Displaying items by tag: The Den Theatre

Get ready - those phones are about to explode, and Sam is already spinning like a top trying to catch every single one. It’s a full‑blown ring‑storm, and he’s diving into it with the hectic energy of someone who knows the chaos is coming and still can’t outrun it.

A brisk, razor‑funny powder keg of a play, Fully Committed tracks a single frantic day in the life of Sam, the lone reservationist at one of Manhattan’s most elite - and most impossible - restaurant. Becky Mode’s script is a full‑tilt high‑wire act, and Mike Newquist tears across nearly forty characters with the kind of breakneck precision that makes your head spin. As Sam, he’s already a live wire - but then he’s also snapping into entitled celebrities, neurotic assistants, tyrannical chefs, and every flavor of fine‑dining madness that dares to ring his desk. It’s dazzling, anxious, and wildly fun to watch him juggle it all without ever dropping the thread. The comedy snaps because each character is so sharply etched, and Newquist seamlessly shifts among them with the kind of finesse that turns mayhem into art.

At its heart, the nearly 90-minute play gleefully skewers the rituals of status and the agitated, almost feral hunger for exclusivity, exposing just how ridiculous people become when a reservation turns into a badge of power. Sam becomes the unseen fulcrum of that world, and his day unravels from merely hectic to outright surreal as he absorbs tantrums, negotiates impossible demands, and fights to keep a grip on his own sense of worth. Watching Newquist as Sam behind that reservation desk in a constant tinderbox had me instantly aware that I wouldn’t survive two hours in his shoes. His frantic charm and barely contained panic sells the chaos and sparks a whole new respect for the people who actually thrive in that kind of daily combustion.

Fully Committed lands as hard as it does because it’s rooted in real industry absurdity. Mode shaped these characters straight out of real restaurant‑world encounters, giving the show a mix of satirical whirlwind and a bite of truth that feels both sharply recognizable and wickedly real.

Throughout the play, I loved how Sam’s dad kept slipping into the heavy commotion with that gentle, grounding voice - just long enough to let the whole room exhale. Each time he called, Sam’s entire demeanor flipped in an instant; you could watch him go from frazzled to peaceful like someone had hit a reset switch. Those brief check-ins made it clear how a few steady words from a gentle, supportive father (or friend/family member) can cut straight through the noise, offering a tiny pocket of calm even when everything else is burning down around him.

Mike Newquist is pure kinetic joy onstage, delivering a commanding turn in Fully Committed. The Chicago‑based actor and improviser thrives in the city’s storefront trenches, bouncing between sharp‑edged comedy, character chameleon work, and the kind of ensemble disorder where anything can - and usually does - happen. He’s popped up with PrideArts, AstonRep, and The Comrades, tackling everything from contemporary drama to high-velocity comic mayhem. In Fully Committed, it’s his quick‑switch agility that makes him a blast to watch.

Directed by Derek Bertelsen, this Chicago staging arrives with a jolt of fresh energy and real immediacy. Newquist’s performance becomes the engine that drives the whole night, while Bertelsen keeps the momentum razor‑sharp, the pacing tight, and every character shift snapping cleanly into place.

The Den Theatre hosts the run March 13–28, 2026, with performances on Friday and Saturday nights at 7:30 p.m. Tickets for Fully Committed at The Den Theatre are just $26. For tickets and/or any more show information, click here.

Recommended.

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

The Den Theatre today announced its lineup of April 2026 comedy shows at the theatre's Wicker Park stages at 1331 N. Milwaukee Ave., This month's highlights include Sammy Obeid on April 3 – 4 and April 6; Mohanad Elshieky on April 10; Sugar Sammy on April 11; Young Black & Funny on April 16; Adam Conover: Special Taping on April 18; Sarper Güven on April 19, Emma Grede on April 21, Michael Longfellow on April 24 – 25; Tinder Live With Lane Moore on April 26; and Dewayne Perkins on April 30. Tickets are now on sale at www.thedentheatre.com or by calling (773) 697-3830.

Sammy Obeid

Friday, April 3, 2026 at 7:00 p.m. and 9:30 p.m.

Saturday, April 4, 2026 at 6:30 p.m. and 9:30 p.m.

Monday, April 6, 2026 at 6:30 p.m.

Tickets: $31 – $75

Sammy Obeid is a Lebanese-Palestinian American comedian born in Oakland, California. He double majored in business and mathematics at UC Berkeley before turning down a job at Google to pursue comedy full-time. Now the host of Netflix's 100 Humans, he has also appeared on NBC's Last Comic Standing and America's Got Talent, as well as TBS's Conan. He is best known for his world record of performing comedy 1,001 nights in a row, a story featured in Time magazine and The New York Times.

Mohanad Elshieky

Friday, April 10, 2026 at 7:15 p.m. Tickets: $22 – $40

Mohanad Elshieky is a New York-based, Libyan-born comedian who made his national TV debut on Conan and has been featured on The Late Show with Stephen Colbert, Don't Tell Comedy and Comedy Central. He has toured with Pop Up Magazine and is currently a writer/consultant for the hit podcast Wait Wait... Don't Tell Me! He previously wrote for Lovett or Leave It and was one of the hosts of Lemonada's podcast I'm Sorry, where each week they unraveled the latest Twitter gaffes, petty beef and not-so-subtle shade.

He has also been featured in Kumail Nanjiani's Little America book. In 2024, Mohanad was selected as one of the SF Sketchfest Dozen, a spotlight series for comics on the verge of becoming the next big thing. In 2018, he appeared in an episode of Epix's Unprotected Sets and was listed as one of Thrillist's "50 Best Undiscovered Comics." Mohanad was also a digital producer on Full Frontal with Samantha Bee.

Elshieky combines a deceptively laid-back demeanor with a whip-smart perspective on politics and culture. The Portland Mercury called him "an undisputed genius of comedy," and he has been featured on podcasts including Lovett or Leave It, Pod Save The People and Harmontown. He has toured across the country with the critically acclaimed storytelling show Pop Up Magazine. Elshieky zeroes in on topics that seem off limits — then surprises you with how hard you're laughing.

Sugar Sammy

Saturday, April 11, 2026 at 7:15 p.m. and 9:30 p.m.

Tickets: $25 – $55

Sugar Sammy is one of the hottest comedians on the international circuit. The New York Times calls him "a fearless comic with a talent for provoking both laughter and outrage." He has performed more than 2,300 shows in 32 countries.

Described as "fluent in funny" by The Washington Post, he tackles cultural, social and political themes with charm and finesse. He is a master of crowd work and audience interaction.

Sugar Sammy's international television credits include specials broadcast on HBO Canada, Comedy Central Asia, Comedy Central India, CTV, The Comedy Network, The Comedy Channel, Dutch TV and Showtime Arabia. A television star on both sides of the Atlantic, he currently serves as a judge on La France a un Incroyable Talent, France's version of America's Got Talent.

Additional praise includes:

"A fearless comic with a talent for provoking both laughter and outrage." — The New York Times

"Fluent in Funny." — The Washington Post

"Sugar Sammy is a provocateur." — The Guardian

"The funniest man in France is a Quebecer." — GQ France

"Master of the punchline, rhythm and improv." — Télérama

"Comedy's new rock star." — Quotidien

Young Black & Funny

Thursday, April 16, 2026 at 7:15 p.m.

Tickets: $22 – $40

This show is produced by Jasmine Burton and Benny Nwokebia.

Jasmine Burton is a barred attorney from Los Angeles living and working in Washington, D.C. She has performed stand-up throughout the DMV, including Room 808, Hotbed, DC Comedy Loft, The Port and DC Improv, and has opened and hosted for Matt Rife, Lil Rel, Zainab Johnson, Tony Woods, Aida Rodriguez, Earthquake and Stavros Halkias, among others seen on Netflix, HBO and Comedy Central. A blend of West Coast and East Coast swagger, Burton is best known for her high energy, punchlines and infusion of the law and her life experience into her comedy. She brings an edgy, witty and intellectual humor that keeps audiences at the edge of their seats — or falling out of them.

Born in Washington, D.C., Benny Nwokebia is half Nigerian and half Ethiopian and grew up overseas in Geneva, Switzerland. He has performed in New York City (Broadway Comedy Club, Stand NY, Greenwich and others), Washington, D.C. (DC Improv, Comedy Loft, Hotbed, Drafthouse and others), and internationally in Switzerland, Mexico and Canada (Zoo Fest, Just for Laughs). He has worked with Matt Rife, DeRay Davis, Nate Jackson, Zainab Johnson, Josh Johnson, Ian Lara and Tony Woods, among others. Most recently, he took second place in the 2023 Seattle International Comedy Competition. He was named runner-up in the Magooby's 2022 Comedian of the Year competition and winner of DC Improv's Comedy Kumite competition.

Adam Conover: Special Taping

Saturday, April 18, 2026 at 7:15 p.m. and 9:30 p.m.

Tickets: $25

Adam Conover is a comedian and the creator, writer and star of the hit series Adam Ruins Everything, an educational comedy that dispels common misconceptions. The New York Times calls it "one of history's most entertaining shows dedicated to the art of debunking" and refers to Conover as a "genial provocateur." On YouTube, his videos have amassed millions of views.

In 2022, his series The G Word premiered on Netflix. Produced in partnership with Barack Obama's Higher Ground Productions, it pulls back the curtain on how the federal government works using comedy and documentary storytelling.

Conover also hosted the Nickelodeon game show The Crystal Maze and recurs on the animated series BoJack Horseman and Tuca & Bertie. As a stand-up comedian, he performs regularly in top comedy clubs and colleges across the country.

Sarper Güven
Sunday, April 19, 2026 at 2:30 p.m., 5:00 p.m., and 7:15 p.m.
Tickets: $30 – $55

Sarper Güven first gained worldwide attention as a reality TV star on TLC's hit show 90 Day Fiancé, where his bold personality and unique humor made him an unforgettable cast member. His presence on the show built him a strong international fanbase that now follows him to the comedy stage.

​​Quickly breaking into the U.S. stand-up scene, Güven delivers nearly one-hour sets filled with sharp, unapologetic takes on relationships, the struggles of marriage and the cultural differences of American life. His high-energy, fearless style and international perspective have already made him one of the fastest-rising comedians to watch.

Emma Grede: Start With Yourself Book Tour

Tuesday, April 21, 2026 at 7:15 p.m.

Tickets: $22 – $70

Emma Grede is the ultimate modern mogul, turning big ideas into some of today's most influential consumer brands. She is the co-founder and CEO of Good American, a founding partner of SKIMS, the co-founder of Safely and Off Season, and the voice behind the Aspire with Emma Grede podcast.

A leader with purpose, Grede also lends her time and expertise to global impact organizations, serving on the board of directors for the Obama Foundation and Baby2Baby, and recently became a King's Trust Ambassador. Her journey proves that success and substance go hand in hand.

Grede lives in Los Angeles with her husband, Jens, and their four children.

Michael Longfellow

Friday, April 24, 2026 at 7:15 p.m. and 9:30 p.m.

Saturday, April 25, 2026 at 7:15 p.m. and 9:30 p.m.

Tickets: $22 – $40

Michael Longfellow is a comedian and stepson from Phoenix who completed three seasons as a cast member on Saturday Night Live. Prior to SNL, he was one of eight comedians chosen for the inaugural "Netflix Introducing..." Next Stars of Comedy showcase at the Netflix Is a Joke Festival. He was also selected as one of TBS's "Comics to Watch" at the New York Comedy Festival and went on to make his late-night debut on Conan. He was a favorite on NBC's comedy talent series Bring the Funny. Longfellow regularly tours festivals and clubs around the country.

Tinder Live With Lane Moore

Sunday, April 26, 2026 at 7:15 p.m.

Tickets: $22 – $50

Tinder Live! With Lane Moore is the critically acclaimed comedy show where Moore projects her dating app onto a screen, swipes through profiles live on stage, and the audience votes whether she swipes right or left, to cathartic, hilarious and surprisingly kind results.

Tinder Live is known as one of the best comedy shows around, selling out shows across the United States and Canada, headlining festivals such as SF Sketchfest, and maintaining a long-running monthly residency in New York City. The show has been named a critics' pick for Best Comedy Show by The New York Times, The Atlantic, Spin, The Guardian, Paper, VICE, Paste, Fast Company, Cosmopolitan, The Washington Post, Entertainment Tonight, Good Morning America, New York Magazine, The New York Post, Time Out, HuffPost, CBS and New York Observer.

Tinder Live regularly features special guests including David Cross, Janeane Garofalo, Anna Faris, Paul F. Tompkins, Amber Tamblyn, Sasheer Zamata, Ed Solomon, Lamorne Morris, Busy Philipps, David Koechner, Jon Glaser, Hari Kondabolu, Aparna Nancherla, Mara Wilson, Stacy London, Ashley Nicole Black, Jo Firestone, Laura Benanti, Amanda Knox, Stephanie March, James Urbaniak, Lizz Winstead, Heather Matarazzo, Scott Adsit, Grace Helbig, Sondre Lerche, JD Samson, Jean Grae and more.

Praise for Tinder Live With Lane Moore includes:

"Truly addictive entertainment... it's ingenious. The way she manipulates tone and pace reveals an artist supremely confident in her form." — The New York Times

"Tinder Live is great, it's so funny. Fantastic. Highly recommend." — David Cross

"Consistently funny. One of the best comedy shows around." — Vulture

"Compassionate and hilarious... it's a smash." — Spin

"A hilarious comedy show. Moore isn't cynical about love; she's just put in a lot of time in the trenches." — New York Magazine

"Tinder Live captures all the magic of this truly ridiculous era in app-based dating in real time. You'll relate to Moore's live-swiping and laugh at her reactions and messages to would-be suitors." — Vulture

"Blisteringly hilarious. In anyone else's hands this could feel mean-spirited, but Moore makes it cathartic, a bracing comedic espresso shot." — Brooklyn Based

"Tinder Live makes light of just how absurd and soul-sucking swiping through an endless procession of other human beings can become. Moore expertly steers the crowd from mean-heartedness to substance with each match." — VICE

Dewayne Perkins: How Being Black And Gay Made Me Better Than You!

Thursday, April 30, 2026 at 7:30 p.m.

Tickets: $22 – $40

Dewayne Perkins is a writer, producer, actor and comedian who has emerged as one of the most-watched Black creatives in film and television today. Named one of Variety's "Comics to Watch," Vulture's "Comedians You Should and Will Know," and one of The New York Times' "Queer Young Comics Redefining American Humor," Perkins has steadily built his comedic portfolio over the years. His work has earned him Emmy, WGA and NAACP Image Award nominations.

Perkins currently stars opposite Seth Rogen in the critically acclaimed, award-winning Apple TV+ comedy series The Studio, which premiered March 26, 2025, and quickly emerged as one of the most celebrated freshman comedies of the year. The series made history as the most Emmy-winning first-season comedy series of all time, earning 13 Emmy Awards, including Outstanding Comedy Series. His role in The Studio followed his appearance opposite Keke Palmer and SZA in Sony's feature film One of Them Days, which was hailed by critics and earned a 100% score on Rotten Tomatoes.

In 2023, Perkins co-wrote, produced and starred in the award-winning feature film The Blackening (Lionsgate), based on his Comedy Central digital short of the same name that went viral with more than 15 million views. The film premiered as a 2022 Toronto International Film Festival Midnight Madness selection and was theatrically released in June 2023. The Blackening earned nominations from the NAACP Image Awards for Outstanding Ensemble Cast in a Motion Picture, the GLAAD Media Awards for Outstanding Film and the Black Reel Awards for Outstanding Ensemble. Perkins received individual nominations for an NAACP Image Award for Outstanding Breakthrough Creative (Motion Picture) and a Black Reel Award for Outstanding Breakthrough Performance. He is currently developing a sequel with MRC and Lionsgate alongside Tracy Oliver and E. Brian Dobbins.

Additional writing credits include Netflix's The Break with Michelle Wolf, Fox's Brooklyn Nine-Nine, and Peacock's The Amber Ruffin Show, which earned him an Emmy nomination. He also holds producing credits on Brooklyn Nine-Nine, Peacock's Saved by the Bell, and Amazon's Sausage Party.

As an actor, Perkins has appeared on Netflix's The Upshaws, Peacock's Saved by the Bell, and IFC's Sherman's Showcase. He has written for the WGA Awards, The Webby Awards and the White House Correspondents Dinner, where one of his jokes was listed in The New Yorker's "Best Jokes of 2018."

As a stand-up comedian, he has been named one of Comedy Central's "Up Next" comedians, a 2019 "New Face" at the Just for Laughs Festival in Montreal, one of Time Out New York's "Breakout LGBTQ Comedians to Watch," and was a finalist on NBC's Stand Up. He has also performed at Comedy Central's Clusterfest, SF Sketchfest and NBC's Breakout Festival.

Perkins splits his time between New York and Los Angeles, where he continues to develop multiple projects.

After receiving six Jeff Award Nominations in 2025, The Impostors Theatre Company (ITC) returns this Spring with the highly anticipated world premiere of Static-Head – a sci-fi thriller written by critically acclaimed playwright Ryan Stevens (The Last Living Gun) and directed by ITC Artistic Director Stefan Roseen. Static-Head is a cautionary tale about the internet, AI, and the people it uses. Static-Head runs from April 17 to May 2, 2026 at ITC's resident home The Den Theatre, 1331 N Milwaukee Ave, Chicago, IL 60622. 

Sensor-E is the hit new social media app, able to simulate real-life sensations so you can touch, taste, and smell everything you see on your screen. At the prestigious Osman-Haskill University of Technology, where the app was first created, strange things are happening on Sensor-E: Aimee, mourning the loss of her twin sister, uncovers a string of disappearances targeting her classmates. Blair, a fame-hungry would-be influencer, is enlisted into a vast conspiracy concerning school leadership. Paige, relegated to her dorm room due to a health issue that keeps her isolated, is haunted by a strange digital ghost that might hold the key to understanding her condition.

As they struggle to navigate these mysteries, the three students’ paths cross. Soon enough, their use of Sensor-E threatens to permanently blur the line between reality and simulation. The school they attend is not what it once seemed, and the world they know becomes weirder and more dangerous than they could ever imagine. When we can approximate reality, how do we distinguish the real thing?

A sci-fi thriller about the internet and the people it uses, Static-Head renders a cautionary tale against the existent rise of AI and virtual realities.

The cast of Static-Head features ITC ensemble members Jaclyn Jensen as Dr. Priscilla Osman,

Courtney Marie as Dr. Eliza Babbage, and Keaton Stewart as .EXE, with Eliana Deckner-Glick as Aimee,

Kati Yau as Paige, Bryce Lederer as Blair, William Delforge as Ben, Cayla L. Jones as Dorothy,

and Lexy Hope Weixel as //BAD-GATEWAY//.

Following Static-Head, ITC’s Seventh Season will conclude in June with Footholds Vol. 7, an anthology play written by the community and directed by ITC Executive Director Rachel Borgo.

About the Artists

Ryan Stevens (Playwright) is a New York-based playwright and director. They received an MA in Theatre from USC and an MFA in Playwriting from UCLA. They served as the Playwriting Fellow at Emory University from 2023 to 2025. They are beyond thrilled to get to work with The Impostors again for Static-Head's premiere after previously getting the honor to work with them on 2023's The Last Living Gun. Ryan’s work has also been produced by Astoria New Play Festival, Silver Spring Stage, Inkwell Theatre, St. Croix Falls Festival Theatre, Queen City Theatre, New American Theatre, Whiskey Radio Hour, Theatre Viscera, Festival D’Avignon, Broken Slate Productions, The Plagiarists Chicago, Corn Productions, Seoul Players, and Theatre Above the Law, among others.

Stefan Roseen (Director & Sound Designer) is a Chicago-based director, designer, and playwright, and the artistic director of The Impostors Theatre Company (ITC). He most recently directed ITC’s critically acclaimed and Jeff Award–nominated Helena & Hermia in the Enamored Odyssey and Pilot Island & Her Keepers. Additional directing credits include Beyond the Garden Gate; The Last Living Gun; ITC’s Jeff Award–nominated Miranda: A War-Torn Fable; Windwalkers; the Jeff Award–nominated Hertha Nova; Summer & Smoke; Tippy: Stories from the River; Caged: An Allegory; The Wood; Art; and The Terrible Tragedy of Peter Pan. His direction on the short play The Altercation in the Underworld won “Best Of” at the MadKap Productions Short Play Festival. A three-time Jeff Award–nominated artist, Stefan has been recognized for his direction of Helena & Hermia (...) and Hertha Nova, as well as for Artistic Specialty (Sound Design) for Pilot Island & Her Keepers. All three productions were also nominated for Best Production (Short Run). By day, Stefan is an educator, teaching Performance Art and Fine Art. Recent design credits include sound design for Rising Water and Big Time Toppers (Theatre L’Acadie); as well as scenic design for 7 Minutes to Live, Eurydice, A Doll’s House, 25/25, Occidental Express, the Jeff Recommended They, and the Jeff Award–nominated The Resistible Rise of Arturo Ui (Trap Door Theatre).

Fact Sheet | Static-Head

Press Photos for Static-Head will be available the morning of Friday, April 17th. Poster and cast photo attached.

Parking and Transportation:
The Den Theatre is located in Wicker Park on Milwaukee Avenue. There is limited street parking available and The Den Theatre does not currently have parking or valet.

ITC recommends the usage of the ParkChicago and SpotHero apps. Metered parking is available on Milwaukee Avenue and surrounding side streets. Pay boxes are enforced from 8:00 A.M. – 10:00 P.M. on Milwaukee Avenue and from 8:00 A.M. – 6:00 P.M. on side streets. Pay boxes accept quarters and credit cards and can be fed up to two or three hours, depending on the location.

The theater is easily accessible via the Blue Line to Division or Damen stops and by bus from #56 (Milwaukee), #70 (Division), #50 (Damen), or #72 (North).

About The Impostors Theatre Company

The Impostors Theatre Company stages stories at the crossroads of retrospect and innovation, where the fantastic collides with the everyday. In order to better our discourse, our relationships, and ourselves, The Impostors aim to inspire an urgency for the arts by embracing the art of pretend.

In 2025-2026, The Impostors explore the past, the near future, and the bridge between. Season Seven reanimates an ancient mythological character, untangles the threads binding us to virtual realities, and stages our favorite anthology series in a new way. The action will play out on the various crossroads that capture our fascination year after year—growth and stasis, truth and deception, life and death.

The Impostors Theatre Company is a 501(c)3 non-profit arts service organization. For more information about The Impostors Theatre Company, and donating to our mission, we invite you to visit theimpostorstheatre.com. Follow ITC on facebook.com/theimpostorstheatre and on instagram.com/impostorstheatre.

“You can’t raise kids without hope.” says terminally pessimistic Arthur Pryszbyszewski in Tracy Letts’ 2008 play “Superior Donuts” now running at The Artistic Home at The Den Theatre. Directed by Artistic Home ensemble member John Mossman, “Superior Donuts” tells an authentic Chicago story in the cozy kind of theater our city is known for.

Originally produced by Steppenwolf on the heels of Letts’ Pulitzer Prize landmark “August: Osage County”, this play feels almost lighthearted by comparison. “Superior Donuts” swaps the blues of the Oklahoma plains for the desperation of Chicago’s Uptown neighborhood, before the Target opened on Wilson.

Arthur Pryszbyszewski, impeccably played by Scott Westerman, is a complicated, introverted middle aged man who’s devoted himself to keeping the family donut shop in business long after its heyday. One morning he finds his shop vandalized and in walks Franco, a young man with big dreams but even bigger debts. Franco is an aspiring novelist with no shortage of things to say on virtually every topic. His stream of conscious babble eventually helps Arthur open up.

Letts’ has a real knack for gritty stories, but what he does especially well is cleanly written scenes. Playwriting doesn’t have to be complicated. “Superior Donuts” excels much like his other work in that each characters’ desires and disappointments are clearly laid out. You’re never wondering what the point of a scene is. That is to say, Letts never leads you into the weeds.

In two briskly paced acts, “Superior Donuts” is both a male-driven comedy and a hard-hitting drama. Letts explores what happens to neighborhoods when small businesses close. You don’t just lose the business; you lose pillars of neighborhoods. Arthur is a reluctant pillar but his paternal affection for Franco becomes his greatest achievement.

Featuring a cast of Artistic Home ensemble and newcomers, Mossman's’ production is stacked. John N. Williams is well suited to the awkward but endearing Franco. Ensemble member Kristin Collins plays CPD officer Randy Osteen, Arthur’s burgeoning love interest. Collins’ Chicago accent and mannerisms are incredibly comforting.

“Superior Donuts” is not only a love letter to Chicago’s Uptown neighborhood but also a world you don’t mind spending a little more time in. In fact, it was adapted into a relatively successful CBS tv series in 2010.

Artistic Home reinterprets “Superior Donuts” at a time when Uptown has more or less been gentrified. No longer on the cusp as depicted in the play. In 2025, it feels more like a heartwarming period piece that true Chicagoans will fondly remember.

Through December 6 at Artistic Home at The Den Theatre. 1331 N Milwaukee Ave. 773-697-3830 

‘Hedda Gabler’ has mystified audiences for generations, as this was certainly Ibsen’s intention when creating this endlessly fascinating character. The Artistic Home transforms the Den Theatre into 1890s Norway for their production of Irish playwright Mark O’Rowe’s 2015 adaptation of ‘Hedda Gabler’. Under Monica Payne’s direction, this contemporary-voiced retelling is diabolically humorous.

Any production of ‘Hedda Gabler’ is only as good as their Hedda. In Brookelyn Hebert, Monica Payne has a frighteningly self-assured Hedda who is insatiably fun to watch. Flanked by Todd Wocjik as Jorge Tesman and John Mossman as Judge Brack, Hebert plays both the conqueror and conquered with hot tempered fluidity.

Ibsen, like Chekhov, helped usher in a new era of modern theatre that would inspire 20th century playwrights like Arthur Miller and Eugene O’Neill. With focus on the doldrums of a waning aristocracy, Ibsen captures the everyday hopes and disappointments of his characters in scenes that feel as relevant today as when they were written.

What makes ‘Hedda Gabler’ unique is the myriads of ways a director and an actress can approach the title role. Ibsen’s play is somewhat vague so that audiences and theater makers are free to go with their own interpretation of what motivates Hedda.

In this new version by Mark O’Rowe, many of the Easter eggs Ibsen drops throughout the play are further expanded upon so that audiences have even more context for Hedda’s past and present. In Rowe’s version, Hedda is quicker to anger and more self-aware than in previous iterations. An angrier Hedda shows the brewing hostility of a woman trapped by society, which makes her downfall all the more tragic.

Time seems to fly with O’Rowe’s modern language. Instead of literary innuendo, characters are free to discuss sexuality and substance abuse with more directness. Two and a half hours can feel long for a classic melodrama, but this script has a lot of juicy scene work to keep audiences on the edge of their seat, even if they know what’s going to happen next.

Plays like ‘Hedda Gabler’ do exactly what good plays should, and that is to ask why. As mentioned before, Ibsen purposefully did not provide just one reason for Hedda’s actions, rather he planted many seeds so that nobody can really be sure, opening the door for riveting conversations.

The Artistic Home’s production of ‘Hedda Gabler’ is a good reminder of why classics should be seen every so often. Though the modernized script takes some interesting liberties, and can become a bit meandering in parts, overall Ibsen’s points are well preserved. However, it’s fairly unlikely that high society folks would speak in expletives the way they are in O’Rowe’s script. Still, this production is faithful in its interpretation of the limits of courage. In the end, despite Ibsen’s Easter eggs, this is a play about one woman’s courage to go against the grain of society.

Through March 23 at The Artistic Home at The Den. 1331 N Milwaukee Ave. 773-697-3830

Just as there are many Santa’s around town, this time of year we have a wide selection of Christmas and Holiday-themed shows on stage. While I’ve grown quite jaded about the diminishment of “real” theater during the holidays—steadfastly avoiding the Goodman show each year—there was something that overcame my reluctance in the concept of “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again.”

The darkly charming premise is tantalizing: that Dickens is still alive, and has for 171 consecutive years been annually performing his stage reading of a version of his 19th century book “A Christmas Carol." In fact, as we learn in the course of the show, Dickens did read an adaptation of his book onstage for years. This piece, however, is a remarkably artful riff on Dickens' original, written and performed stunningly well by Blake Montgomery.

This is an actor with chops, a Jefferson Award winner seen over the years on stages at Steppenwolf, Writers and Court Theaters. About 10 years ago Montgomery developed this show, and has given himself a script that is a great showcase of his skills. Walking among the audience before curtain, dispensing candy canes and wearing ridiculous holiday antlers, Montgomery gradually shifts into the Dickensian story.

Speaking candidly of the character of contemporary Christmas Carol shows, including the “large well-known theater downtown” where “snow falls on stage, and Christmas ghosts literally fly,” Montgomery adds dryly. “All I can do is talk.” And with that, Montgomery shifts gradually into the character of Dickens, holding the audience in the palm of his hand.

But Montgomery is also present, all the while, playing moderator. After spending some time somewhat disabusing us of our preconceived notions of what Dickens’ “Christmas Carol” holds, he deconstructs the story, then disarms us, and we are open to hear the story anew. The more opulent productions risk masking the human tale embodied in Dickens’ work. Montgomery reveals more of the internal workings of Scrooge. At times, he allows Dickens to read directly from the text. In other moments Montgomery re-enacts scenes holding up two sides of a dialog. He asks us to examine Scrooge's transformation during the ghostly visits. In one dream-like celebratory Christmas party scene that Scrooge visits in company of a ghost, Montgomery tells us, "The activity is dancing; the action is about what is happening within Scrooge."

In all it’s a remarkable reenvisioning of “A Christmas Carol,” and a work and performance not to be missed this season. “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again” runs through December 22, 2024 at The Den Theatre in Chicago.

“To love the beauty of the mistakes….the imperfect.”  Isis Elizabeth, Playwright

In Beneath The Willow Tree, playwright Isis Elizabeth weaves an emotionally rich tapestry that examines the intricacies of familial bonds, generational trauma, and the delicate interplay between tradition and change. Set in the heart of the Louisiana Bayou, the Bordeaux family home becomes both a sanctuary and a battleground for three Black women whose lives, secrets, and desires come crashing together. Expertly directed by Aaron Reese Boseman, this world premiere delivers a gripping, spiritual family drama that hits deeply personal and universal notes.

At the center of the play is Willow Bordeaux, portrayed with emotional nuance by Sierra Coachman, a young woman who returns home from NYU, bringing more than just academic achievements—she’s accompanied by her lifelong friend  Ree, beautifully brought to life by ASH. She has also brought with her a life she’s building beyond her family’s reach. Willow’s return unearths long-buried family secrets, revealing how trauma, often unspoken, festers beneath the surface. As the audience watches Willow grapple with her past and present identities, her journey becomes emblematic of the broader struggle between old traditions and new ways of being.

The heart of Beneath The Willow Tree is the three generations of Bordeaux women, each dealing with the weight of their histories. Yahdina U-Deen, playing the family matriarch Beatrice Bordeaux , offers a towering performance—her stern exterior masking years of sacrifice, grief, and unspoken pain. Her relationship with her daughter Gloria Bordeaux played with an inner strength by Monique Marshaun,  is fraught, tinged with tension but layered with a palpable sense of love and obligation on both sides. Boseman’s direction ensures that the tension never veers into melodrama; instead, it simmers, allowing the emotional stakes to rise naturally, leading to moments of catharsis that feel earned rather than forced.

Also delivering excellent performances are Dylan Rogers, who skillfully portrays both Moses Bordeaux, the loving and enigmatic patriarch of the Bordeaux family, and Dante Ri’chard, Willow's charming and complex love interest. Rogers deftly navigates the dual roles, bringing a commanding presence to Moses while offering vulnerability as Dante. Mayiyah Brown also shines as young Gloria, capturing the innocence and intensity of the family’s earlier struggles with grace and authenticity. Special mention must be given to dialect coach Susan Gosdick, whose meticulous work ensured that the accents were pitch-perfect, seamlessly shifting from generation to generation, adding depth and authenticity to the play's rich Louisiana setting.

The Bayou setting is not just a backdrop; it is a living, breathing presence in the play. The willow tree itself becomes a symbol of both the Bordeaux family’s resilience and the weight of their past. Set design by Kevin Rolfs captures the mystical and haunting atmosphere of the Bayou, with sprawling branches casting long shadows that seem to stretch into the characters' souls. Adding to this immersive environment is Levi Watkins' lighting design, which subtly enhances the eerie and ethereal quality of the Bayou, playing with shadows and light to deepen the mood. Ethan Korvne's soundscape interweaves seamlessly, with whispers of the wind and the distant echoes of ancestral spirits by way of bass and percussion enriching  the play’s spiritual elements, grounding the story in both realism and mysticism.

One of the play’s strongest elements is its exploration of Black womanhood across generations. The conflicts between the Bordeaux women reflect broader themes of identity, legacy, and healing, resonating particularly in today’s world, where conversations about generational trauma and reclamation of self are becoming more prominent. Elizabeth’s writing doesn’t shy away from the pain these women carry, but it also offers them a path to healing—a journey that is messy, complicated, and deeply moving.

Iris Elizabeth and Aaron Reese Boseman are quickly establishing themselves as the future of theater in Chicago. While there's much to praise, a minor critique might be directed at the play's lengthy running time. Although the exceptional writing nearly makes the duration worthwhile, it may feel somewhat prolonged for some audience members. However, any potential concerns about the length are effectively alleviated by the riveting performances and the substantial thematic depth that resonate throughout the production.

Overall, Beneath The Willow Tree is a powerful debut from Isis Elizabeth. With Boseman’s sensitive direction and a cast that brings the Bordeaux family to life with authenticity and passion, the play delivers a potent mix of raw emotion, spiritual reflection, and the hard-earned path toward healing. A must-see for those who appreciate deeply human stories with cultural resonance.

Highly Recommended

When: Through September 29
Where: The Den Theatre 1331 N. Milwaukee Avenue, Chicago,
Tickets: $25-$45
Info: www.pulsetheatrechicago.org  (773)697-3830
Running time: 2 hours and 30 minutes with one intermission

The witch is back, Jen Silverman’s ‘Witch’ that is. Since first being commissioned by Writer’s Theatre back in 2018, Jen Silverman’s take on Jacobean theatre has become a somewhat popular selection for regional theaters. The Artistic Home Ensemble brings this play back to Chicago in a revival directed by Devon Carson going on now at The Den.

What continues to be striking about this play is its exploration of hopelessness. ‘Witch’ is about an ostracized woman living in the 1600s who the townspeople have decided (without basis) is a witch. Her miserably lonely life is spiced up when the devil himself comes to town and begins meddling in the lives of the villagers. Some are more easily tempted than others, but the supposed witch, Elizabeth Sawyer (Kristin Collins), is harder for the devil to convince. Besides, what can anyone offer someone who has lost hope for a better future?

The devil played with fiendish fun by Julian Hester finds himself enamored with skeptical Elizabeth Sawyer who is also drawn to him. They spend long nights discussing their world views and within their conversations, Jen Silverman peppers in some humorous, but unsettling monologs about the human condition. Kristin Collins as Elizabeth has a great way of shifting between comedic relief and heart-rending vulnerability. Her character all the while pleading, “can things ever really get better?”

As the devil and Elizabeth get to know each other, the devil also inserts himself into the lives of the richest family in town. His gentle suggestion sets in motion a bitter rivalry that plays out with classic dramatic irony.

Silverman’s script is wise in its sharp tongue and makes a statement on the general apathy many feel every day. In her version, the devil himself has hopes and dreams, but outcasts like Elizabeth have long lost hope that her neighbors can ever evolve past their pettiness.

Like Arthur Miller’s ‘The Crucible’, this play holds a Puritanical mirror to our own time, but unlike John Proctor, Elizabeth doesn’t have altruistic intentions. She may be the protagonist, but she’s not your standard heroine. Silverman’s point in comparing our two eras is to show that people haven’t gotten any wiser. People are still inherently selfish and highly subject to influence.

‘Witch’ is well-acted and well-styled. For a play with such a dark core, there’s a lot of comedy here and this cast really plays that up. Kristin Collins brings a Molly Shannon quality to the lonely Elizabeth that makes her plight far less depressing than it sounds. Hogan’s chemistry with Julian Hester is fun to watch.

More than anything, this play remains as timeless in 2018 as in 2023, because while some political and societal things have gotten better, some have inevitably gotten worse. There will always be cynics and optimists duking it out and perhaps the easiest place to be is somewhere in the middle.

Through December 3^rd at The Artistic Home Ensemble at The Den. 1331 N Milwaukee. 773-697-3830.

Murder, intrigue, and Angela Lansbury: the three universally acknowledged truths that make up a great mystery story. Hell in a Handbag's production of Murder, ReWrote: The Musical Parody at the Den Theatre is the perfect cross-section of drag show and musical. Expect to laugh, cackle, restrain yourself from singing along, and make an immediate tribute to the incomparable Angela Lansbury as you’re reminded of what an icon graced our screens and stages for the better part of a century.

Musical theatre references and camp abound alongside the talented singing and comedic performances. Whether or not you’re a fan of Murder, She Wrote the television show, you’re bound to be entertained outside of all context at Murder, ReWrote: The Musical Parody.

(Left to right) Britain Gebhardt, Grant Drager, David Cerda and Caroline Kidwell in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

In The Den Theatre’s Murder, ReWrote, our favorite comedically reimagined mystery novelist Bessica Feltcher (Jessica Fletcher, in the real ‘80s/'90s TV show) has a harrowing case on her hands: that of a rich hieresses's daughter found dead in the living room of the family mansion.

Who could have done it? Her mother? The maid? Bessica’s hapless nephew Grady? It’s like watching a game of Clue play out in real time, only way funnier.

Britain Gebhardt channels Lansbury in voice, looks, and persona as acclaimed mystery author and amateur detective Bessica Jeatrice Feltcher, aka BJ. The hobbyist slueth finds herself at the center of a whodunit murder mystery leaving everyone wondering, “Who killed Christina??”

The rest of the cast is hilarious and committed to their roles as well, from Grant Drager as Bessica’s goofy nephew Grady to David Cerda's haughty, RuPaul-esque portrayal of heiress June Crayfish.

(Left to right) Mark Bartishell, Caroline Kidwell, Britain Gebhardt, Daniel Hurstand, Cathy Reyes McNamara in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

Hell in a Handbag Productions goes all out in this production, from the creative and unexpected ways they adapt a television series to the stage, the thoughtful references to Lansbury’s other work sprinkled throughout, and the loving insults they lob at the corniness of the original TV show.

The music and lyrics by George Howe and Ed Rutherford, along with the direction from Anthony Whitaker, make this musical parody a sparkling one. You can feel the love and attention to detail that went into every joke, reference, and visual gag, showing that this creative team genuinely loves its source material. You can only make fun of something lovingly – and cleverly – if you admire it and respect its merit in the first place.

Murder, ReWrote: The Musical Parody is playing at the Den Theatre through September 16, 2023. Tickets can be bought at the box office at 1331 N Milwaukee Ave or on their website.

*Extended through September 18th

Language Rooms is a convincing portrait of the hidden world of government interrogators. These individuals use cajolery and flattery, or fear and intimidation, to persuade individuals to spill their secrets – all on behalf of securing the safety of the state.

This two-act piece (one intermission) flies by, as the characters go about their work. But we see as well the impact that these information-gathering activities have on those doing the questioning. Their personal integrity is compromised as they lie to get truthful answers. It also faces us with a distasteful prospect: if our government and our society condones using intimidation and even physical abuse to gather data, are we not complicit?

Language Rooms involves two Arabic-speaking men on an unnamed government investigating team, quartered in a windowless vault with motorized doors that slide open with a whoosh at the touch of a button. Ahmed (Salar Ardebili) is a rookie, and his work is being closely watched by his supervisor, Kevin (Bradford Stevens). His co-worker, Nasser (Bassam Abdelfattah) is apparently even more fluent in Arabic than Ahmed, and is doing his best to help Ahmed with his weaker command of the language.

It soon becomes evident that the same hidden cameras and observational techniques used in questioning suspects are also trained on the men doing the questioning. They speak to each other with siielding their mouths from view, as they try to carry on private conversations. – just like any office, except that they have the continuous impression they are being watched. The manipulative techniques used on the subjects are also part of the office communication.

All of this provides a set up for a workplace wherein paranoia runs rampant. And as a subtext, these Arab-Americans feel they must not only do a good job, but prove their worthiness and loyalty to the government agency they work for - not to mention to society at large. The plot thickens dramatically as a new suspect is brought in, hooded and shackled: Samir (Bilal Dardai). This one, says Kevin, will be the great test for Ahmed, to prove both his loyalty and his competency. To avoid a spoiler here we can only say this sets up a dynamic, powerful tete a tete between the questioner Ahmed and his subject, Samir.

Samir (Bilal Dardai).

As the probe into his "suspicious" behavior goes on, Samir offers truthful answers, but not convincing ones. "You know the problem with being innocent is the facts don't serve you well," he says. "Innocence is not a good story."

This worldly, sophisticated script by Yussef El Guindi feels as though it will become a classic in the existentialist-absurdist roster, along with works like Miss Margarita’s Way or Master Harold and the Boys, plays in which a sinister undercurrent froths just beneath the surface. El Guindi provides a valuable service to us all just by telling this story. That he does it in such a timeless, universal way, will allow it to be told widely – and we hope it will be.

The production boasts extremely strong performances, especially Ardebili as Ahmed, the rookie; and Dardai, who delivers a perfect portrait of a good-hearted immigrant under a torrent of unfair questioning. I had a chance to see this show twice, April 22 and April 26 – and can say Ardebili had refined and heightened his delivery, and the dynamic between Ahmed and Nasser was even more intensely expressed. Director Kaiser Zaki Ahmed specializes in actor-driven new American plays, and has assistant director credits on two recent, illustrious productions: Guards at the Taj (Steppenwolf) and Hand to God (Victory Gardens).

The script is strong, but the first act could have been streamlined just a little, perhaps to give a stronger thrust to the dramatic rise and moment of suspense as it ends. The Broken Nose Theatre production of Language Rooms runs at The Den Theatre through May 18. It is highly recommended. www.brokennosetheatre.com.