Displaying items by tag: Chicago

Collaboraction  Theatre Company could not have chosen a more resonant inaugural production for its new House of Belonging than Trial in the Delta: The Murder of Emmett Till. In this sleek, in-the-round studio in Humboldt Park, the company inaugurates its new home by opening an old wound—one that America has never fully allowed to heal. The result is not merely a staging of history, but an act of communal witnessing, one that insists the past is not past.

Co-adapted by G. Riley Mills and Willie Round and co-directed by Anthony Moseley and Dana N. Anderson, Trial in the Delta transforms the 1955 courtroom proceedings in Sumner, Mississippi, into a visceral live docudrama. Actors emerge, take the stand, and deliver testimony drawn from the long-buried trial transcript of Roy Bryant and J.W. Milam, the men who kidnapped and murdered 14-year-old Emmett Till. In this immersive setting, spectators are not allowed the comfort of distance. You are seated inside the machinery of injustice.

The production’s most devastating power lies in its restraint. This is not melodrama; it is documentation made theatrical. When NK Gutiérrez steps forward as Mamie Till-Bradley, the room seems to recalibrate its breathing. Her presence is not performative grief but moral force. Mamie’s insistence on truth—her refusal to look away, her demand that the world see what was done to her son—becomes the spiritual engine of the evening. Darren Jones’s Mose Wright, Mysun Aja Wade’s Willie Reed and Donald Fitzdarryl’s Chester Miller, embody the perilous bravery of Black witnesses testifying in a Jim Crow courtroom, where truth itself was an act of defiance.

The ensemble functions as a grim chorus of American roles: judges, clerks, journalists, sheriffs, defendants, and bystanders. Richard Alan Baiker’s Judge Curtis Swango carries the chilly authority of a system that pretends neutrality while protecting white supremacy. Tyler Burke and Matt Miles, as Roy Bryant and J.W. Milam, avoid caricature; their ordinariness is the horror. Evil here is not monstrous but banal, upheld by procedure and custom. That banality is the production’s sharpest blade.

Prosecutor Gerald Chatham (John Henry Roberts, center) holds a photo of Emmett Till as he asks Till’s murderers Roy Bryant (Tyler Burke, left ) and J.W. Milam (Matt Miles, right) if they recognize their victim, as Till’s mother Mamie Bradley (NK Gutiérrez) looks on, in Collaboraction's Trial in the Delta: The Murder of Emmett Till. 

Emmy Weldon’s set and Levi Wilkins’s lighting make elegant use of Collaboraction’s new 99-seat flexible studio, shaping the room into a courtroom that feels both provisional and eternal—anywhere, anytime. Shawn Wallace’s original music hums beneath the proceedings like a low current of grief and warning, while Warren Levon’s sound design places the audience inside a sonic environment of testimony, tension, and aftermath. The design team’s work never distracts; it quietly conspires with the text to tighten the emotional vise.

What distinguishes this staging from earlier iterations is how fully the new space is activated as a moral arena. The reserved jury seating—occupied by audience members—does more than gesture at interactivity. It implicates. You are reminded, without theatrical gimmickry, that verdicts are rendered not only in courtrooms but in communities, institutions, and histories. The post-show “Crucial Conversation” deepens that charge, extending the production beyond performance into dialogue—an extension of Collaboraction’s KEDA methodology in action.
KEDA—Knowledge, Empathy, Dialogue, and Action—frames the company’s belief that theatre should not end with reflection, but move audiences toward change.

Opening the House of Belonging with Trial in the Delta is a statement of values. This is not a theater christened with spectacle or escapism, but with reckoning. In a cultural moment eager to repackage or blunt the edges of history, Collaboraction insists on confrontation. The question the production leaves behind is not simply what happened in 1955, but what we have allowed to keep happening since.

Trial in the Delta: The Murder of Emmett Till does not offer catharsis. It offers clarity. It reminds us that justice delayed is not just justice denied—it is justice rehearsed in different forms, across different bodies, in different decades. In Collaboraction’s new home, the walls are fresh, the tech is state-of-the-art, and the future feels open. But the story told on opening night is a reminder that belonging, in America, has always been contested—and that the work of making it real is unfinished.Top of Form

HIGHLY RECOMMENDED

When: Extended through March 29th!

Where: Kimball Arts Center, 1757 N. Kimball Ave

Running time: under two hours, including a short Crucial Conversation after every performance

Tickets: $25 - $55.00 (10% discount for groups of 10 or more)

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(312) 226-9633

Patti LuPone’s long-running concert piece Matters of the Heart unfolded on the stage of the National Historic Landmark The Auditorium Theatre not as a greatest-hits parade, but as a seasoned artist’s intimate conversation with her own past. Premiering some 25 years ago at Lincoln Center’s Vivian Beaumont Theater in New York City, the show has aged not into nostalgia, but into something more textured: a living scrapbook of memory, mischief, heartbreak, and hard-won grace.

LuPone has always commanded a fiercely loyal LGBTQ following, and the sold-out house in Chicago testified to that enduring bond. The atmosphere felt at times like a cabaret. You could sense an audience primed not merely to applaud, but to commune. There was something for everyone here—Broadway diehards, pop romantics, and those who come for the diva energy and stay for the vulnerability.

Accompanied by a pianist and a string quartet, LuPone curated a program that balanced theatrical bravura with intimate confession. Her Broadway selections landed with the authority of a performer who has lived inside these songs. “I’m In Love with a Wonderful Guy” from South Pacific sparkled; “Not a Day Goes By” from Merrily We Roll Along unfurled in aching, mature regret. “Being Alive” from Company—the great anthem of ambivalent longing—rang with the clarity of someone who has wrestled with love and come back wiser, if not unscarred. “Back to Before” from Ragtime surged with emotional velocity, while her unexpected, intriguingly restrained take on “Easy to Be Hard” from Hair reframed youthful protest as weary, rueful remembrance.

LuPone’s comic timing remains lethal. Her wry humor bubbled up in “Shattered Illusions,” “Better Off Dead,” and “I Never Do Anything Twice,” songs that let her weaponize self-awareness and mischief in equal measure. She skewers romance and ego with relish, but never without implicating herself in the joke. This is the diva who knows her myth and plays with it. And the surprises. “God Only Knows” by The Beach Boys arrived like a soft confession, stripped of pop gloss and steeped in tenderness. “Time After Time” by Cyndi Lauper was rendered not as a radio staple but as a promise dedicated to her family. These choices reveal LuPone’s instinct for emotional translation, taking familiar songs and making them speak in a new dialect.

Most affecting were the quieter moments, where LuPone let her guard down. In “Unexpressed,” “Alone Again (Naturally),” “The Air That I Breathe,” “Sand and Water,” “My Father,” and “Look Mummy, No Hands,” she showed a softer, contemplative side—less brassy legend, more vulnerable human being. These songs felt like pages torn from a private journal, offered up without ornament. It was here that Matters of the Heart earned its title.

LuPone, being the diva that she be, did get into a little kerfuffle this past summer with the theatre community. She apologized, took responsibility and, as these things tend to go in a resilient artistic ecosystem, everyone seems to have moved on. There are bigger issues pressing on the country today, and this evening reminded us that art’s role is not to litigate old wounds, but to open space for empathy.

In a moment when America feels increasingly brittle, Matters of the Heart lands as a small act of emotional repair. We could all use more love in this country right now—more listening, more generosity of spirit, more room for contradiction. LuPone, in all her fire and fragility, offered exactly that: a reminder that hearts break, heal, and, if we’re lucky, learn to sing again.

National Historic Landmark

The Auditorium

50 E Ida B Wells Dr, Chicago, IL 60605

312.341.2300

At the Auditorium Theatre, a building that itself carries the muscle memory of American performance history, the Martha Graham Dance Company marked its 100th anniversary with an evening that felt less like a retrospective than a living argument for why Graham still matters. This was not modern dance preserved in amber. It was modern dance breathing—angular, emotional, political, and insistently present.

Artistic Director Janet Eilber framed the evening with contextual remarks that were both generous and incisive, situating each work within Graham’s evolving artistic philosophy while emphasizing the company’s commitment to keeping these dances alive rather than embalmed. Founded in 1926, the Martha Graham Dance Company stands as the oldest modern dance company in the world, and its influence is nearly impossible to overstate. Graham shattered ballet’s decorative restraint, replacing it with contraction and release, emotional excavation, and a radical insistence that the body could think, rage, mourn, and remember. Entire generations of choreographers—from Merce Cunningham to Paul Taylor to Alvin Ailey—emerged from her orbit.

The first half of the program traced an emotional arc from love to grief to collective urgency. Diversion of Angels opened the evening with its luminous exploration of love’s many incarnations. Structured lyrically rather than narratively, the ballet presents three couples—youthful, mature, and seasoned—each embodying a different phase of intimacy. Norman Dello Joio’s undulating score supports movement that is buoyant yet grounded, joyful without sentimentality. The work’s Chicago roots add a quiet historical resonance: it premiered here 77 years ago under its current title, having debuted the year before as Wilderness Stair. Seen now, it feels ageless, its athletic lyricism and emotional clarity undimmed.

If Diversion of Angels celebrates connection, Lamentation confronts isolation and loss with ferocious simplicity. Premiered in 1930, the solo remains one of the most iconic works in modern dance. The dancer, seated and encased in a tube of purple jersey, becomes a living sculpture of grief. The fabric stretches, strains, and reshapes under the pressure of the body, creating stark diagonals and suspended tensions. The figure is deliberately abstract—neither gendered nor humanized—grief made manifest. The anecdote Graham often shared, of a woman who found permission to grieve after witnessing the work, still echoes here. Nearly a century later, Lamentation retains its power to dignify sorrow without theatrical excess.

The first half concluded with En Masse, choreographed by Hope Boykin, an Alvin Ailey alum, and receiving its Chicago premiere during this centennial engagement. Built around a rediscovered shard of Leonard Bernstein’s music—sketches believed to have been composed for Graham and later shaped by composer Christopher Rountree—the work bridges generations. Boykin’s choreography channels Graham’s collective intensity while speaking in a contemporary vocabulary. The dancers move as a charged unit, bodies surging and fragmenting, suggesting both solidarity and strain. It is a smart, muscular addition to the repertory, affirming that Graham’s legacy is not static but generative.

The second half belonged entirely to Chronicle, one of Graham’s rare openly political works and a striking reminder of her moral clarity. Created in response to her refusal to participate in the 1936 Olympics in Nazi Germany, the work is performed by an all-women cast and pulses with defiance. Its three movements confront war, nationalism, and resistance not through literal narrative but through embodied protest—sharp footwork, grounded stances, and unyielding group formations. In today’s political climate, Chronicle feels unsettlingly current, its urgency undiminished.

What made this anniversary evening resonate was not nostalgia but conviction. The Martha Graham Dance Company did not ask the audience to admire history; it demanded that we feel it—in our bodies, in our grief, in our collective responsibility. At 100 years old, Graham’s work remains unapologetically modern, and this performance made clear that her revolutionary spirit is still very much in motion.

Celebrating Women Leaders in Dance

25-26 Season

The Auditorium
50 E Ida B Wells Dr, Chicago, IL 60605
312.341.2300

The Gaylord and Dorothy Donnelley Foundation (GDDF) is pleased to announce it awarded more than $1.76 million in grants to 66 of Chicago's small arts organizations and arts advocacy organizations in 2025. Twenty-seven Chicago area arts organizations received multiyear grants of $30,000 or more.

Additionally, GDDF granted $725,000 to the Arts Work Fund for Organizational Development last year, joining together with other funders to provide emergency funding and other support in response to recent challenges faced by arts organizations.

"As part of our Chicago Artistic Vitality program, the foundation, along with our arts philanthropy partners, increased our contribution to the funder collaborative Arts Work Fund," said Ellen Placey Wadey, senior program director for Chicago Arts & Collections at GDDF. "With an ability to deploy funds quickly and for immediate capacity needs, Arts Work Fund is a critical partnership in these difficult times for arts organizations."

"This has been a challenging year for many of our grantee partners, including the loss of significant sources of funding," said Arnold Randall, executive director of GDDF. "The Gaylord and Dorothy Donnelley Foundation remains steadfast in our commitment to our mission, values, and program areas, and in our support for the work of our grantees."

The Chicago arts grantees are a portion of the $7,538,880 in grants that GDDF provided to 128 organizations in the Chicago region and the Lowcountry of South Carolina across the foundation's three program areas in 2025: Artistic Vitality, Broadening Narratives, and Land Conservation. GDDF is currently funding more than 150 small arts organizations in the Chicago region through its multi-year general operating grants.

Among GDDF's 2025 Chicago arts grantees are nonprofit advocacy and support organizations Arts Alliance Illinois ($75,000) and Enrich Chicago ($60,000). Additional Chicago Artistic Vitality grantees receiving $40,500 grants include American Indian Center of Chicago, Black Arts & Culture Alliance of Chicago, Raven Theatre Company, Red Clay Dance Company, Remy Bumppo Theatre Company, Sisters in Cinema, South Chicago Dance Theatre, Theater Wit, and Trickster Cultural Center. Arts organizations receiving grants of $36,000 include Teatro Vista, The Chicago Poetry Center, and Visceral Dance Chicago.

A full list of GDDF's 2025 Chicago Artistic Vitality grantees follows at the end of this release.

"We also strive to offer support in ways grounded in trust and shared values," Randall added. "Most of our grants are multiyear general operating support. Beyond funding, we create opportunities to convene and collaborate, and we connect grantees with training and other capacity-building resources. Now more than ever it is vital to champion the power of art, conserve and protect our land, and share the stories that tell us who we are."

GDDF makes grants twice a year and prioritizes multiyear general operating support. In 2025, more than 68% of grants were for general operating support. GDDF also provides project, planning, technical assistance, and cash reserve funding. Program staff made more than 400 personal connections with grantees this year through calls, meetings, field visits, and attendance at performances.

2025 GDDF Funding by Region and Program

Chicago Region
$4,781,000 to 88 organizations

Artistic Vitality: $2,489,000

Broadening Narratives: $690,000

Land Conservation: $1,602,000

Lowcountry of South Carolina

$2,757,880 to 40 organizations

Artistic Vitality: $707,880.00

Broadening Narratives: $550,000

Land Conservation: $1,500,000

2025 Chicago Artistic Vitality Grantees

Arts Work Fund for Organizational Development ($725,000)

Arts Alliance Illinois ($75,0 00)

Enrich Chicago ($60,000)

American Indian Center of Chicago ($40,500)

Black Arts & Culture Alliance of Chicago ($40,500)

Raven Theatre Company ($40,500)

Red Clay Dance Company ($40,500)

Remy Bumppo Theatre Company ($40,500)

Sisters in Cinema ($40,500)

South Chicago Dance Theatre ($40,500)

Theater Wit ($40,500)

Trickster Cultural Center ($40,500)

Teatro Vista ($36,000)

The Chicago Poetry Center ($36,000)

Visceral Dance Chicago ($36,000)

Chicago Art Department ($30,000)

eta Creative Arts Foundation, Inc. ($30,000)

Free Street Theater ($30,000)

Fulcrum Point New Music Project ($30,000)

Griffin Theatre Company ($30,000)

Joel Hall Dancers and Center ($30,000)

Kalapriya ($30,000)

Korean Performing Arts Institute of Chicago ($30,000)

Latitude Chicago ($30,000)

Praize Productions ($30,000)

PRIDEARTS Center ($30,000)

The Gift Theatre Company ($30,000)

Theatre Y ($30,000)

Lifeline Theatre ($27,000)

Cerqua Rivera Dance Theatre ($25,500)

City Lit Theater Company ($25,500)

Jackalope Theatre Company ($25,500)

Oak Park Festival Theatre ($25,500)

Sones de Mexico Ensemble ($25,500)

Trap Door Theatre ($25,500)

Haymarket Opera Company ($25,000)

Oak Park Festival Theatre ($25,000)

Roman Susan Art Foundation ($25,000)

6018North ($22,500)

AAMPA African American Museum of Performing Arts ($22,500)

Aguijon Theater Company ($22,500)

Guild Complex ($22,500)

Khecari ($22,500)

Make-Believe Association ($22,500)

MPAACT ($22,500)

NAJWA Dance Corps ($22,500)

Redtwist Theatre ($22,500)

Rembrandt Chamber Musicians ($22,500)

Riverside Arts Center ($22,500)

Roman Susan Art Foundation ($22,500)

Rough House Theater Company ($22,500)

The Paper Machete ($22,500)

Winifred Haun and Dancers ($22,500)

La Caccina ($18,000)

Mad Shak Dance Company ($18,000)

Zephyr Dance Ensemble ($18,000)

South Side Community Art Center ($15,000)

Full Spectrum Features ($13,500)

Third Coast Percussion ($13,500)

Gender Fucked Productions ($12,000)

Piven Theatre Workshop ($12,000)

Red Theater Chicago ($12,000)

Sixty Inches From Center ($10,000)

DanceWorks Chicago ($8,500)

Heaven Gallery ($8,500)

Pegasus Theatre Chicago ($7,500)

Symphony of Oak Park and River Forest ($7,500)

The Gaylord and Dorothy Donnelley Foundation supports land conservation, artistic vitality, and regional collections for the people of the Chicago region and the Lowcountry of South Carolina. The Foundation seeks to sustain and build resilient, vital, engaged, and equitable communities in these two regions by supporting conservation, arts, and collecting organizations that broaden narratives. For more information, visit gddf.org.

Let’s face it – in today’s world, “vaccinations” are a hot-button topic. More than ever, anything around health has become highly politicized, and for some, can elicit a deeply emotional reaction. Therefore, consensus is even harder to come by, and for some, even entering the debate feels impossible.

Despite all of that, leave it to Playwright Jonathan Spector to do the impossible and turn a play about vaccinations and consensus into a laugh-out-loud comedy. If you’re anything like this Opening Night audience, you might even find yourself gasping for air as you try to work through the laughter enough to absorb whatever witty one-liner comes next.

Spector’s Eureka Day takes place at a highly progressive private school where all decisions are made by consensus. However, when a mumps outbreak takes over the school, the Executive Board is going to find that artisanal scones are not always going to provide enough band aid for differing opinions.  Chaos ensues as parents clash in opinions over vaccinations and research, leaving the community unsure of how the school will ever recover.

Directed by Lili‑Anne Brown, Eureka Day is a witty, fast‑paced production presented by TimeLine Theatre in partnership with Broadway in Chicago. The work of Brown’s talented creative team immediately transports us into an elementary school library – particularly that of Scenic Designer Collete Pollard. The combination of picture books, colorful bean bags, and small chairs is sure to leave you feeling nostalgic as you think back to a time when you perhaps inhabited spaces like this.

Brown’s production features a strong ensemble with spot-on comedic timing. PJ Powers as Don, Eureka Day’s principal, elicited great laughter at this performance through his deep need to smooth over any debate. With every sigh or pause, he had the audience in the palm of his hand – wondering how he was going to try and navigate that particular rough patch. Jürgen Hooper expertly strikes a delicate balance with his approach to Eli, a character that walks a line as he tries to embody the stereotypical “white, woke man.”  Aurora Adachi-Winter has an authentic, genuine approach to her Meiko – the mom so many of us will recognize as the one who does not want to ruffle feathers, but also only has so much farther she can be pushed before she simply has to let her anger explode.

You might find that part of the cleverness of Spector’s story is its ability to invite an audience to empathize with both sides of the vaccination debate. Much as one might expect – not every parent meets eye to eye. As the school navigates the decision on whether or not to mandate the mumps vaccine for their students, we receive a window into the personal experiences of families on both sides.

In one particular scene, it is only Suzanne (Rebekah Ward) and Carina (Gabrielle Lott-Rogers) on stage. It is clear at this point that while Carina is pro-vaccination requirements, Suzanne is very much against. There is a great deal of silence, and the discomfort can be felt in the audience. While I do not wish to give away all of the details, I can say this – both actors treat their sides of the debate with a delicate grace. There is an openness and generosity from both Lott-Rogers and Ward that allows the audience to understand where they are each coming from. Regardless of which side of the debate on which you fall, you might just find yourself moved by the scene – and the ability for both characters to let down their walls and help each other understand their side of a highly personal topic.

A witty script with a lot of heart makes Eureka Day an absolute must-see. The topic alone is timely, and the ensemble brings it to life in a way that will stick with you for days.

HIGHLY RECOMMENDED

Eureka Day runs through February 22, 2026 at Broadway Playhouse – 175 E. Chestnut Street. For tickets and information, see the Timeline Theatre website.

At this time of year, when Christmas lights begin to twinkle and colors of green and red illuminate throughout the city, I am nostalgically drawn to the ballet. To me, there is nothing so quintessentially magical as The Nutcracker ballet at Christmas time. I can hum, and chair compose the entirety of Tchaikovsky’s masterpiece. I can mark every step to every number of the two-act ballet (shout out to Inland Pacific Ballet). I can picture my grandmother sewing the principal dancers into their tutus, and my mother managing ticket sales and donning the mother-ginger costume. For me, the holiday and the ballet are indivisibly interconnected. And now that I’ve lived in Chicagoland for longer than my childhood in Southern California, there is something nostalgically familiar and magical about Christopher Wheeldon's kaleidoscopic reimagining of The Nutcracker, now playing at The Lyric Opera House.

On a magical Christmas Eve, after awakening to an epic battle between Toy Soldiers and the Rat King, a flurry of snowflakes sweeps Marie away on a whirlwind journey to the dreamlike fairgrounds of the World's Columbian Exposition. Set to Tchaikovsky's classic score, experience sprawling attractions representing countries from around the globe: the dazzling Golden Statue, the mystique of an Arabian enchantress, vibrant Venetian masked dancers, Chinese dragons, and Buffalo Bill's Wild West Show. This holiday season, enter the spellbinding world where history and dreams intertwine.

The Nutcracker Amanda Assucena and Hyuma Kiyosawa in Joffrey Ballet's The Nutcracker at Lyric Opera House.

Wheeldon’s The Nutcracker is set against the majesty of the 1893 World’s Fair of Chicago. Though remnants of the fair can still be found in buildings like The Museum of Science and Industry, the true grandeur and spectacle is lost to photographs, sketches, and our imaginations. The magic and marvel of the fair’s White City is rumored to be the inspiration for the Emerald City in his best-selling children’s book of 1900, The Wonderful Wizard of Oz. While there is no solid evidence to support this claim, it would make sense that the fair, where Cracker Jacks, the Ferris wheel, and electricity itself were debuted and displayed, could inspire a magical city of Oz. It’s that same magic that Wheeldon captures in the Joffrey’s production of The Nutcracker. The uniquely Chicago-centric production of the ballet features the familiar storyline of Marie and her family, though it focuses on the love story between The Great Impresario of the Fair, performed by Stefan Gonçalvez, and Marie’s mother, the sculptress for the Fair and The Queen of the Fair, performed by Gayeon Jung. It shows the humble working-class families that built the city itself in the first act, juxtaposed against the vibrant and colorful world of the White City in the second act. The humility and simplicity of one act contrasted with the majesty of the second, coupled with journeys across Lake Michigan, make this production equally familiar and relatable. To date, it’s still one of my favorite productions of the ballet, quintessentially Chicago and absolutely magical.

What I wouldn’t give to be a snowflake in the core, a worker at the fair dancing beneath the first Ferris Wheel, or simply a watcher from the wings of this beautiful ballet. At this point, I have seen and reviewed the play more years than I performed in the ballet, and I still get goosebumps when the tree rises, and the snow falls. Whether you are seeing it for the hundredth time, the tenth time, or the first, every Chicagoan should experience the Nutcracker. Experience the magic for yourself. The Nutcracker is playing now through December 28^th at The Lyric Opera House (20 N. Wacker Drive, Chicago). Do not overpay for Joffrey tickets! Beware of ticket resellers offering overpriced or invalid tickets. The Joffrey is the only official seller with the best prices, available at www.joffrey.org.

When the sun plays peek-a-boo and a pre-winter chill settles over Chicagoland, locals inevitably look for ways to warm their hearts as well as their fingers and toes. It’s during this time of year that locals venture indoors and when the Chicago theatre scene offers respite from the bitter cold. Like a favorite holiday treat, there are dozens of choices available to seekers of light and warmth, from recurring favorites and classic retellings to original plays and immersive theatre. There is no better way to celebrate the season and to lighten spirits than a good hearty laugh, or two, or three, or so many your sides hurt the next day. You’ll find no better way of warming up this December than seeing the deliciously dirty fairytale that is Rapornzel now playing at the Hoover-Leppen Theatre.

Rapornzel (yes, you read that right, it is not a typo) is a panto-style reimagining of the classic fairytale of Rapunzel. Many years ago, the King and Queen of a far-off kingdom were blessed with a baby girl with long, magical, downstairs hair. One day, the jealous witch Mother F**ker kidnapped the child and locked her in a tower, selfishly squandering her merkin magic for herself. With the help of local hairdresser Dame Fanny Follicle, her thick-as-s**t son Pascal, the dashing Prince Ride-her, and the Hairy Fairy, will Rapornzel ever come out?

If you couldn’t glean it from the title, Rapornzel is a serious-unserious play. Serious in the fact that the cast and crew put on a spellbinding, side-splitting comedic performance, but unserious to ensure the audience was able to escape the bitter cold reality for a few short hours and simply enjoy a hilarious performance. The story is written in the pantomime style or “panto.” Panto is a theatrical performance style dating back to the 1700s, traditionally performed around Christmas time. The popular form incorporates song and dance, exaggeration, and fourth wall breaks to tell a story. It often interchanges slapstick puns heavy with innuendos and groan-worthy dad-jokes to break the monotony of traditional theatre. Critical to the success of these comedic shows is audience participation. It’s highly encouraged to react and respond to the actors on stage, think “booing” the villain, “cheering” the hero, and responsive questioning from the actors such as: “Chicago is so cold…” to which the audience responds: “How cold is it?” wherein the actors then deliver a witty or punny joke in the tale that may or may not make you laugh, guffaw, or simply groan at how bad it is (in a good way). Panto is not for everyone, nor are puns or dad jokes, but in the Vonnegut style approach of moving the story along, it’s difficult not to enjoy, and even an ostrich chuckle at least once.

But when it comes to Rapornzel, I guarantee you’ll laugh more than once. Rapornzel is what you get if you take a fairytale and remix it with a book of dad-jokes, throw in a general use of 1980s musical bangers, and finish it with the dry wit of 2025. Rapornzel is one of the many bawdy, silly, and immensely entertaining pantomime scripts written by professional performer-writer Tom Whalley. The writer’s works have become a popular holiday season tradition at PrideArts, joining the ranks of Whalley’s other works like Jack Off The Beanstalk, Sleeping with Beauty, and Throbbin Wood. With unimaginable R-rated puns, pop songs, and audience participation, Rapornzel follows a growing holiday tradition within PrideArts. This year’s production is exceptionally acted by Chicago talent like Jeremy Cox, who plays Hairy Fairy Dandruff, Peter Moeller as the local hairdresser Dame Fanny Follicle, and the sexy and incomparable Gina Cioffi as the evil Mother F**ker who kidnaps Rapornzel. For those still tepid about the play or the panto style, don’t worry, the skilled actors utilize their quick wits, improvisation skills, and comedic timing to make this production enjoyable for all, never overstepping where they sense timidity. They read and respond to the audience to both give and get energy to move the story along and draw out a smile from even the most austere theatre goer.

Therein lies the beauty of this type of theatrical play. Whalley’s style of Panto grants permission to the audience to simply lighten up, be silly, and share some laughs. In short, in its seriousness to stage a good production, it masterfully creates a space to be supremely unserious. There aren’t many theatrical stylings that can pull that off these days. 2025 has been wrought with ill humor, tired remakes, and uninspired sequels. It’s refreshing and welcome to see a production that doesn’t take itself too seriously while still representing Chicago theatre, PrideArts, and the theatrical community well. The actors, panto, and Rapornzel itself, beg the attendees to lighten up. It reminds us that we don’t always need to seek hidden meaning between the witty one-liners, and we don’t need to laugh at every joke we’ve heard at countless Thanksgiving tables by distant relatives. We should endeavor to seek out light and warmth as the days grow shorter and the darker nights descend. Rapornzel beckons Chicagoans inside and endeavors to thaw critical hearts this holiday season. It’s a healthy reminder that it’s okay to shout, especially when asked or directed to do so. It’s fine to laugh or simply smile. And it’s encouraged, and I daresay desperately needed, to remember that nothing, including fairy-hairy-overly-share-y-tales, is really that serious. Funny, yes. Serious, no. That in and of itself is a gift.

 Rapornzel is playing for a short while longer through December 14^th at the Hoover-Leppen Theatre in Center on Halsted (3656 N. Halsted, Chicago). Grab your winter jacket and your tickets today, available at www.pridearts.org, and warm up with a few hearty belly laughs guaranteed to shake away your winter blues.

Christmas cheer is here. Or rather... CHRISTMAS CHEER IS HERE!!!

Based on the 2003 blockbuster hit movie Elf with Will Ferrell and Zooey Deschanel, Elf the Musical is a glittering holiday stage confection that mixes slapstick comedy, heartfelt family drama, and a score full of catchy tunes like “Nobody Cares About Santa,” and “Never Fall in Love with an Elf” (one of the musical’s best song and dance numbers). It’s a show designed to leave audiences laughing, humming, and perhaps even believing in Christmas magic again. The stage adaptation of Elf transforms the beloved film into a glittering Broadway spectacle, guided by the comic touch of Bob Martin and Thomas Meehan’s book.

Buddy the Elf is anything but ordinary - mainly because he isn’t an elf at all. Accidentally tucked into Santa’s sack as a baby and raised among the North Pole’s toy-making crew, Buddy grows up brimming with candy-cane energy and a grin as bright as the Rockefeller Center tree (after all, smiling is his favorite). When the truth of his human identity comes to light, he heads to New York City in search of his real father, Walter Hobbs - a cranky children’s book publisher whose name sits squarely on Santa’s naughty list. What follows is a merry storm of comic misadventures, from Buddy’s chaotic debut at Walter’s office to his glitter-drenched takeover of Macy’s, capped by the showstopping ensemble number “Sparklejollytwinklejingley.”

Buddy’s relentless cheer doesn’t always hit its mark - especially with Jovie, the world-weary Macy’s employee who slowly softens to his quirky charm. At home, Walter’s wife Emily and son Michael yearn for connection, their longing beautifully voiced in the ballad “I’ll Believe in You.” As Buddy’s antics spiral from comic chaos to heartfelt desperation, Walter’s patience frays, setting the stage for a holiday crisis that peaks when Santa’s sleigh sputters to a halt in Central Park.

In true Christmas fashion, it’s Buddy’s infectious joy - and the collective power of a crowd singing together - that rekindles belief in magic. By the final curtain, Walter has embraced Buddy as his son, Jovie has discovered love, and the city itself has been swept up in a wave of rediscovered holiday spirit. The message is simple yet enduring: sometimes it only takes one elf to remind us of the wonder we’ve forgotten.

Currently lighting up Auditorium Theatre in a limited engagement through December 14^th, this zany holiday romp delivers a burst of festive cheer guaranteed to lift spirits high enough to send Santa’s sleigh soaring once more.

Jack Ducat slips seamlessly into Buddy the Elf’s candy-cane-striped shoes, radiating a charm that feels tailor-made for the role. His wide-eyed innocence glows like twinkle lights across the stage, a pure embodiment of childlike wonder that never dims. With boundless energy and an infectious grin, Ducat magnifies Buddy’s relentless optimism until it fills the entire theatre, wrapping the audience in holiday warmth. His comedic instincts are razor-sharp, turning even the smallest quip or physical gag into a laugh-out-loud moment, while his musical bursts sparkle with joy. In every scene, Ducat channels the essence of Christmas spirit - reminding us that Buddy isn’t just a character, but a cultural touchstone of holiday cheer, beloved for the way he makes us believe in magic all over again.

The production’s heart is amplified by its supporting cast, each bringing dimension and warmth to Buddy’s journey. Felicia Martis crafts a Jovie with delightful complexity - her initial cynicism and guarded demeanor provide a sharp contrast to Buddy’s boundless optimism, making her eventual embrace of Christmas cheer all the more rewarding. As Walter Hobbs, Buddy’s beleaguered father, Jeff Brooks anchors the story with a commanding presence, capturing both the stern pragmatism of a businessman and the gradual softening of a man rediscovering family and faith. Yara Martin, as stepmother Emily Hobbs, is nothing short of luminous; her nurturing spirit radiates throughout, and she truly dazzles in her duet with son Michael. Camden Kwok, in turn, delivers a wonderfully earnest Michael, whose youthful sincerity makes “There is a Santa Claus” a standout moment along with Martin - an anthem of belief that sparkles with joy and reminds audiences of the magic at the core of the season. (*Ryan Duck alternates performances with Camden Kwok as Michael).

Darius J. Manuel proves to be a dynamic force onstage, stealing scenes with not one but two memorable turns. As the exuberant hotdog vendor, he serves up laughs alongside “The World’s Greatest Hotdog,” infusing the moment with infectious energy. Later, he reappears as the genial store manager whose good intentions lead to comic gold when he assumes Buddy’s elf costume marks him as a holiday department employee. Manuel’s sharp comedic instincts shine in both roles, blending physical humor with a warmth that keeps audiences leaning in. The highlight comes when Buddy nudges him into song, unlocking Manuel’s impressive vocal range.

Katelyn Lauria lights up the stage as Hobb’s office assistant Deb, delivering a performance brimming with comic zest. Her sharp timing and playful wit turn every moment into a laugh, while her buoyant presence injects a spark into the office scenes, ensuring Deb stands out as one of the production’s most memorable delights. Equally compelling is Andrew Kendrick, who demonstrates remarkable versatility in two sharply contrasting roles. As Santa Claus, he radiates warmth and joviality, embodying the very essence of holiday cheer with a twinkle in his eye and a booming laugh that instantly charms the audience. Then, in a striking shift, Kendrick inhabits the stern, impatient Mr. Greenway - Walter Hobbs’ demanding boss - capturing the character’s rigid authority with crisp precision. The contrast between these extremes not only highlights Kendick’s impressive range but also deepens the production’s narrative, balancing the magic of Christmas spirit against the hard edges of corporate life.

Director Philip Wm. McKinley orchestrates this holiday jewel with remarkable finesse, shaping each moment to shimmer with the warmth and sparkle of Christmas spirit. His vision transforms the stage into a living snow globe, where sweeping scenic designs unfold into breathtaking tableaux and glittering special effects ignite a sense of wonder that keeps audiences spellbound. The humor is delivered with impeccable timing, sending waves of laughter through the theatre, while the dance numbers dazzle with precision and exuberance, bursting forth like fireworks of festive joy. At the center of it all is a radiant ensemble whose collective energy and talent elevate the production beyond mere entertainment, crafting instead a jubilant celebration of the season - one that leaves audiences glowing with holiday cheer long after the curtain falls.

Overflowing with laughter and festive cheer, Elf the Musical is the perfect gift to unwrap this season. A joyous addition to any holiday wish list, the production delivers sure-fire fun for audiences of all ages, blending heartwarming spirit with playful humor that keeps the Christmas magic alive from start to finish.

Highly recommended.

Elf the Musical is being preformed at Auditorium Theatre through December 14^th. For tickets and/or more show information, visit https://elfmusicaltour.com/.  

I’ll admit it—I’ve never watched an episode of The Real Housewives. So, heading into Hell in a Handbag’s latest holiday production inspired by the series, I braced myself for a barrage of references that might slip past me. Turns out, I caught the vibe almost instantly—and once I did, the jokes flew fast and furious.

So, after a bit of research - for anyone else walking in blind - The Real Housewives is a reality TV juggernaut that blends glamour, intrigue, and high-stakes drama into a cultural phenomenon - and yes, the claws can come out. For nearly twenty years, the franchise has captivated audiences with its blend of luxury lifestyles, fiery confrontations, and unforgettable personalities - cementing its place as one of the most influential and enduring phenomena in modern pop culture. What began in Orange County soon spread to New York City, Atlanta, New Jersey, and beyond. But thanks to Hell in a Handbag, it was only a matter of time before The Real Housewives set up shop at the North Pole. That’s right - The Real Housewives of the North Pole is here.

The North Pole has never looked frostier. When Santa and his circle of high-powered holiday elites find themselves slapped with indictments for fraud, sending shockwaves through the snowy kingdom, the glittering facade of candy-cane wealth begins to crack. Now it falls to the women to rescue their families from looming financial ruin. Though practical survival skills are in short supply, the burden falls squarely on the housewives to rebuild an empire. Years of privilege have left them with closets overflowing in luxurious clothing and jewels, but little else to shield them when their glittering world is suddenly under threat.

In quintessential Handbag camp style, we’re introduced to the housewives who truly matter the most when the holidays roll around. At the heart of the series is Santa’s wife, Ruth Claus (Honey West), freshly embracing sobriety while wrestling with the family finances. Her anchor in the storm is the irresistibly suave Carlos (Taylor Mercado Owen), a sobriety coach whose steady charm keeps her grounded amid the glitter, chaos, and sappy drama of the North Pole. Always on the hunt for drama and the makings of a hit, BRAVO network producer Andy Cohen (David Lipschutz) wastes no time assembling a roster of North Pole divas. Enter Mrs. Samantha Frosty (Robert Williams), Mrs. Gladys Dasher (David Cerda), Clarice, the long-suffering wife of Rudolph (Anna Rose Steinmeyer), and Suzy Snowflake, Jack Frost’s icy better half (Britain Shutters). Once these housewives collide, the antics escalate at lightning speed - each outrageous clash topping the last, turning the show into a blizzard of hilarity and brawls.

As petty catfighting and ditziness reach new heights, make-up artist Cookie (Terry McCarthy) goes to heroic lengths to keep the housewives looking fabulous - even if it requires the occasional power tool. Meanwhile, the poor Production Assistant (Kelly Opalko) can’t catch a break, as no one seems able to remember her name… Petra, maybe?

(front, center) Anna Rose Steinmeyer with (back, l to r) Robert Williams, Taylor Mercado Owen, David Cerda and Britain Shutters in Hell in a Handbag Productions’ world premiere of The Real Housewives of the North Pole.

While visually filling to watch the chaos and absurdity unfold on stage, The Real Housewives of the North Pole also makes clever use of multimedia, employing dual screens to showcase interviews not only with the housewives themselves but also with a parade of special guests - including Santa (Michael Hampton) and Bernice (Ed Jones), the typical “average housewife.”

Amid the whirlwind of onstage action, there’s still another performance that deserves recognition. Stage Manager/Board Operator Conor Frank delivers one of the production’s most quietly dazzling performances, orchestrating an entire symphony of effects from the wings. With remarkable precision, he juggles live foley work and layered audio cues, transforming everyday objects into bursts of comic timing or atmospheric texture. Watching him at the side of the stage is its own kind of theater - an intricate dance of concentration and creativity that underscores the madness onstage.

A genuinely one-of-kind theatre company, Handbag’s comedic talent never fails to impress as their entire ensemble was outstanding, and their uncanny knack for casting ensures each role feels tailor-made. And just in time for the holidays, Hell in a Handbag has pulled it off yet again - another dazzling feather tucked neatly into their fabulously overstuffed cap. With David Cerda’s sharp pen and Tommy Bullington’s spirited direction, The Real Housewives of the North Pole serves up a frosty feast of holiday hilarity that should not be missed.

Recommended for lots of laughs and Handbag-style holiday cheer!

The Real Housewives of the North Pole is being performed at The Clutch Chicago (4335 N. Western Ave) through January 4^th. For tickets and/or more show information, visit www.handbagproductions.org.

*Special note - FOLLIES the Annual Hell in a Handbag 2025 Benefit will be taking place at Ebenezer Lutheran Church in Chicago’s Andersonville neighborhood this Sunday, December 7^th at 5:30pm-9pm. Per Handbag’s site, the evening will include dinner, drinks, entertainment, a raffle and silent auction.

Tickets ($104 general admission, $129.75*) are available (click HERE for tickets). *Prices include processing fees.

Handbag celebrates its 24th year with a very abbreviated production of Follies – performed Hell in a Handbag style! Watch as aging showgirls, draped in sequined desperation, reunite to belt out twisted parodies of Stephen Sondheim's most iconic numbers including “I'm Still Here,” “Losing My Mind,” “Broadway Baby,” “Beautiful Girls” and other favorites It'll be the hits you love and a show you'll desperately try to forget (with apologies in advance to the spirit of Mr. Sondheim).

The entertainment line-up features ensemble members David Cerda, Sydney Genco, Caitlin Jackson, Ed Jones, Lori Lee, David Lipschutz, Stevie Love, T.J. O'Brien, Michael Rashid, Danne W. Taylor and Robert Williams, along with some surprise guests.

"The course of true love never did run smooth." No, wait, that’s from A Midsummer Night's Dream

"I do desire we may be better strangers." Mmmm … closer, but this one’s As You Like It

" Many a good hanging prevents a bad marriage".  A worthy sentiment, but it appeared in Twelfth Night, not …

“Thou and I are too wise to woo peaceably.” Aha! There we go … Benedick says this to Beatrice during one of their incessant arguments in MUCH ADO ABOUT NOTHING. And if you don’t believe me, you can hear it yourself at Chicago Shakespeare Theater – and I very highly recommend you do just that! And don’t dawdle – when I was there last Sunday it was sold out.

A quick-and-dirty rundown of the story:  the beautiful Hero (Mi Kang) has just fallen ass-over-teakettle in love with the courageous young soldier Claudio (Samuel B. Jackson), who reciprocates immediately and enthusiastically. Accompanying Claudio is his senior military officer, Hero’s father Don Pedro (Debo Balogun); also aristocratic soldier and avowed bachelor Benedick (Mark Bedard). Benedick is an Old Family Friend who’s maintained a long-standing verbal battle with Hero’s shrewish [get it? shrewish? nod, nod, wink, wink] cousin Beatrice (Deborah Hay). There’s no questioning the authenticity of their dissension, but from the outset we sense the infatuation lurking just under their squabbles and know that this will be mined for all its chucklesome gold. After all, the most perennial subject of comedy is love, as the Bard knew very well.

Tom Piper does a fabulous job with the set, creating an ethereal fantasy world in the beautiful courtyard of nobleman Leonato (Kevin Gudahl). Lavish garlands festoon balconies and arches, defining the ambience without distracting from the action. A tree stands prominently at stage left and comes into frequent use; there’s even a swing! Several characters have occasion to hide behind its trunk and even up in its branches (clearly a very sturdy piece, that tree). Piper’s choice to design costumes in contemporary style provides another discordance to mirror the ever-present yet ever-changing infighting among the characters.

British actress Selina Cadell directs, exhibiting her long experience with and conspicuous mastery of both Shakespeare and comedy. The story is told cleanly; the pacing is perfect and miraculously the cast has thoroughly conquered iambic pentameter – though a screen displayed open captioning I didn’t need it – every line is intelligible.

The characters interact with the audience throughout. Realism is interchanged with physical comedy, as when Hay ‘hides’ within the audience by shielding her face with a program (and helping herself to her seat-neighbor’s drink!), and Bedard vows ‘I will live a bachelor’ to a member of the audience, shaking his hand on it. Though this physical contact with the characters was limited to the fortunate attenders in front-row seats, the cast regularly invited collusion from the audience as a whole. At one point they convince the audience is to join them in singing ‘hey, nonny’ and there were amazingly few holdouts. I almost never sing along but I did this time!

Bob Mason built a remarkably diverse cast. Between Debo Balogun as Don Pedro, Samuel B. Jackson playing Claudio and Jaylon Muchison taking several comic roles, this production is an excellent showcase for the Black male actors in Chicago.  

Traditionally Shakespeare’s romantic dyads are played by blooming fledgling players –cute kids. Mason choosing fully grown Bedard and Hay as Beatrice and Benedick deepens everyone’s experience. It’s unfair to ask adolescents – kids! – no matter how talented, to develop characters as complex as Hamlet, and inexperienced comediennes fall too easily into Three Stooges-ish slapstick.

It requires a woman well past menarche to fathom Beatrice’s temperament. She’s not so much choosing between different men as she is wondering aloud whether she needs a man at all. She pretty much decides ‘not’, a decision that the majority of modern women can at least understand, if not agree with. A woman must have traversed the estrogen-saturated third and fourth decades of life before she can begin to discern what an equal relationship is, let alone how to construct one.   Beatrice trusts that Benedick will help ease her pain, but it takes a terrific actor to convince the audience to trust him. Benedick in turn must check his Italianate machismo at the door and demonstrate his own vulnerability, not only to Beatrice but to a house full of cynical, overeducated twenty-first century women. Luckily these two actors are exceptionally skilled.

Act Two is markedly darker: Don Pedro’s illegitimate brother Don John (Erik Hellman) is a fellow with an axe to grind. Why? Maybe because he’s illegitimate, a motive as common as it is irrational; any road, his motives are unimportant to the basic story. Suffice to say he has it in for his legit sibling and maliciously chooses to attack him through young Hero. He plots with Borachio (Yona Moises Olivares) and Conrade (Colin Huerta) to disseminate a false story that Hero has been unfaithful to her fiancé Claudio, who’s unfortunately a gullible twit and falls for these unsubstantiated rumors.  

Fortunately, Hero’s suffering is (at least partially) balanced by the clodhopping Dogberry dropping one hilarious malapropism after another. I always have one favorite character (yeah, I’m a bad mom) and in this piece my pick of the litter is Dogberry, particularly as so wonderfully played by Sean Fortunato. Fortunato’s long face and longer body seem custom-designed for the rollicking physical comedy of this wonderful role (though actually he has a phenomenal range). Dogberry’s performance was enhanced by the antics of his constable Verges (Jaylon Muchison), who literally and hilariously dogs Dogberry’s footsteps, resulting in several collisions.

We all know a Dogberry – the nincompoop who sucks up with highfalutin’ speeches that lavishly display he has no clue what the hell he’s talking about. I can’t resist including a quote (no spoiler, promise!) from Dogberry’s account to his boss: “Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.” You have to pay attention though, as many of his drollest maxims are far briefer.

Unexpected but welcome was original music composed by Eliza Thompson, with cast members playing accordion, saxophone, drum, flute, banjo, and guitar. Sound designer Nicholas Pope used excerpts of Thompson’s score to indicate the passage of time between scenes, with lighting refinements imbued with the prevailing comedic zeitgeist – though how one makes lighting funny is a mystery to me. Fortunately, light designer Jason Lynch knows how.

MUCH ADO ABOUT NOTHING is the original romcom and this production channels the spirit of the classic 1940s romantic comedies. Rosalind Russell / Cary Grant and Katharine Hepburn / Spencer Tracy stem from Beatrice and Benedict as directly as the Sharks and the Jets are drawn from the Capulets and Montagues. The characters and their adventures are, after all, timeless. With uncanny prescience MUCH ADO ABOUT NOTHING examines major twenty-first century courtship issues: the disproportionate consequences for women, differentiating between humor and ardor, finding balance in inherently unbalanced relationships, even cyber-bullying! I’m not a Shakespeare scholar but I’m willing to bet the man never so much as sent a text message.

MUCH ADO ABOUT NOTHING is arguably Shakespeare’s best comedy, and Chicago Shakespeare Theatre delivers just that, secured by the warmth, maturity and phenomenal talent of the cast. It’s good solid unadulterated Shakespeare and, though the physical comedy is uproarious, the shenanigans never overshadow the linguistic magnetism. This production of MUCH ADO ABOUT NOTHING is totally irresistible!

VERY HIGHLY RECOMMENDED

Running until December 11 at Chicago Shakespeare Theater 800 East Grand Avenue Chicago