Brandon is also a former board member for the League of Chicago Theatres.

About PlayMakers Laboratory

For 29 years, PlayMakers Laboratory has served Chicago Public School students by providing a creative writing residency program aimed primarily at elementary schools. Our company of over 60 teaching artists utilize creative drama and storytelling to promote literacy and self-esteem during our in-school residencies and park district programming. Each year, our programs serve more than 4,000 young people across Chicago. In our six-week writing residencies, a whopping 88% of students improve writing scores by at least one level over the course of our residencies. Plus, 100% of classroom teachers report that our program supports their student's writing and improves confidence and self-esteem.

PlayMakers Laboratory is sponsored in part by Chicago Department of Cultural Affairs and Special Events, The Crown Family Philanthropies, The Field Foundation, The Mardi Gras Fund, Illinois Arts Council, Paul M. Angell Foundation, The Polk Bros Foundation, Siragusa Family Foundation, S&C Electric and generous individuals like you!