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Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to launch its 51st Season with the world premiere of Chicago playwright Stephanie Alison Walker's biting satire Adirondack Chair Circle, directed by Tony Award winner Pam MacKinnon (Downstate, Edward Albee's Who's Afraid of Virginia Woolf?), playing October 22 — December 6, 2026 in Steppenwolf's Ensemble Theater, 1646 N. Halsted St. in Chicago. Single tickets are now on sale at steppenwolf.org or the Box Office at (312) 335-1650. The press opening is Sunday, November 1, 2026 at 6 pm.

The Adirondack Chair Circle cast features a stellar lineup of talent including ensemble member Caroline Neff, who returns to the Steppenwolf stage, adding to her extensive Steppenwolf credits including Mr. Wolf, Fool for Love, POTUS and Another Marriage. She is joined by David Darrow, who dazzled Steppenwolf audiences as Mozart in last season's record-breaking Amadeus. Broadway favorite Katrina Lenk, who received Tony and Grammy Awards for her turn in The Band's Visit, returns to Steppenwolf for the first time since 2005's Lost Land. Making her Steppenwolf debut is Chicago actor Wendy Mateo, while Sadieh Rifai returns to Steppenwolf after captivating audiences in last year's You Will Get Sick.

 About the Production:

A gaggle of suburban moms, armed with pickleball paddles and hard kombucha, are ready to take on the school board in the fight of their lives: attempting to ban the controversial books available to their kids in the school library. But is this trusted inner circle all on the same page? A piercing world premiere from a Chicago playwright, Stephanie Alison Walker's Adirondack Chair Circle exposes the hilarious hypocrisy of the causes we claim and the company we keep. And has a damn good time doing it.

The creative team includes Todd Rosenthal (Scenic Design), Izumi Inaba (Costume Design), Barbara Samuels (Lighting Design), Mikhail Fiksel (Sound Design), Nicholas Hussong (Projection Design), Steph Paul (Choreographer), Kate DeVore (Vocal Coach), Bryar Barborka (Dramaturg), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), Michelle Medvin (Production Stage Manager) and Kathleen Barrett (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Adirondack Chair Circle
Playwright: Stephanie Alison Walker
Director: Pam MacKinnon
Cast: ensemble member Caroline Neff (Evelyn Grace) with David Darrow (Crow), Katrina Lenk (Banna), Wendy Mateo (Winona) and Sadieh Rifai (Libby).
Understudies: Tiffany Bedwell (Banna), Brittany Burch (Evelyn Grace), Alexandra Casillas (Winona), Warren Duncan (Crow) and Erinn Fredin (Libby).

Location: Steppenwolf's Ensemble Theater, 1646 N. Halsted St., Chicago

Dates: Previews: Thursday, October 22 – Saturday, October 31, 2026
Press performance/Opening: Sunday, November 1, 2026 at 6 pm
Regular run: Tuesday, November 3 – Sunday, December 6, 2026
Curtain Times: Tuesdays, Wednesdays, Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 7:30 pm; and Sundays at 3 pm. Please note: there will not be 7:30 pm performances on Tuesday, October 27, Thursday, November 5, Tuesday, November 10, Wednesday, November 18, Wednesday, November 25, Thursday, November 26 and Tuesday, December 1; there will be an added 2 pm matinees on Wednesday, November 25 and Wednesday, December 2.

Tickets: Classic Memberships starting as low as $165 are now on sale for Steppenwolf's 2026/27 season at steppenwolf.org/myseason. Single tickets for Adirondack Chair Circle ($20 – $149*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale: Black Card Memberships with six tickets for use any time for any production and RED Card Memberships for theatergoers under 30. *Pricing includes an $8.50 handling fee

Steppenwolf offers 20 tickets for $20 (no added fees) for each performance of every Main Series production. Use promo code 20FOR20 to redeem this offer online, available in advance until they're sold out for every main series show. Limit 2 tickets per person. You can also purchase by phone at (312) 335-1650 on the day-of show at 12 pm for main series performances. Limit 2 tickets per person.

Accessible Performance Dates:

Audio-Described and Touch Tour: Sunday, November 22 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Saturday, November 7 at 3 pm, Thursday, November 19 at 7:30 pm and Saturday, November 28 at 3 pm
ASL-Interpreted: Friday, December 4 at 7:30 pm

Education and Engagement:

Throughout the 2026/27 season, Steppenwolf continues its commitment to the next generation of theatre learners, makers and appreciators with robust education and engagement programming. Programming includes dedicated student matinee performances during four of the five Main Series productions including Topdog/Underdog, Adirondack Chair Circle, The Comeuppance and Ellen B., in-school residencies in partnership with Chicago Public schools, workshops, panels and events specifically geared towards teens, as well as professional development trainings and resources for educators. For additional information about Steppenwolf's Education and Engagement programming and to register your school for a field trip visit steppenwolf.org/education-community/school-teacher-programs/field-trips.

Artist Biographies:

Stephanie Alison Walker (Playwright) is an internationally-produced, award-winning playwright whose work is known for the personalization of the political, humor in darkness and the dramatization of the resilience of women. She is a native Chicagoburbian who has lived all over including London, Buenos Aires, San Juan Island and fifteen years in Los Angeles. She received her Bachelors in English/Creative Writing and Spanish from the University of Colorado and her Master of Professional Writing from the University of California. She began writing plays while working for Fox Theatricals in Chicago. Her play about the housing crisis, American Home, was the inaugural winner of American Blues Theatre's Blue Ink Award. Her play about the mothers of the disappeared in Argentina, The Madres, received a National New Play Network Rolling World Premiere at Teatro Vista in Chicago, Skylight Theatre Company in L.A., Moxie Theatre in San Diego and Shrewd Theatre Company in Austin. It was the 2019 Winner of the Francesca Primus Prize, winner of the Ashland New Plays Festival, the Generations Prize and semi-finalist for the CTG/ Humanitas Prize for playwriting. Her follow-up play The Abuelas, premiered at Teatro Vista and was recently adapted into a short film titled The Birthday Gift. The Art of Disappearing was a finalist for the Primus Prize and enjoyed critical praise for the world premiere in Chicago by 16th Street Theater in 2015. Friends with Guns, her play about liberals and gun ownership was an O'Neill Finalist, winner of Best New Play at the 2019 Valley Theatre Awards, and had its Chicago premiere by A Short Leap Theatre Company in 2025. Sophia Hayden Deserves Better tells the story of the architect of the Woman's Building at the 1893 World's Columbian Exposition in Chicago and was recently a part of Gglassfest by Lookingglass Theatre in Chicago. The Ordeal of Water, inspired by the first women to work as Longshoremen at the Port of Los Angeles, was most recently a part of Bay Street Theater's New Works Festival. Adirondack Chair Circle, her play that tackles suburban book-banning moms, was developed at The Inkwell Theater Company and A Red Orchid's Studio at A Red Orchid. Her short plays have been anthologized by Smith & Kraus. Her full-lengths are published by Broadway Publishing, Inc. In addition to writing plays, she is currently adapting Friends with Guns and The Abuelas as features while raising two spirited boys and selling real estate in the suburbs of Chicago. She is a proud member of the Dramatists Guild of America, Honor Roll Playwrights, NNPN Affiliated Artist, and a proud alumni of the Playwrights Union. stephaniealisonwalker.com

Pam MacKinnon (Director) is a Tony, Drama Desk and multi-Obie Award winning director. She is the artistic director of American Conservatory Theater in San Francisco. She has directed more than eighty productions. Her Tony Award-winning production of Edward Albee's Who's Afraid of Virginia Woolf? originated at Steppenwolf. Her production of Bruce Norris's Downstate (Steppenwolf, National Theatre and Playwrights Horizons) was celebrated with several Jeff Awards and won Pam her second Obie. She served as president of SDC, the national Union of choreographers and directors.

David Darrow (Crow) Steppenwolf Theatre Company: Amadeus; Off-Broadway: Memnon (Classical Theatre of Harlem), All Is Calm (Drama Desk Award), The Revival (Project Y Theatre); Regional: Over ten productions at The Guthrie including A Little Shop Of Horrors, Juno And The Paycock  and The Tempest; Sweat (ACT); Ragtime, Sweeney Todd, Fiddler on the Roof (Asolo Repertory Theatre); Lookinglass Alice, Twelfth Night (Baltimore Center Stage); Romeo And Juliet (Ten Thousand Things); Television: RJ Decker, Ballard and Cupertino; Education: MFA Grad Acting – Tisch School of the Arts. David has written several musicals which have been developed/produced at theatres around the country.

Katrina Lenk (Banna) Broadway: Company, The Band's Visit (Tony, Grammy, Lucille Lortel Award), Indecent, Once, Spider-Man: Turn Off the Dark, The Miracle Worker. Additional theater credits include: High Spirits (New York City Center Encores!), Indecent (Vineyard, La Jolla Playhouse, Yale Rep), iWitness (Mark Taper Forum), Lost Land (Steppenwolf), Lovelace: A Rock Opera (L.A./Edinburgh). Television: Cupertino, Apples Never Fall, Ozark, The Marvelous Mrs. Maisel, Little Voice, The Good Fight, The Village, Tommy, Law & Order: SVU, Law & Order, et al.

Wendy Mateo (Winona) is beyond thrilled to make her Steppenwolf debut. Wendy is the Artistic Director of Teatro Vista Productions (TVP) and a Chicago-based actor, director and filmmaker. An iO and Second City alum, she has been seen on stage in Beyond Caring and Big Lake Big City (Lookingglass Theatre). Her directing work includes The Brief Wondrous Life of Oscar Wao (Goodman Theatre); ¡Bernarda! (TVP); Mojada (upcoming at Court Theatre). Her TV/film acting credits include Chicago Med, Station Eleven and Widows, while her filmmaking credits include Good Mothers and Hair.

Caroline Neff (Evelyn Grace) is a Steppenwolf ensemble member. At Steppenwolf, she was last seen in Mr. Wolf, Fool for Love, POTUS, Another Marriage, Describe the Night, Seagull, Dance Nation, The Curious Incident of the Dog in the Night-Time, You Got Older, Linda Vista (also Taper Forum and Broadway), The Fundamentals, The Flick, Airline Highway (also Broadway), The Way West, Three Sisters, Annie Bosh is Missing and Where We're Born. Select theatre credits include: Lettie (Jeff Award Best Actor, Victory Gardens Theater); Uncle Vanya (Goodman Theatre); A Brief History of Helen of Troy (Jeff Award for Best Actress), The Knowledge, Harper Regan, In Arabia We'd All Be Kings (Steep Theatre); The Downpour (Route 66 Theatre); Port (Griffin Theatre); 4000 Miles (Northlight Theatre); Moonshiner (Jackalope Theatre). Regional credits include: Peerless (Yale Repertory Theatre). Film and television credits include: Parallax (upcoming Apple tv) FBI, Three Women, Let the Right One In, The Red Line, Chicago P.D., Chicago Fire, Open Tables and Older Children, and heard in multiple Audible Projects such as: Song of the Northwoods, Crowded Hours, Denali and Boar's Nest. She is a proud company member of Steep Theatre and holds her BA from Columbia College.

Sadieh Rifai (Libby) Steppenwolf Theatre: You Will Get Sick, August: Osage County (u/s). The Targeted, Do You Feel Anger, An Evening at the Talk House, Grey House (A Red Orchid). She's performed at theaters such as Goodman, American Theatre Company, Chicago Shakespeare and Milwaukee Repertory. Film: Block Party, Hekla, The Wise Kids, Nate and Margaret, Olympia, All Happy Families. Television: Bettendorf Talks, The Red Line, Chicago Med, Patriot, Shining Girls and Somebody Somewhere. Sadieh received the Princess Grace Award in 2011 & The Princess Grace Fellow in 2026. She's a graduate of The School at Steppenwolf and is represented by Venture and Paonessa Talent.

Accessibility:

As a commitment to make the Steppenwolf experience accessible to everyone, performances featuring American Sign Language Interpretation, Open Captioning and Audio Description are offered during the run of each STC production. Assistive listening devices (ALDs), large-print programs and Braille programs are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/plan-your-visit/accessibility or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information:

Adirondack Chair Circle is a recipient of the Edgerton Foundation New Play Award. United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul Angell Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Rich and Margery Feitler, FROST CHICAGO, Lloyd A. Fry Foundation, Jessica and Dominic Green Family Fund, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Sacks Family Foundation, Gary Sinise Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo, and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the National Endowment for the Arts, Illinois Arts Council, and the City of Chicago Department of Cultural Affairs and Special Events.   

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 51 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

Hell in a Handbag Productions is thrilled to announce its 25th Anniversary Season, featuring three "camptacular" shows guaranteed to delight lovers of their signature theater style. For a quarter-century, Handbag has served Chicago audiences its unique brand of camp and ridiculousness – earning a fiercely dedicated following and a recent induction into the 2026 Chicago LGBT+ Hall of Fame. Season subscriptions on are on sale here.

Hell in a Handbag opens its 2026-27 Season this holiday season with the world premiere of Artistic Director David Cerda's* It's a Horrible Life – A Golden Girls Lost Episodes Musical Parody, the first musical installment in the company's long-running Golden Girls: The Lost Episodes parody series. Following a string of holiday mishaps and a disastrous audition for the Miami Senior Center's production of It's a Wonderful Life, Dorothy (David Cerda*) begins to question her very existence. An angel intervenes, revealing that her roommates wouldn't last 20-minutes without her.

Directed by Ryan Kennedy, the cast also includes Kelly Bolton*, Grant Drager*, Ed Jones*, Scott Sawa*, Britain Shutters, Danne W. Taylor* and Honey West. It's a Horrible Life will be presented at Theater Wit, 1229 W. Belmont Ave. in Chicago. Single tickets are on now on sale here.

The season continues this winter with the return of the Handbag favorite Caged Dames, Artistic Director David Cerda's* musical parody inspired by the women's prison films of the '40s and '50s, particularly Caged starring Eleanor Parker. Originally produced in 2006, Caged Dames tells the story of Mary Parker, an innocent young woman who, through a series of unfortunate events, lands in the big house – the Calumet City, Illinois Women's Penitentiary – and learns all about the cold hard facts of life – the hard way. Caged Dames will also be presented at Theater Wit.

The final show of Handbag's 25^th Anniversary Season is out of this world (see what we did there?) Next summer, Handbag is proud to present the Chicago premiere of KHAN!!! The Musical! (A Parody Trek-tacular) featuring music, lyrics and book by Brent Black and co-conceived by Alina Roth.

This funny and clever parody/love letter is based on Star Trek II: The Wrath of Khan and Star Trek: The Next Generation with an entirely original score. The beauty of the show is that it's fun for Trekkies, Broadway fans and "normies" alike – and you don't have to know anything about Star Trek to enjoy it! This spaced-out summer romp will be staged at The Clutch, Handbag's intimate boutique space at 4335 N. Western Ave. in Chicago.

Handbag will also continue to present readings and entertainment throughout the season celebrating 25 years of absurdity,

Hell in a Handbag Artistic Director and Co-Founder David Cerda* comments, "I suppose 25 years is a long time for a theatre company. Some days it feels that way. Sometimes it feels like it was just yesterday. I'm proud of what we have done as a company and will continue to create art until I get that damn McArthur Genius Award. I want this season to celebrate who we are and continue to bring joy to people."

*Denotes Handbag ensemble member

Hell in a Handbag's 25th Anniversary Season:

December 3, 2026 – January 4, 2027

It's a Horrible Life – A Golden Girls Lost Episodes Musical Parody

By Artistic Director David Cerda*

Directed by Ryan Kennedy

Featuring Kelly Bolton*, David Cerda*, Grant Drager*, Ed Jones*, Scott Sawa*, Britain Shutters, Danne W. Taylor* and Honey West

at Theater Wit, 1229 W. Belmont Ave., Chicago. Tickets now on sale here.

February 11 – 28, 2027

Caged Dames

Book and Music by Artistic Director David Cerda

at Theater Wit, 1229 W. Belmont Ave., Chicago

August 7 – September 19, 2027

KHAN!!! The Musical! (A Parody Trek-Tacular)

Music, Lyrics and Book by Brent Black

Co-Conceived by Alina Roth

at The Clutch, 4335 N. Western Ave., Chicago

About Hell in a Handbag Productions

Hell in a Handbag is dedicated to the preservation, exploration, and celebration of works ingrained in the realm of popular culture via theatrical productions through parody, music and homage. Handbag is a 501(c)(3) Not for Profit. For additional information, visit handbagproductions.org.

Chicago’s Theater Wit is now offering new, state-of-the-art closed captioning service, marking a dramatic improvement in making live theater more accessible for patrons who are deaf or hard of hearing.

Until now, captioning typically involved a staff person backstage, projecting the text of the script on the set, or on patrons’ cell phones, thus allowing audiences to read along in real time. Captioning is traditionally offered at select performances only, and sometimes required users to sit in a specific section of the theater.

No more. Now, at Theater Wit, patrons can engage with closed captioning at almost every regular performance, from any seat in the house, free of charge.

“This is the same state-of-the-art closed captioning system used by large touring shows like Harry Potter and the Cursed Child , but we believe we’re the first small theater in the nation to roll out fully automated closed captioning service for dozens of productions,” said Theater Artistic Director Jeremy Wechsler. 

Following successful trial runs during the final weeks of Wit’s season-opening smash hit, Adolescent Salvation , the new system, called Watchword, will now be available during the regular run of all Theater Wit productions.

What’s more, Wit is making the service available for free to all of its resident and visiting companies, thereby expanding and improving traditional closed captioning in all three of its 99-seat theaters.

With Wit’s new system, the text of the play is loaded into the software as usual. The difference is Watchword actually “listens” to every live performance on stage, recognizing phonemes, or the smallest unit of sound that can change the meaning of a word. When paired with the pre-queued script, the system syncs its captions with the dialogue, lyrics and sound effects as they happen in real time, almost never losing track of what’s happening live, on stage.

Each of Wit’s three theaters now has a dedicated Watchword monitor installed, which listens to incoming audio while simultaneously watching sound and light cues. As a result, the system delivers written captions to users on a small tablet, modulating its timing at each performance to match the pace of the dialogue being spoken by the actors on stage. Best of all, it requires no human operator, making it easy to offer at every performance.

In addition to patrons who are deaf or hard of hearing, many neurodivergent people find that following text alongside audio helps them engage more fully with a performance. It’s also a valuable service for audiences who speak English as a second language.

“Patrons tested the technology the past few weeks at performances of Adolescent Salvation, and feedback was very positive,” added Wechsler. “I’m thrilled to say our resident companies Shattered Globe Theatre, with its new production, Vladimir, and Remy Bumppo’s Mud Row , are both offering Wit’s enhanced closed captioning service at regular performances starting this fall. We expect many other companies will take advantage of this technology throughout the theater season.”

Audiences who’d like to try Wit’s new free closed captioning service can do so with a click of a button while purchasing tickets online at theaterwit.org, or by calling the Theater Wit box office, (773) 975-8150. Theater Wit is located at 1229 W. Belmont Ave., in Chicago’s Lake View neighborhood.

The introduction of Wit’s new closed captioning technology is supported by a lead donation from a private individual (for more information about hearing loss visit hearingloss.org), with additional funding from The Saints. To learn more, visit theaterwit.org or follow the company on Facebook or Instagram. 

“God bless us, everyone,” because there’s a fresh, new, reimagined version of Charles Dickens’ classic tale A Christmas Carol debuting in Chicago this holiday season.

Downtown Aurora’s award-winning Paramount Theatre is conjuring up an elegant and innovative new spectacle version of A Christmas Carol, based on the novella by Charles Dickens. Performances are November 11, 2026–January 3, 2027. Opening Night is Friday, November 20 at 7 p.m.

Paramount’s refreshing new take on A Christmas Carol is adapted and directed by Trent Stork, the two-time, Jeff Award-winning director of Paramount’s Come From Away and Kinky Boots. For A Christmas Carol, Stork has adapted Dickens' classic holiday tale specifically for the Paramount stage, replete with laughter, redemption, the most memorable characters in literature, elegant dance numbers, and live music throughout.

Reintroduce your family to Ebenezer Scrooge, the bitter and lonely miser, who is visited on Christmas Eve by three ghosts who take him on a journey through his past, present, and future. Along the way, Scrooge learns how to reexperience joy, compassion, and the power of generosity. Whether seeing Scrooge’s transformation for the first time or reliving the magic of the classic story, Paramount’s A Christmas Carol will leave audiences filled with hope and holiday cheer. Per tradition, a two-story Christmas tree in Paramount’s Grand Gallery welcomes audiences as the perfect backdrop for holiday photos before and after the show.

Rediscover the magic of the season at Chicago’s newest holiday production, ideal for friends and friends alike. A Christmas Carol begins previews Wednesday, November 11. Opening Night is Friday, November 20 at 7 p.m. Performances run through January 3: Wednesday at 1:30 p.m. and 7 p.m.; Thursday and Friday at 7 p.m.; Saturday at 2 p.m. and 7 p.m.; Sunday at 1 p.m. and 5:30 p.m. Exceptions: No matinee Wednesday, November 11, and no shows Thanksgiving, Thursday, November 26, or Christmas, Friday, December 25. There’s an added Thanksgiving weekend holiday matinee Friday, November 27 at 2 p.m.

Single tickets to A Christmas Carol are $34-$107 when purchased in-person. Additional fees apply for phone and online orders. Of course, tickets to A Christmas Carol make excellent holiday gifts.

Paramount Theatre is located at 23 E. Galena Blvd. in downtown Aurora. For tickets or subscriptions, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount box office Monday through Saturday, 10 a.m. to 6 p.m., and until show time on show days. For group discounts, contact Melissa Striedl, This email address is being protected from spambots. You need JavaScript enabled to view it. or (630) 723-2461.

A Christmas Carol is sponsored by Jake’s Inc. and Rush Copley Medical Center.

Paramount’s cast for A Christmas Carol is led by (top, from left) Michael Moreland Milligan in his Paramount debut as Ebenezer Scrooge, with Scott Westerman as Jacob Marley, Shawn Pfautsch as Bob Cratchit, Aja Alcazar as Mrs. Cratchit, Isabel Arianna Romero-Rodriguez as The Ghost of Christmas Past, Jared David Michael Grant as The Ghost of Christmas Present, Ben Dow as The Ghost of Christmas Yet To Come, Schyler Vargas as Fred, (bottom) Russell Konstans as Mr. Fezziwig, Michelle Duffy as Mrs. Fezziwig, Will Lidke as Young Scrooge, Angel Alzeidan as Belle, Teddy Gales as Dick Wilkins, and Morgan Michelle Barber as Martha Cratchit and others. Youth performers Seamus Flynn and Julian Totleben alternate in the role of Tiny Tim.

Artemisia Theatre is proud to announce the return of the WeWomen Play Festival, its annual celebration of new feminist work. This year’s festival features six playwrights and a slate of directors bringing their work to life through staged readings.

The 2026 WeWomen Play Festival runs November 16–18 at Bramble Arts Loft. Each evening will feature two staged readings, along with artist talkbacks and networking opportunities designed to bring Chicago’s theatre community together.

This year’s announced playwrights are Zeyy Fawaz with The Tenants, Lauren M. Gunderson with Paradise, Samantha Hurley with COUNTESS JOSEPHINE AND LADY

PHILOMENA du BOURBON TRY TO HIDE A BODY, Sonja Lynn Mata with White Thorn of Color, Elenna Stauffer with Woman’s Work, and Brandy Victoria with Holy Smoke.

The 2026 festival directors are Dinah Berkeley directing White Thorn of Color, Julia Farrell Diefenbach directing Paradise, Kayla Menz directing COUNTESS JOSEPHINE AND LADY PHILOMENA du BOURBON TRY TO HIDE A BODY, Zoë Nisam directing The Tenants, Stephanie Mattos directing Holy Smoke, and Denise Yvette Serna directing Woman’s Work.

The WeWomen Play Festival production team includes Julia Farrell Diefenbach (Producer), Ema Kester (Stage Manager), and members of their Artist Leadership Coalition: Whitney Dottery, Leanna Gianoutsos Oliveira, Samie Jo Johnson, Abigail Karr, Jabari Khaliq, Candice Mason, Grayson May, Dionna Ndlovu, Seoyoung Park, Sydni Charity Solomon, and Jessica Swim.

The festival schedule has networking events starting at 6 pm, with readings and talkbacks starting at 7 pm. On November 16, Woman's Work by Elenna Stauffer then Paradise by Lauren M. Gunderson. November 17 will have COUNTESS JOSEPHINE by Samantha Hurley and The Tenants by Zeyy Fawaz. And finally, November 18 will end the festival with Holy Smoke by Brandy Victoria and White Thorn of Color by Sonja Lynn Mata.

The 2026 WeWomen Play Festival will take place at Bramble Arts Loft, 5545 N. Clark Street, 2nd Floor, Chicago, IL 60640, in Chicago’s Andersonville neighborhood.
Single-day tickets are $23 and three-day passes are $48, and may be purchased online at artemisiatheatre.org.

Access: Bramble Arts Loft is located on the second floor of the building and is accessible by an ADA-accessible guest elevator. Guests with specific accessibility questions or accommodation requests are encouraged to contact Artemisia Theatre in advance of their visit.

Visit artemisiatheatre.org for more information, including content warnings, and news of special events. Find and follow the company on social media @artemisiatheatre on Facebook and Instagram

ABOUT THE PLAYWRIGHTS

Zeyy Fawaz (The Tenants, she/her) is a multilingual playwright, actress, and vocalist. A community organizer and activist, Zeyy weaves her advocacy into her artistic expression. Her body of work spans film, television, theater, commercial, and voiceover productions. A firm believer in art as a powerful political tool, Zeyy is committed to centering activism in her work, contributing to numerous productions that spotlight pressing social justice issues. In addition to holding a degree in the arts, she earned a master’s in International Relations and Development, with a concentration in Languages and Diaspora Studies. It is this unique intersection of diplomacy and artistry that informs and propels her creative and professional pursuits.

Lauren M. Gunderson (Paradise, she/her) has been one of the most produced playwrights in America since 2015, topping the list 4 times, including 2025/26. She is a two-time winner of the Steinberg/ATCA New Play Award for I and You and The Book of Will, the winner of the William Inge Distinguished Achievement in Theatre Award, the Lanford Wilson Award and a finalist for the Susan Smith Blackburn Prize. Her plays have been translated into a dozen languages and produced across the world, and her anthology, “Revolutionary Women,” is published by Bloomsbury. LaurenGunderson.com and @LalaTellsAStory

Samantha Hurley (COUNTESS JOSEPHINE AND LADY PHILOMENA du BOURBON TRY TO
HIDE A BODY, she/her) is a Maine-raised, Chicago-based playwright. Her debut play, I’m Gonna Marry You Tobey Maguire, premiered Off-Broadway at Nancy Manocherian’s The Cell Theatre to critical acclaim and a sold-out run, followed by its international debut at London’s Southwark Playhouse. The play is published by Concord Theatricals and has been featured in Teen Vogue, Interview, and Pleaser. Her second full-length play, RE(VULVA), was an O’Neill Semifinalist, Princess Grace Award Semifinalist, and Relentless Award Honorable Mention. Her plays have been developed at the Cell Theatre, Pocket VR/Theatre L’Acadie, Impostors Theater Co, Two Chairs Theatre Company, and Avalanche Theatre. samhurleywrites.com

Sonja Lynn Mata (White Thorn of Color, she/her) is an actor-creator, clown, and playwright hailing from the suburbs of Chicago. She graduated with a BFA from Ohio University and has completed the Professional Training Program at Dell’Arte International School of Physical Theater. She has worked with the National Theatre of Ghana in their nation's capital, Accra and has toured nationally with Theater Unspeakable. Sonja is a year-round cyclist, an avid connoisseur of pizza and is currently working on her solo show: ¡Abuela más panqueques, por favor! IG: @sonjathepayasa or www.sonjalynnmata.com

Elenna Stauffer (Woman’s Work, she/her) is a NYC based playwright and actor. Her writing has been produced or developed by Thrown Stone, Detroit Rep, UC Davis, Second

Act New Works, Studio Theatre Tierra del Sol, Pittsburgh New Works, and the New York International Fringe Festival. Macha Distillery, Pegasus, and SWTP Finalist and O’Neill, WP Lab, Lanford Wilson, Hidden River, DVRF, and Frank Moffett Mosier Semi-finalist.

HYSTERICAL! and THE AUNTIE NETWORK are published/licensed by Broadway Play Publishing, and monologues appear in Smith+Kraus Best Monologues compendiums. Proud member AEA, SAG/AFTRA, Dramatists Guild, Climate Reality, and the 2025 PlayPenn Playwrights Cohort. Yale (BA) and Columbia (MFA).

Brandy Victoria (Holy Smoke, she/her) is a playwright, essayist, and performance artist whose work has been produced by the Obsidian Theatre Festival, the Fade to Black Reading Series, the Barter Theatre, and the Abingdon Theatre Company. In 2023, Brandy was named a Hurston/Wright Foundation Fellow and featured as a playwright in the literary publication Obsidian: Literature and Arts in the African Diaspora. She graduated from Temple University in Philadelphia, earning degrees in Film and Media Arts and African-American Studies. Learn more at brandyvictoria.com

ABOUT THE DIRECTORS
Dinah Berkeley (White Thorn of Color, they/them) is a Chicago-based theatre-maker, Arts Educator and Community Facilitator whose work is deeply rooted in the embodied practices of clown, mime, puppetry and dance. They seek out work that aligns with their values of centering authenticity, making space for curiosity, wonder, and awe as essential parts of process before product, and moving towards liberation through collective communal care, collaboration, and play. Directing credits include Everybody Thrashing The Cherubs program at Northwestern University, We Tell Each Other Stories, a workshop reading as part of A Red Orchid Theatre’s Incubator series, and they were a featured Director at Direct Address, produced by The Understudy Coffee Shop and Book Store. Additionally, Dinah has been a performer and deviser for over ten years; their work has been witnessed globally, from San Francisco to Edinburgh, NYC to El Bolsón. Dinah is delighted to be working with Artemisia Theatre for the first time during the WeWomen Play Festival. Take clown with them for free as part of the Healing Arts Chicago program, which seeks to bridge the gap between arts and health by providing free arts services across the city.
Julia Farrell Diefenbach (Paradise, she/her) is a director and dramaturg drawn to strange, dark, and unconventional stories. Recent directing credits include Kate Hamill’s Sense and Sensibility, The Haunting of Hill House (Twin City Players), and the sold-out Los Angeles production of One Exit (The Halogen Company). Other credits include work with Chicago Dramatists, Haven Chicago, Shattered Globe Theatre, Collaboraction, Midsommer Flight, and Citadel Theatre. Julia has a particular love for immersive work and for digging into historical stories to find what still feels urgent, messy, and recognizable today. She currently serves as Director of Marketing & Community Engagement at Shattered Globe Theatre and Managing & Marketing Director at

Artemisia Theatre. Julia is a graduate of Columbia College Chicago and is a proud member of LMDA.

Kayla Menz (COUNTESS JOSEPHINE AND LADY PHILOMENA du BOURBON TRY TO HIDE
A BODY, she/they) is a multidisciplinary theatre artist who primarily focuses in directing and intimacy directing these days. Recent directing credits include Radical Futures, The Sporting Life (Factory), The Meaningful Action Theatre Company Presents A Workshop Reading Of "Muffed: A Recounting Of Farmington, Maine's 43rd Annual Chester Greenwood Day Devised By The Members Of The Meaningful Action Theatre Company" (Factory, 3Bros), Lavinia Andronicus is YOUR Spin Instructor (Meat Machine), and Lincoln Lincoln Lincoln Lincoln (Impostors). They are a graduate of Cleveland State University and the directing apprenticeship program at Capital Stage in Sacramento. Connect with Kayla at www.kaylamenz.com or on Instagram @kaylabanana797.

Zoë Nisam (The Tenants, she/her) is very excited to work with Artemisia on this project! She is a recent graduate of The Theatre School at DePaul University, where she studied Theatre Arts and Nonprofit Organization. Originally from Minneapolis, Zoë has called Chicago home for 4 years and has fallen in love with the arts scene here. Her work spans directing, dramaturgy, stage management, and teaching, and she is an ensemble member with Sub Rosa Theatre Company. Recent credits include The Snow Queen with The Impostors Theatre Co. (Stage Manager), In Pursuit Of with Sub Rosa (Dramaturg), Pinto with TTS and A Red Orchid Theatre (Asst. Director), and she is a teaching artist and administrative assistant with Creative Root. Learn more about her work here: https://sites.google.com/view/zoe-nisam/home

Denise Yvette Serna (Woman’s Work, she/her) is an award-winning theatre practitioner in Chicago, Illinois. Credits include productions and new play development with Teatro Vista Productions, Lyric Opera of Chicago, MCA Chicago, Goodman Theatre, Steppenwolf Theatre Company, The Neo-Futurists, Paramount Theatre, Bramble Theatre Company, Strawdog Theatre Company, Prop Thtr, and Global Hive Laboratories. Denise has facilitated international workshops, productions, readings, fundraisers, panels, and festivals to promote activism for racial equity, accessibility, climate justice, gender based violence, immigration, literacy, community collaboration, and collective joy. deniseyvetteserna.com

Stephanie “Stevie” Mattos (Holy Smoke, she/her) is an actor, fight director and combatant in Chicago and a member of the Society of American Fight Directors. BFA in Performance Arts - Acting, Western Kentucky University. Directing: Women of 4G (Asst. Director, Babes with Blades Theatre Co.), Lonely Hearts in Lockdown (Birch House Immersive), Twelfth Night (Midsommer Flight). Fight Direction: Do You Feel Anger (Here's The Exit Theatre Co.) Andy Warhol Presents: The Cocaine Play (Jackalope Theatre Co.), Black Cypress Bayou (Definition Theatre), A Lie of the Mind, Gorgeous, OAK and The Prodigal Daughter (Raven Theatre); Brothers from the Deep (Factory Theater), The Duchess of Malfi (Asst. Fight Director, Babes with Blades Theatre Co.). Film: Rent’s

Due, Go To the Body (Asst. Stunt Coordinator). Represented by Big Mouth Talent. Ensemble member of Midsommer Flight. www.stephaniemattos.com. IG: asmattering.

ABOUT ARTEMISIA

Artemisia produces plays that empower women, creating career-altering opportunities for ALL women theatre artists of all racial and ethnic backgrounds; sexual orientations and identities; economic status; ages and disabilities. We make women heroes of their own lives by sharing their stories and amplifying their voices. We invite anyone and everyone who wants to empower women to join us as artists and audience.

Artemisia aims to be at the forefront of the fight for women and their allies through outstanding performances that push the envelope. From world premieres to the virtual stage, our mission is and will always be to better our world for everyone.

Artemisia is led by a volunteer coalition of Chicago-based artists and administrators who are fully committed to the theatre’s mission and its core values of empowerment, diversity, and inclusion. The coalition creates a safe space for ALL Chicago artists while practicing pay equity, amplifying the voices of BIPOC and LGBTQIA+ artists, and engaging the community in plays driven by the idea that her story empowers us all. If you are interested in joining the coalition, email artemisia.org for more info.

Visit www.artemisiatheatre.org to learn more.

Following last year's critically acclaimed, sell-out engagement, Steppenwolf Theatre Company is pleased to announce the return of John C. Reilly is Mister Romantic, playing four performances only December 10 – 13, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Tickets cost $89* - $159*. A special Steppenwolf member pre-sale begins Tuesday, October 6, 2026 at 12 pm. Tickets go on sale to the general public Thursday, October 8, 2026 at 12 pm at steppenwolf.org/romantic or by calling the Box Office at (312) 335-1650. *Pricing includes $10 handling fee

About the Show:

John C. Reilly's acclaimed vaudeville project Mister Romantic has emerged as one of his most personal and celebrated recent works. The intimate stage show has earned widespread praise for its sincerity, humor and emotional depth. The New York Times describes it as "wryly funny, sometimes tender and sad, but always sincere," while Vanity Fair calls it "fiercely funny" and declares Reilly "one hell of a singer." The Guardian has hailed it as "truly lovable." The live band-backed performance seamlessly blends classic songbook material, clowning, and audience interaction. Mister Romantic marks a new chapter in Reilly's career, showcasing his longtime musical instincts alongside his singular comedic and dramatic range. The project has been widely recognized as one of his most distinctive and heartfelt artistic statements to date.

About the Artist:

For over three decades, John C. Reilly has remained one of the most beloved and versatile actors of his generation, effortlessly navigating comedy, drama and musical theater with a rare blend of skill and charm. From his breakout roles in quirky comedies to more nuanced dramatic performances, he has proven himself a master of range, breathing life into a vast array of characters with both warmth and depth.

Reilly's career began with his film debut in Casualties of War, quickly establishing him as a sought-after actor among the most acclaimed American directors. He collaborated with Paul Thomas Anderson on Hard Eight, Boogie Nights and Magnolia, worked with Martin Scorsese on Gangs of New York and The Aviator, and joined Robert Altman for A Prairie Home Companion. Reilly earned Oscar and Golden Globe nominations for the movie musical Chicago, featuring his memorable performance of "Mister Cellophane," a major inspiration for Mister Romantic. He showcased his comedic mastery with two blockbuster films with Adam McKay, Step Brothers and Talladega Nights, while also blending his musical and comedic talents in Walk Hard: The Dewey Cox Story. His versatility led to international recognition in films such as We Need to Talk About Kevin (Lynne Ramsay), Carnage (Roman Polanski), The Lobster (Yórgos Lánthimos) and The Sisters Brothers (Jacques Audiard). More recently, he reunited with Adam McKay starring in HBO Max's Winning Time, the limited series about the Los Angeles Lakers.

In 2026, the acclaimed actor continues taking on a variety of compelling roles. In A Prayer for the Dying, Dara Van Dusen's adaptation of Stewart O'Nan's novel set in the 1870s, Reilly plays a town doctor in a community ravaged by a deadly plague. In Testa O Croce, a film directed by Italian filmmakers Alessio Rigo de Righi and Matteo Zoppis, he portrays the legendary Buffalo Bill. And this fall, he stars alongside Nicholas Hoult, Zoë Kravitz and Pete Davidson in the action-comedy heist film How To Rob A Bank, directed by David Leitch. 

Performance schedule:

Thursday, December 10, 2026 at 7:30 pm
Friday, December 11, 2026 at 7:30 pm
Saturday, December 12, 2026 at 7:30 pm
Sunday, December 13, 2026 at 3 pm

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

Sponsor Information: 

United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul Angell Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Rich and Margery Feitler, FROST CHICAGO, Lloyd A. Fry Foundation, Jessica and Dominic Green Family Fund, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Sacks Family Foundation, Gary Sinise Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo, and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the National Endowment for the Arts, Illinois Arts Council, and the City of Chicago Department of Cultural Affairs and Special Events.     

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 51 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

The Saint Sebastian Players open their 45th season of travels to different places with A Murder is Announced, a classic Miss Marple mystery by Agatha Christie. Previews run October 23–25, with regular performances October 29–November 15 (no performance October 31), at SSP's home on the lower level of St. Bonaventure, 1625 W. Diversey, Chicago. 
 
The residents of Chipping Cleghorn in England are baffled when a local newspaper publishes an advertisement inviting people to a "murder" at 6:30 p.m. at Miss Blacklock's Victorian home, Little Paddocks. When an unknown visitor dies under the prescribed circumstances, Miss Marple turns up to solve the case.
 
Aliza Feder makers her SSP directing debut. Some of her directing credits include La Trout Lily at New Moon Opera; Miss Julie (also adapter) at Fermat's Last Theater in Madison, Wisc.; and Held Together at 2nd Story. She served as assistant director for The Recommendation at Windy City Playhouse, The Night Season at Strawdog and Right to be Forgotten at Victory Gardens. She recently finished directing and editing her first short film, You Would. 

The cast of A Murder is Announced includes (top to bottom, left to right; photos courtesy of the actors) Abby McEntee as Miss Marple, Emilia Barrosse, Dawn Cole, Shelley DeHosse, Adam Hoak*, Sophie Marantette, Molly McGillivray-Smith, Eric S. Prahl*, Joleigh Reiss, Jill Chukerman Test* and Sam Waddell (*SSP company member). The production team includes SSP company members Emil Zbella as set designer; Sean Smyth as sound designer, stage manager and co-producer; and Jim Masini as co-producer. Grace M. Weir is costume designer, Lex Newman is lighting designer, and violence design is provided by R&D Choreography.
 
SSP's 45th season continues its travels to New York City in February 2027 with the Tony-nominated dramedy Next Fall by Geoffrey Nauffts and to rural Georgia in April and May 2027 with the riotously funny The Foreigner by Larry Shue. Three-play subscription packages are $85, $70 for seniors and children younger than 12, available at saintsebastianplayers.org.  
 
SSP began producing theatre in 1982 at its original home, the St. Sebastian parish, located at the corner of Halsted Street and Wellington Avenue on Chicago's North Side. When the parish closed in 1990, SSP relocated to its current home, St. Bonaventure, at 1625 W. Diversey. During its history, the company has produced original and previously produced dramas, comedies and musicals; original audience-participation mysteries for special events; and the Monologue Matchup Competition, as well as provided support for Sebastian Studio Projects produced by company members. For a complete production history, visit saintsebastianplayers.org/Production-History.
 

A Murder is Announced runs October 29–November 15, 
with previews October 23–25,
Fridays and Saturdays at 7:30 p.m., Sundays at 2 p.m.
Opening night is Thursday, October 29 at 7:30 p.m.; 
there is no performance October 31.
Performances take places at St. Bonaventure, 
1625 W. Diversey, at Marshfield west of Ashland, Chicago. 
Free parking is available in two lots. 
 
Tickets are $35 for the run, $30 for previews
and $30 for the run, $25 for previews for seniors
and children younger than 12 at ssp.booktix.com.
Students with valid IDs may purchase $30 tickets ($25 previews) at the door.
Group rates also are available.
 

All programming is subject to change. 
For information, visit saintsebastianplayers.org.

Today, Goodman Theatre raises the curtain on its future as leadership and artists share a vision for its next century of impact. Together with hundreds of partners, donors, artists and patrons, Walter Artistic Director Susan V. Booth and Executive Director John Collins announce The Goodman, For Good—a $30 million campaign to secure Chicago's flagship not-for-profit theater for future generations. To date, $27 million has been raised—including 11 gifts in excess of $1 million—under the leadership of Goodman Trustee Elaine Leavenworth, Campaign Chair. Now, the theater invites the Chicago community to join the effort and ensure that The Goodman's core values and artistic priorities continue while providing flexibility to innovate towards new challenges. To commemorate the day, guests in attendance signed a piece of Goodman history, which will displayed in the main lobby.

"As we begin our 101st season and look beyond, we must dream big with a wide-open heart. In order to create the kind of programming that has open doors and open windows for all Chicago to find themselves on our stages, we need a platform from which we can fly: we need an endowment," said Walter Artistic Director Susan V. Booth. "In a risk-averse climate, this campaign allows us to take the enormous risks on which this theater was built. It allows us to be, for you, The Goodman for good. Not just when it's convenient and when the economics allow. For good. We are deeply grateful for those who have demonstrated early leadership and generosity—and now, we welcome our community to join this effort for our future."

"We find ourselves at a defining moment for The Goodman. It was during our recently completed Centennial Season—our largest, most audacious, most successful season ever—that we reached a level of service and impact previously unimaginable. Our challenge and invitation today is to safeguard what we've built for future generations, ensuring that it remains rooted in the values which have guided and distinguished us for so many years," said Executive Director John Collins. "For the good of unparallelled artistry; for the good of our communal well-being; for the good of future generations who deserve the same world-class theater that has served this city since 1925, join us and invest in The Goodman, For Good."

The Goodman's three core values include Quality, ensuring artistic excellence in every area of operations; Community, committing, in equal measure, to excellence on stage and service to Chicagoland; and Equity and Access, remaining accessible to people of all ages, abilities, identities and location.

"There is a vision for a future that's even brighter than the present, and the resource of an endowment fund is a lifeline for that longevity—allowing our artists and leaders to commit to ambitious goals and have the confidence to see them through," said Elaine Leavenworth, Trustee and Chair of The Goodman. For Good. Campaign. "We want this space to be as great a gift to audiences tomorrow as it is today. Donors will be able to see their impact—in the young people served, in The Goodman's footprint in the community, in the experiences had by audiences—and know it will continue for generations."

The Goodman's 2025/2026 Centennial was its all-time most successful season with milestone programming and record attendance figures, drawing 300,000+ audiences—with 57% attending The Goodman for the first time—to 4,000 performances and events. Curated by Booth, the 15-production season earned widespread critical and audience acclaim: 11 extended productions, 290 sold-out performances, while the world-premiere musical Iceboy! Or, The Completely Untrue Story of How Eugene O'Neill Came to Write The Iceman Cometh became the theater's all-time best-attended, best-selling production. Attendees hailed from 61 countries beyond the U.S. with audiences from 5,837 unique zip codes. In addition, the Goodman broke new ground transforming a 15,000 square-foot, in-the-raw space for Theater of the Mind, Academy, Grammy and Tony Award-winning artist David Byrne's immersive work, drawing 63% first-time Goodman attendees. Chicago resident magician Dennis Watkins continued into his third year at The Magic Parlour, in partnership with The Goodman and Petterino's, hosting 163 sold-out performances and expanding his roster by welcoming nine guest artists. Beyond the stage, The Goodman offered 100 Free Acts of Theater—a year-long collaboration with 48 community partners at creative organizations in all 50 Chicago wards—drawing more than 20,000 people, presented in partnership with the Department of Cultural Affairs and Special Events (DCASE). Expanded Theater for the Very Young programming drew nearly 5,000 children and caregivers, with nearly 13,000 people of all ages engaging in free and low-cost Education and Engagement programming.

THE GOODMAN, FOR GOOD SUPPORTERS (GIFTS AS OF OCTOBER 1, 2026)

GRAND BENEFACTOR ($1,000,000+)

Susan and James Annable 
Joan and Robert Clifford 
Patricia Cox 
Julie M. Danis and Paul F. Donahue 
Shawn M. Donnelley and Christopher M. Kelly 
The Davee Foundation 
Elissa Efroymson & Adnaan Hamid and The Efroymson Family Fund 
Elaine R. Leavenworth 
Goodman Theatre Women's Board 
Alice and John Sabl 
Kimbra and Mark Walter

PLATINUM GRAND BENEFACTOR ($500,000 – $999,999)

Sharon Angell 
Paul Dykstra and Spark Cremin 
David and Alexandra Fox 
Sasha Gerritson and Eugene Jarvis 
James P. and Brenda S. Grusecki 
Catherine Mouly and LeRoy T. Carlson, Jr. 
Diane M. Landgren Charitable Fund 
Nancy A. Lauter & Alfred L. McDougal Charitable Foundation 
Prince Charitable Trusts 
Carol Prins and John Hart 
Lorrayne and Steve Weiss

GOLD BENEFACTOR ($250,000 – $499,999)

Lester, Chanel and Javon Coney 
Marsha Cruzan and Tom McGinnis 
Patricia Gallagher Estate 
Jeffrey W. Hesse 
Melinda McMullen and Duncan Kime 
Swati and Siddharth Mehta 
Scott Phillips and Maggie Freehling Phillips 
Shaw Family Supporting Organization 
Maria E. Wynne

SILVER BENEFACTOR ($100,000 – $249,999)

Roger and Julie Baskes 
David Q. and Mary H. Bell 
Doug and Teri Brown 
Joyce Chelberg 
Kathleen and James Cowie 
Fran and Bob DelBoca 
Ruth Ann M. Gillis and Michael J. McGuinnis 
Goodman Theatre Scenemakers Board 
Mary Kay and Edward Haben 
David Hiller and Darcy Evon 
Linda Hutson 
Robert and Cheryl Kopecky 
Anthony and Julianne Maggiore 
Elizabeth Raymond and Paul Hybel 
Cynthia and Michael Scholl 
Michael Steinberg and Salme Harju Steinberg 
Maureen Tansey-Tokar Estate 
Audrey L. Weaver 
Susan and Bob Wislow

BENEFACTOR ($50,000 – $99,999)

Elizabeth Balthrop and Michael Kammarman 
Linda Coberly & Kelly Emery 
Denise Michelle Gamble 
The Estate of Ellen and Paul Gignilliat 
Hugo Lorenz Estate 
Julie and Joseph Learner 
Thomas* and Linda Maurer 
Julie Moller 
Dawn Palmer Estate 
John C. Pintozzi 
Elaine Soter Estate 
Anne Van Wart and Michael Keable

SUPPORTER ($25,000 – $49,999)

Abbe and Adam Aron 
James L. Alexander and Curtis D. Drayer 
Kristin Anderson-Schewe and 
Robert Schewe 
Gustavo Bamberger and Martha Van Haitsma 
Michael Belsley and Nina Owen 
Susan V. Booth and Max Leventhal 
Linda and Peter Bynoe 
Melissa and John Collins 
Sally B. Dancer 
Bruce and Linda DeViller 
Dhuanne Dodrill 
Scott and Lenore Enloe 
Denise Stefan Ginascol and John Ginascol 
Russell Johnson and Mark Hudson 
Michael and Christine Hunstad 
Fruman and Marian Jacobson 
Bradley Keck 
Maggie Kelly and Chris Marzec 
The Estate of Karen and Larry McCracken 
Clare and Scott Metcalf 
Lee Mickus 
The Muriel Pollia Foundation 
Lucy and Richard Park 
Laura Sachs Family Foundation 
Renee and Michael Sichlau 
Jill and Steve Smart 
Gill and Becky Soffer 
Holly and Jeff Tyson 
Andrea and Ron Wainer 
Randy and Lisa White 
Graham Williams and Ryan Rivera 
Sheldon Zenner and Ellen Morgan 
Neal Zucker and Marko Iglendza

Gifts Up to $24,999

Jonathan Abarbanel 
Brigitte R. Anderson 
Kristin Johnson Boswell and Michael Boswell 
Christopher Boyd and Lauren Fondriest 
Philip B. Clement and Mary Ann Everlove Clement 
Philip Crean and Daniel Comeaux 
Kendra Chapman Davis and Laron Davis 
Deanna and Matt Deutschman 
Joan and John Dysart 
Don and Rebecca Ford Terry Family Fund 
Kelli Garcia 
Steve and Rebecca Gerstung 
Henry Godinez and Nancy Voigts 
Margaret and Clive Halliwell 
Marcy and Harry Harczak 
Tracy Healy and Gregory Beard 
Vicki V. Hood 
Margaret and Wayne Janus 
Carl Jenkins and Carole Wood 
Wendy Krimins 
Carolyn Kurtz and Gary Steinberg 
Brian Loevner 
Jill Loftus 
Terri Mascherin and Thomas Abendroth 
Laura Matalon and Spencer Waller 
Stuart and Carol Oken 
Cara Burns Pan and Warren Pan 
Vahe and Heather Poladian 
Andra and Irwin Press 
The Daniel and Genevieve Ratner Foundation 
Robert Rivkin and Cindy Moelis 
Jacquelyn Robinson 
Tod and Trish Saltzman 
Gabrielle and Ryan Sagers 
Sam Scarcello and Katherine Allison 
Steve Scott and Ted Hoerl 
Dinesh Sinniah and Anne Norman 
Irene and Mark Sudac 
Paula Tomei and David Emmes 
Laura and Jeff Torosian 
Renee L. Tyree 
U.S. Bank 
Sarah and Michael Wagner 
Tina Wardrop 
Chris Way and Jason Ott 
Mary Patricia Wilison and Joseph Krasovec III 
Jennifer and Bruce Yalowitz 
Cheryl Yuen and Thomas Chin 
Brad and Alicia Zuiker 

GOODMAN THEATRE'S 2026/2027 SEASON

ALBERT THEATRE (856-SEAT PROSCENIUM STAGE) PRODUCTIONS

The Goodman premieres The 7 Fingers' 
The Attic  
Things I've Seen While Lying on My Back 
Written, Directed and Choreographed by Shana Carroll 
September 5 – October 11 | A World Premiere 

49^th Annual A Christmas Carol  
Adapted by Tom Creamer  
Directed by Malkia Stampley 
November 13 – December 31 | Starring Tim Hopper as Ebenezer Scrooge

John Proctor is the Villain    
By Kimberly Belflower    
Directed by Marti Lyons    
January 23 – February 21, 2027 | A Chicago Premiere

'night, Mother  
By Marsha Norman  
Directed by Michael Pressman  
March 27 – April 25, 2027

Green Day's 
American Idiot 
Music by Green Day 
Lyrics by Billie Joe Armstrong 
Book by Billie Joe Armstrong and Michael Mayer 
Directed by Susan V. Booth 
June 18 – July 25, 2027

OWEN THEATRE (400-SEAT FLEXIBLE STAGE) PRODUCTIONS

Dead Girl's Quinceañera   
By Phanésia Pharel  
Directed by Melia Bensussen  
September 26 – November 1 | A World Premiere

FEAST!    
By Calamity West     
Directed by Susan V. Booth   
February 27 – March 28, 2027 | A World Premiere

The XIXth (The Nineteenth)  
By Kemp Powers  
Directed by Carl Cofield  
April 17 – May 16, 2027 | A Chicago Premiere

22^nd Annual New Stages Festival  
December 5 – 13, 2026

THEATER FOR THE VERY YOUNG PRODUCTIONS 

In the Loop 
Created and Directed by Jamal Howard and Ellie Levine 
Co-Produced by The Wirtz Center for the Performing Arts, Northwestern University 
January 30 – February 28, 2027 | Performed in the Alice Center and at locations citywide

A World Premiere TBA 
By Marisa Carr 
Summer 2027 dates TBA

Theater for the Very Young (TVY) programming offers immersive theatrical experiences—produced and performed by professional artists—designed for children ages 0–5 years old to experience alongside the grown-ups in their lives. Created in 2023 by Goodman Walter Artistic Director Susan V. Booth in response to research demonstrating the profound impact the arts can have on early childhood development and long-term learning outcomes, TVY introduces Chicagoland's youngest audiences to live theater through storytelling, music, movement and sensory-rich play produced and performed by professional artsts. Curated by Clifford Director of Education and Engagement Jared Bellot, TVY productions support early literacy, creativity and social-emotional learning while aiming to initiate a lifelong love of the arts. Over the past three years, TVY has served thousands of children and families in Chicago parks, theaters, schools and community spaces with productions of the plays Splish Splash: A Day on the Lake (2026); Book Up! (2025); The Lizard y El Sol (2024); and Pearl Cleage's In My Granny's Garden (2023). Schools, daycares and community organizations interested in bringing "Theater for the Very Young" programming to their spaces are invited to contact This email address is being protected from spambots. You need JavaScript enabled to view it. for pricing, scheduling and more information.

OFF-SITE PRODUCTIONS

Theater of the Mind  
Created by David Byrne and Mala Gaonkar, Directed by Andrew Scoville  
Appearing at 333 N. LaSalle in an open run (performances began March 11, 2026)

Dennis Watkins' The Magic Parlour 
Produced in partnership with Goodman Theatre and Petterino's 
Appearing at 50 W. Randolph in its fourth season, in an open run (tickets on sale through May 2, 2027)

ABOUT THE GOODMAN

Since 1925, The Goodman has been a theatrical home for artists and a gathering space for Chicagoland, where bold stories spark connection, conversation and change. Now, as it enters its second century, The Goodman builds on that legacy with an eye toward the future. Under the leadership of Walter Artistic Director Susan V. Booth and Executive Director John Collins, the theater continues to champion new work—following hundreds of plays developed and a national reputation for commissioning and premiering original stories by living writers—while reimagining classics and produce large-scale musicals.

But The Goodman's reach today extends beyond its home in the heart of the Loop. From the intimate magic of The Magic Parlour, now in its third year, to the boundary-pushing world of Theater of the Mind—an immersive experience that blurs the lines between science, storytelling and sensation—and from citywide initiatives like 100 Free Acts of Theater to partnerships with artists and companies across Chicago and around the world, The Goodman is expanding what theater can be, and where it can live.

At its core, The Goodman is driven by a belief that a more empathetic, more connected city is built one story at a time. Generation-spanning productions and programs offer theater for a lifetime—from babies and young children to teens, adults and seniors—including Theater for the Very Young (ages 0–5) and the beloved annual A Christmas Carol, which has welcomed audiences for five decades. Education and Engagement programs, led by Clifford Director Jared Bellot and based in the Alice Rapoport Center, use the tools of theater to spark imagination, reflection and belonging—reaching thousands each year, the majority from underserved communities.

With nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman remains a defining force in American theater—and the first to produce all 10 plays of August Wilson's American Century Cycle. The theater also frequently serves as a production partner—from national and international companies to Chicago's Off-Loop theaters—to help amplify a wide range of theatrical voices.

Founded by William O. Goodman and his family in memory of playwright Kenneth Sawyer Goodman, the theater carries forward a legacy of artistic ambition and civic generosity. With the help of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—that spirit continues to shape its future as The Goodman expands its impact across Chicago and beyond. Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Christopher Way is president of the Scenemakers Board for Young Professionals.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

Two Edge Theater, a reincarnation of the Edge Theater Company that enjoyed eight successful seasons in the Denver, Colorado area, will mount A VIEW FROM THE BRIDGE as its first production in the Chicago area, in collaboration with Chicago's Gwydion Theatre. Rick Yaconis, the founder of both Two Edge Theater and its Colorado predecessor, will play the longshoreman Eddie Carbone. Yaconis's many roles in the Chicago area include another iconic Miller character, Willy Loman, in Gwydion's 2025 production of DEATH OF A SALESMAN. A VIEW FROM THE BRIDGE will be directed by Robert Tobin, founding artistic director of Chicago's Aston Rep Theatre, seen on stage earlier this year in Aston Rep's UNCLE VANYA. A VIEW FROM THE BRIDGE will be performed in the Studio Theater of the Chopin Theater, 1543 West Division Street, Chicago, from December 4, 2026, through January 10, 2027. 

A VIEW FROM THE BRIDGE, which premiered on Broadway in 1956, is a tragedy set in a 1950s Brooklyn Italian-immigrant community. A Sicilian-American longshoreman, Eddie Carbone, develops an obsessive, incestuous desire for his orphaned niece that leads him to betray his family and community when she falls in love with an undocumented immigrant. In addition to Yaconis as Eddie, the cast will be led by Katherine Schwartz as Eddie's wife Beatrice, Natalie Tangeman as the niece Catherine; Jesse Kortus as Rodolpho, the immigrant with whom Catherine falls in love; John Wehrman as Marco, Beatrice's cousin who is living with their family and is an undocumented immigrant; and Jim Morely as Alfieri, the attorney who narrates the story. The supporting cast, who will all play multiple roles, includes Cesar Gonzales (Tony/ensemble), Marshall Kious (Mike/ensemble), Melissa Paris (Mrs. Lipari/ensemble), Darren Price (Louis/ensemble), and Rocco Renda (Mr.  Lipari/ensemble).

The design team includes two-time Jeff Award winner Kevin Rolfs (Set Designer), Samantha Barr (Lighting Designer), Nick Cochran (Costume Designer), Rick Reid (Sound Associate), Kate Lass (Fight and Intimacy Director), and Patty Yaconis (Props Designer). Katie Espinoza is Assistant Production Manager and Stage Manager.
 
Tickets for A VIEW FROM THE BRIDGE are $35.00 ($30.00 if purchased by October 31) and are on sale now at https://twoedgetheater.com. The preview on Thursday, December 4, which is also the production's final dress rehearsal, will be free and open to the public.

Two Edge Theater Company in collaboration with Gwydion Theatre Company

A VIEW FROM THE BRIDGE
By Arthur Miller
Directed by Robert Tobin
December 4, 2026 – January 10, 2027

Chopin Theater 
1543 W. Division Street, Chicago 60642
Thursdays – Saturdays at 7:30 pm, Sundays at 4 pm
No performances December 24, 25 or January 1
Tickets $35.00 ($30.00 if purchased by October 31), on sale now at https://twoedgetheater.com
Free final dress rehearsal/preview on Thursday, December 3

Eddie Carbone, a longshoreman living in Red Hook, Brooklyn, harbors an obsessive love for his niece Catherine. When two illegal immigrants arrive from Sicily — relatives seeking a new life in America — the fragile balance of his world begins to crack. Miller's masterwork is a story of family loyalty, the immigrant dream, and the dangerous line between love and possession. It's  raw, relentless, and devastating.