A famous Chicagoan once said “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” Life does move fast, and opportunities and experiences are the simplest way to pause time. For me there’s no better place in all of Chicago where time stops, even for a short while, than the Lyric Opera. There’s something magical about the venue, from the moment you enter the theatre to marvel at the grandness of the entrance hall until the time the lights blink to usher you to your plush red chairs in the audience to view an operatic masterpiece. It’s when you leave the theatre, wandering into the chilly Chicago night air, that you realize that the opera allowed you to stop time, and not just for the lengthy three plus hour run times the operas tend to be, but truly stop time. Because the magic of the opera allows us to stop, look, and reflect that we watched an opera that has been performed for thousands of years. Plays and operas based on plays and works that reach to the earliest stages of life on earth and that we as a modern audience are still moved by today, can still connect to on an emotional level. Time stops at the opera and for a brief run time, you can view the same operatic magic as the Lyric Opera of Chicago’s 2025/26 Season kicks off with a searing tale of vengeance and betrayal: Cherubini’s Medea, on stage October 11–26, 2025.

Hell hath no fury like a sorceress scorned. Euripides's ancient tragedy comes to blazing life in this riveting opera, a late 18th-century masterpiece with music and themes that continue to resonate across the millennia. This centuries-old tale burns with unrelenting emotional fire, and in Cherubini’s hands, it demands to be retold. Audiences witness the tragedy of Medea, a powerful sorceress betrayed by her lover, Giasone, who abandons her and their two children to marry another woman, Glauce, the daughter of the king Creonte. Given just 24 hours to accept her fate, Medea instead bends it to her will, with her accomplice, Neris, at her side, delivering vengeance that shakes the very foundations of the kingdom. A favorite of Beethoven himself, who considered Cherubini to be the greatest living composer of his time, Medea channels the raw power of Greek tragedy and sets it to unforgettable music, leaving audiences breathless as love curdles into rage, and a mother’s heartbreak becomes her most devastating weapon.

With a cast of operatic Olympians, visionary direction, and music that blazes with wrath and beauty, Medea sets the tone for a season defined by bold storytelling and emotional intensity. Medea marks the return of three Chicago-born international stars to the Lyric stage, superstar soprano Sondra Radvanovsky in an Olympic-level performance of the title role, acclaimed tenor Matthew Polenzani, and the rising star mezzo-soprano Zoie Reams. Coupled with the Lyric Opera Orchestra conducted by “Chicago’s Maestro-Around-Town” Lyric Music Director Enrique Mazzola, Cherubini’s score delivers operatic fire and fury as never before. Lyric presents Medea for the first time in its seven-decade history in a production directed by Sir David McVicar, who returns with a sweeping vision of beauty and decay that commands attention from first note to final breath. This spellbinding production transforms myth into music and passion into fire and creates an unforgettable night at the opera that proves hell hath no fury like a sorceress scorned.

Is there anything more profound or timeless as a woman’s rage? Particularly a woman scorned? It’s quite easy to dive into debates about the merits of female rage, how we can examine ancient texts with an often more critical or kinder lens as we reflect on the story that unfolds on the stage. But more striking is the lasting power of the emotions captured in Medea, rage, vengeance, and spite. The emotions depicted and beautifully portrayed in 2025 are the same emotions that were originally captured when the play was first written in 431 BC, the same emotions depicted as an opera for the first time in 1797 France. It’s the power of the humanities, the way that prose and storytelling capture the human experience of a woman scorned and the lengths she would go to seek her revenge. The same shock and outrage audiences felt on October 11^th, 2025, are the same feelings audience members experienced in 1797, and in 431 BC. That’s the magic of opera. Other theatric mediums offer testaments and homage to classic tales but operas have an altogether unique quality about that. The blend of storytelling and musicality captivates you, enchants you, and transcends you through time and space with drama tales that still resonate today.

There are only five remaining opportunities to see Medea at the Lyrics Opera in Chicago (20 N Wacker Dr, Chicago, IL 60606): October 14, 17, and 20, at 7 p.m., and matinee performances on October 23 and 26 at 2 p.m. The performance is sung in Italian with easy-to-follow English titles projected above the stage and runs for 2 hours and 45 minutes, including one intermission. Life does move pretty fast, I’d wager those n 431 BC and 1797 thought the same thing. So be sure to stop and look around every once in a while and see this incredible opera before it passes you by. For more information and tickets, visit lyricopera.org/medea or call 312.827.5600.

When an opportunity arose to see a sneak preview of a new musical about President Barack Obama, there was a clash amongst younger generations to see who would get the chance to see it. Though it has been nearly two decades since Barack Hussein Obama was inaugurated into his first term, the allure and awe of the man still resonates to this day. His presidency was a historic event, a pivot point for our nation marked by hope and positivity and grace under pressure. It was no surprise to me that so many writers jumped at the opportunity to see a sneak preview about 44 – The Musical about the former beloved president.

Barack Obama’s election changed history. And as we can clearly see, it also ended racism forever! But 44 is the story of Obama you won’t read about in the history books…because history books are now banned in most states. But also because 44 is the story of Obama as Joe Biden kinda sorta remembers it.

44 – The Musical is a satirical, unofficial, and unsanctioned musical about the rise and presidency of Barack Obama, told from the perspective of then Vice President Joe Biden. It boasts itself as a satirical political musical featuring over twenty original songs with titles such as “M.F.O.”, “F*&# You Ted Cruz”, and “How Black is Too Black.” In the few musical numbers showcased, it was too difficult to discern whether this musical is anything more than a cash-money grab capitalizing on the nostalgia and love of the former president. The musical numbers performed featured tag lines repeated ad nauseum during Obama’s terms, mother-f*&#ing-Obama, there are no red states or blue states, they even showcased a stereotypically campy comedic relief with a ‘sleepy’ Joe Biden narrating the events.

The musical was written and directed by former Obama campaign staffer Eli Bauman whose wry and acerbic comedic styling was evident even in the brief showcase. From the beautifully shot B-Roll footage and hype videos played, one would think this musical is poised to become the next Broadway darling. There is no denying the talent of the actors and singers, belting out beautiful riffs and runs that tickle your brain, but there doesn’t seem to be much substance for them to work with.

44 – The Musical strikes me as a satirical farce written with good intentions but lacking depth and meaning. Stereotypes seem to abound in the musical, and it appears to be banking on Chicagoans' love and admiration for Barack Obama to draw people through the doors of the Studebaker Theatre. It’s tough to say how the musical will be received in the competitive Chicago Theatre scene. There’s no shortage of talented writers in the Windy City, shows that start on time, and plays and musicals that leave you wanting more. It’s not clear whether 44 – The Musical will be a one-term or two-term play, but it’s safe to say it hopes for the best. 44 – The Musical will be playing at The Studebaker Theatre (410 South Michigan Avenue Fine Arts Building, Chicago, IL) in a limited run from August 23-September 21, 2025. Tickets are available at www.44theobamamusical.com/tickets.

Do we ever really know what someone is going through? We devour what people create, savoring the beauty in their art; we read the words they write, feel the emotions they convey, listen to the music they play, but do we really know what is just beneath the surface? One is left asking this question after viewing the masterpiece that is Twisted Melodies now playing at Northlight Theatre.

Flashback to 1979, when singer and composer Donny Hathaway was a soul music icon, known for R&B hits and his duets with Roberta Flack. Twisted Melodies is a mesmerizing one-man show that immerses us in a day with the brilliant artist, who seeks solace in the music that has always been his salvation. Powerful renditions of songs like “More Than You’ll Ever Know,” “The Ghetto,” and “The Closer I Get to You,” illuminate the enduring power of this talent. Torn between inspiration and his ongoing inner struggle, Hathaway grapples with his life in a gripping performance by Kelvin Roston Jr.

Unlike jukebox musicals that celebrate the life and music of the artist it portrays (think Jersey Boys about the Four Seasons or Just In Time about Bobby Darin), Twisted Melodies offers a new approach to viewing Hathaway’s life and career. We’re with Donny as he isolates in a hotel room, recording music. We learn about his life through captivating stories told from the first-person perspective. We hear his music sung by Hathaway as he recalls the people or events in his life that inspired the songs. We experience, even momentarily, what Donny must have experienced in his life, living with schizophrenia with visual distortions and haunting voices. The first-person storytelling of Hathaway’s life reveals the man behind the artist we know, his personality, his solace, and his demons. The play is not only an homage to the singer-songwriter’s life. “Twisted Melodies is a labor of love,” says playwright and performer Kelvin Roston Jr. “It’s much more than a solo jukebox musical. I chose Donny Hathaway as my muse for his amazing music and musicianship, yes, but also because of his struggle with paranoid schizophrenia. We generally ignore, make excuses for, hide, or even make fun of those dealing with mental illness. Donny Hathaway left an incredible amount of himself and his struggles in the lyrics he wrote, the notes he played, and the tones he bent and swelled with as he sang.”

Twisted Melodies perfectly captures the beauty and struggle of the late artist, and Roston Jr. belts Hathaway’s ballads with such reverence and respect, creating beautiful harmonies and scales that tickle your brain as beautifully as Roston Jr. tickles the ivory, playing throughout the one-man show. Roston Jr.’s tones and range capture the fire and the fury of Hathaway’s genius, challenging the audience to see beyond the notes and see what the artist was going through on that fateful night in 1979. Donny Hathaway tragically passed away at only 33 years old in a rumored solo exit performance of his own. The Chicago-born artist left behind a legacy that influenced or inspired dozens of modern-day artists, including Elton John and Amy Winehouse. Hathaway was even named the 49^th-greatest singer of all time in a 2010 list published by Rolling Stone Magazine.

It's tragic how we often don’t know what someone is going through until after the person is no longer with us, particularly when it comes to something like mental health. But what a blessing it is to know that a story like Twisted Melodies can help to remind us that we’re all going through something. Like Donny Hathaway, we can find our solace, our stories, and ourselves in the things we create, using our art to help others understand what we are going through. Twisted Melodies runs through August 10^th at Northlight Theatre (9501 Skokie Blvd, Skokie). Tickets for Twisted Melodies are available at www.northlight.org

I like to think that I am hip and with it (insert millennial Gif here). I like to think that I am knowledgeable about the latest trends even if I don’t participate in them myself; not so much fashion and viral TikTok challenges, but more the books that everyone wants to read, the song of the summer, the concerts and shows that have digital queues a mile long. I like to think I keep up with it all. But every now and then a show comes along that throws me for a loop and makes me question if I’m Principle Skinner telling myself it’s the kids who are out of touch. Am I out of touch? Because I don’t know how I ever slept on the celebrated and award-winning Broadway show Kimberly Akimbo, now playing at the CIBC theatre in Chicago.

A musical about growing up and growing old (in no particular order), Kimberly Akimbo tells the story of a 16-year-old girl named Kimberly who ages at a rapid rate due to a rare genetic condition, causing her to appear much older than her age. The musical follows Kimberly as she navigates the challenges of adolescence, including dysfunctional family dynamics, a first crush, and a potential felony charge. Kimberly's condition and her family’s struggles add layers of complexity to this coming-of-age story, but ever the optimist, she is determined to find happiness against all odds.

How did I not know about Kimberly Akimbo? Am I out of touch? No summaries or synopses can truly capture how wonderful this musical is. Even describing the play to friends and family fails to capture how funny, charming, and simply heartwarming this play is. From the summaries you can find the story seems like it would be too difficult to follow, like there is too much going on in the story. What the summaries cannot do is tell you how each song captures the awkwardness and awe of adolescence, perfectly hallmarks the heartbreak of a disease, and brings levity to a storyline that could easily segue into something too preachy, too heavy, too depressing. What summaries cannot do is illustrate how easy it is for the audience to drop into New Jersey and follow Kimberly; to learn about her life, root for her, laugh with her, and somehow love her quirky and dysfunctional family as much as she loves them. Despite one of the primary storylines of the play being Kimberly’s disease, it doesn’t dominate or overshadow any character or any message because it’s not the true message of the play. The true message slowly unfolds, told through hilarious and heartfelt songs such as "Make a Wish," "This Time," “Hello, Baby," and "Our Disease" (trust me, the last one is the nerdiest, funniest song in the entire musical). First time viewers of this musical might walk into the theatre skeptical, but you’ll leave this musical feeling as though you shared a kiss with your first crush, like you were hugged by a beloved aunt, and that you talked and laughed for hours with a best friend. Said simply, Kimberly Akimbo is heartwarming.

If there is one show you see this Pride month, let it be Kimberly Akimbo. After getting “with it” and seeing this musical, it’s no wonder to me how it won 5 Tony Awards including Best Musical. It is unique and original, sweet and charming, and absolutely hilarious. The songs are being added to my showtunes rotation, and I am re-reading this review shaking my head because I don’t think I’m conveying just how wonderful this musical is. For once, it’s not the kids who are wrong, it’s me who was out of touch. So don’t be a Skinner like me and go experience the nationwide tour of Kimberly Akimbo while it is here in Chicago, and while you still have time.

Kimberly Akimbo is now playing at the CIBC Theatre in Chicago (18 W Monroe St, Chicago, IL 60603) through June 22^nd. The runtime is 2 hours and 30 minutes. Tickets are available for purchase at www.broadwayinchicago.com.

If our day-to-day lives were a collective color, it would probably be the color blue. Whether you are feeling blue, have the blues, or are just Blue (Da Ba Dee), it’s the color most closely associated to feelings of sadness, of cold, depression, or loneliness. Not every day is going to be sunshine and rainbows filled with vibrant hues. Some days are just…blue. Personally when I feel blue, sad songs are more poignant, rain is more comforting, and I gravitate towards shows, plays, and movies that make me feel something deeper. Because when I’m blue, I want and need to feel everything. If you want to feel something deeper too, then Time Is A Color And The Color Is Blue now playing at Bramble Arts Loft is just the play for you.

Alice Wu in Time is a Color and the Color is Blue.

Set in an ice cave, Time is a Color and the Color is Blue follows a glaciologist, Whittaker, who becomes trapped in the cave while searching for the oldest known cave paintings. As her team waits out the storm in their lab, her mind begins to spiral, memories and guilt melding and folding in on each other just like pressurized ice thousands of feet below the surface. Trapped and losing oxygen fast, Whittaker must confront how she can ask forgiveness—from the Earth, from the ice cave, from loved ones she's hurt, and from herself.

 From the moment you enter the small black box theatre within Bramble Arts Loft, you are completely immersed in the cold cave with Whittaker. Surrounded by blue ice, cut off from the outside world, you immediately feel the sense of unease and brace yourself for what is to come. Will she make it out? What drove her to be there in the first place? What must she confront in herself and in the cave? What unfolds throughout the 75-minute play is an expertly crafted story by playwright Melanie Coffey. The pressure, isolation, and loneliness Whittaker experiences within the cave is a shared experience with the audience. Like the ancient ice that surrounds her, Whittaker feels the pressure to confront her reality while reconciling with her past. Alice Wu’s portrayal of Whittaker brings humor and depth to her character, pulling you into the blue. “Time is a Color and the Color is Blue weaves a story of guilt and love and ice that breaks the surface and snaps as it comes up for air,” says Coffey. The play is neither boastful nor damning though it easily could be. Rather than shaming the audience or the characters, Coffey connects us through connection; to loved ones, time, history, and the natural world. It’s connection that will save us, in more ways than one.

Harper McCoy, Alice Wu, Stephanie Fongheiser, Sabine Wan and Mary Mikva in Time is a Color and the Color is Blue.

Did you know that blue ice is created under pressure.? When snow falls and becomes compressed to glaciers it squeezes air bubbles and enlarges ice crystals, the effect resulting in its signature blue hue. A beautiful thing created under pressure. Blue isn’t just the color of sadness and loneliness, it’s calming, soothing, and tranquil. When our days become overwhelming and we feel the weight and pressures of the world we retreat into our own caves. But in those caves of our own making we can channel the calming, reflective nature of blue. Like Whittaker, we can allow ourselves to pause, reflect, and release. To find connection to our world and ourselves. If and when you are feeling blue, be sad and take the time to pause and reflect. If you choose to venture out of that cave, consider taking a stroll in Andersonville to see a play that will make you feel all the feels and maybe, just maybe, not so blue.

Time is a Color and the Color is Blue is now playing through May 24th at the Bramble Arts Loft, 5545 N. Clark Street. For more information and to purchase tickets, visit avalanchetheatre.com/time-is-a-color.

*This review is also featured on https://www.theatreinchicago.com/!

Sugar, butter, flour…beneath the flaky layers and buttery crusts of pies lay these three simple ingredients. They’re mixed and blended together to form the foundation of endless possibilities to what it could become, pecan, blueberry, or apple pies, cutie pies, sweetie pies, or humble pies. It’s nice to remember that it’s often the simplest things that can bring us so much joy. Like a simple story of a humble pie maker dreaming of a better life, like the story of Waitress, now playing at Paramount Theatre.

Sugar, butter, flour. These aren’t the only ingredients Jenna, a waitress and expert pie maker, uses to make her famous pies. Stuck in a small town and a loveless marriage, Jenna unexpectedly becomes pregnant and then finds acceptance and love in the most unexpected place. Hoping to bake her way out of her troubles, she puts her heart and soul into her unique pies, winning over anyone who tastes them. But while battling expectations and self-esteem issues, Jenna’s delicious pies reflect her state of mind with names like I Don’t Want Earl’s Baby Pie and Where There’s A Whisk There’s A Way Pie. Each of us will find something relatable in Jenna’s struggles and triumphs. Full of romance and the joy of an uninhibited fling, Waitress challenges the story of a pregnant woman trapped in a small town between the life she’s living and the life she wants. Her customers, co-workers, and the town’s handsome new doctor may all offer her conflicting recipes for happiness, but only Jenna can do the soul-searching to decide for herself what the right ingredients are for her own happiness.

Story, talent, heart…those are the three ingredients at the heart of Paramount’s production of Waitress. The musical is based on the 2007 film of the same name with lyrics and music by Grammy Award winner and Tony Award nominee (and millennial icon) Sara Bareilles. Waitress made its debut in 2016, garnering four Tony Awards including Best Musical and Best Original Score with a playlist that includes “Sugar, Butter, Flour,” “What Baking Can Do,” “Club Knocked Up” and romantic tunes such as “It Only Takes a Taste” and “When He Sees Me.”

Within moments of the musical’s Chicagoland debut, it was clear why Waitress is such a cult classic. Like a pie, the storyline has multiple sweet and wholesome layers, but also rocky layers that, for some, are difficult to digest. Like life, sometimes the messiest things are the sweetest at its core. Despite some of the more sensitive material of the play, the incredible talent of the Paramount cast members balanced the sweet and the messy through their portrayal of hard working, tired dreamers. Featuring Michelle Lauto as Jenna, Teressa LaGamba as Becky, and Kelly Felthous as Dawn, the three performers are the production’s sugar, butter, and flour, the heart and soul of the musical blending humor with heart and soul. Jackson Evans as Ogie Jonah D. Winston as Cal, and David Moreland as Dr. Pomatter add flavor and spice to the mix to make this a delectable musical. In an era of movie and film dominated by wealth and flash and big-action, it’s refreshing to know there are productions that still center on the simple things in life. At its core, Waitress is about heart. It kneads, and rolls, and blends the simplest ingredients into a story that is both relatable and sweet, however messy the appearance might be. It’s no surprise to this theatre lover why Paramount theatre was sold out on a Friday evening.

Waitress is now playing at Paramount Theatre in Aurora (23 East Galena Boulevard Aurora, IL) through March 30^th, 2025. So grab your tickets and be sure to snag a seat in Joe’s diner before all the good slices (seats) are gone!

*You can also find this review featured on https://www.theatreinchicago.com/.

Do not believe the hype. AI will not replace the arts. By its very definition it is artificial, the antithesis of reality; false, an illusion, an imitator. Every day we are inundated with the advent of AI, how it will not only automate manual tasks, but how it will soon write our new favorite screenplays, comic strips, news articles and fantasy novels. But mark me: AI will never be able to imitate the feeling one gets by walking into a historic opera house and seeing the grandness and majesty of the venue. AI cannot replicate the incredible resonance of an aria or replace the crescendo of a live orchestra of talented musicians. Said succinctly, AI can never encapsulate the arts, the human experience personified. Don’t believe the hype. It’s just a buzzword. And since 2025 airport rules are in effect, let’s rebrand AI to what we should all seek and be lucky enough to be in our lives: AI=Awe Inspiring. Because those are the only words that could possibly come close to describing the experience that was Sandra Radvanovsky’s incredible performance of Puccini heroines at the Lyric Opera.

Soprano Sondra Radvanovsky is a globally celebrated artist. The depth and exquisite color of her voice are matched by her dramatic acting ability and versatility. She is widely regarded as one of the premiere Verdi sopranos alive today, as well as the leading interpreter of Bel Canto, Verismo, and many others. This February, the Lyric Opera welcomed Radvanovsky back to Chicagoland with open arms as she performed several arias from Puccini’s operas. In this tour-de-force premiere, the world-renowned diva brought her magnificent voice, stylistic command, and incandescent dramatic powers to arias that spanned Puccini’s vast repertoire; favorite leading lady moments from Tosca, La Bohème, Madama Butterfly, and Turandot, interspersed with gorgeous melodies from Puccini's more rarely performed works, all supported by the magnificent sound of the Lyric Opera Orchestra led by Music Director Enrique Mazzola.

The moment the lights of the theatre dimmed and the conductor, Mazzola, took his place before the orchestra calling forth the first notes of classic operas, the audience was transported to another time, another world. Unhurried and unbothered by the outside world, for the briefest moment in time we were simply existing in this beautiful theatre, surrounded by lovers of music and the arts. History and art melded together and traveled to every corner of the historic opera house so not a single guest was denied the grandeur of the music. As the Chicago native took the stage, the audience was enraptured by the enchantress, captivated by Radvanovsky’s vocal prowess, and awestruck at the sheer magnitude of her performance. With light banter from the singer to segue between sets, beautiful interludes led by Mazzola, and a double-encore that left audiences wanting more, the Lyric Opera had truly set the tone for what its 2025 season promises to be, nothing short of awe-inspiring, the only true AI we should pursue in the world.

During her final performance in the limited run of Puccini’s Heroines, Radvanovsky alluded of her connection to the arias she chose to perform, remarking on the need for the arts, for love, for kindness and beauty, all the values the Lyric Opera represents through its performances, outreach, and inclusivity. In a year that attempts to erase history, eliminate the arts, and deny the exquisite pleasure of the humanities, let 2025 be the year to double down and embrace all that Chicago has to offer. With performances that celebrate poetry, music, history, and art, the Lyric Opera, located at 20 N. Wacker Dr., Chicago, promises an incredible 2025 year and a reprieve from this fast-paced world. For details and tickets to future performances, please visit www.lyricopera.org with your AI (Awe-Inspiring) heart today.

There is something magical about Chicago at Christmastime. Even if there is no snow on the ground, there is an energy in the atmosphere, peaceful and whimsical. Whether you take in the colorful zoo lights at The Lincoln Park Zoo, or stroll the Christkindl markets downtown, or ice skate in the shadow of Wrigley Field, there is magical nestled in every corner of the city. December winds bring a chill to The Windy City and signals the arrival of the holiday season with lights, cozy fires, warm drinks, and the most cherished of holiday traditions, The Joffrey Ballet’s The Nutcracker, now playing at the Lyric Opera.

For those who are unfamiliar with The Nutcracker, the fairy-tail-like ballet follows the story of a young girl named Clara who receives a nutcracker doll on Christmas Eve from a magical guest at the party. Clara's reality and dreams merge as she and her nutcracker embark on a magical adventure. The nutcracker transforms into a prince, and Clara and the prince travel to the Land of Sweets, where they meet the Sugarplum Fairy.

Joffrey’s Nutcracker follows a similar storyline with a magical Chicago twist. On a magical Christmas Eve, mere months before the opening of Chicago’s 1893 World’s Fair, Marie and her mother, a sculptress creating the fair’s iconic Statue of the Republic, partake in a festive celebration with a surprise visit from the mysterious Great Impresario. That evening, after awakening to an epic battle between Toy Soldiers and The Rat King, Marie is swept away by a Nutcracker Prince on a whirlwind journey to the dreamlike fairgrounds of the World’s Columbian Exposition with sprawling attractions represented by countries from around the globe. Set to Tchaikovsky’s classic score, The Nutcracker features a celebrated creative team, including two-time Tony Award®-winning choreographer Christopher Wheeldon, Tony Award®-nominated set and costume designer Julian Crouch, Caldecott Medal Award-winning author Brian Selznick, Obie and Drama Desk award-winning puppeteer Basil Twist, Tony Award®-winning lighting designer Natasha Katz and Tony Award®-winning projection designer Ben Pearcy. 

I have been seeing The Nutcracker every holiday season, moving from dancing in the ballet and watching in the wings, to the balcony seats to enjoy the performance. There is nothing quite like The Joffrey’s rendition of the classic ballet. The Chicago World’s Fair of 1893 storyline works incredibly well with the production, from the humble beginnings of fair workers and their families, a kind and wealthy benefactor bequeathing the nutcracker doll, and a dreamlike world with Clara exploring the World’s Fair and all it had to offer. The 1893 World’s Fair inspired Frank E. Baum, utilizing the famed White City of the fair to inspire the Emerald City of Oz in The Wizard of Oz. The fair introduced the world to the Ferris Wheel, brownies, cracker jack popcorn, and the zipper. There were countries and states represented that visitors could only dream to have visited, right in their own backyard. Historical documents and first-hand accounts mention how magical and awe-inspiring the fair was, it’s easy to see how The Joffrey could look at the fair as a backdrop to The Nutcracker and see magic.

But even with the artistic direction The Joffrey took, it still begs the question of why do we see the same performance year after year after year? Artistic Director Ashley Wheater, MBE pondered the same thing. “I have asked myself, ‘How can we make this a special experience for people who have seen the Nutcracker before and for those attending for the first time?’,” says Wheater. “Part of the beauty of this Nutcracker: it is a Chicago story! We set the scene during an important time in the history of our city: the World’s Columbian Exposition of 1892. We identify with the working spirit of the people. We understand that joy can be found in simple things. We appreciate that magic is all around us, if only we look. The real “magic” of this Nutcracker, though, is that it changes every time we watch it. Each of us in the audience is different. We have loved, lost, struggled, succeeded, grown. We bring our own story to the theater. The beauty of live theater is that no two performances will be the same.”

The year’s opening night of The Nutcracker was nothing short of magical. Joffrey’s current company has to be one of their best in years with outstanding principles including Amanda Assucena, the mother and sculptress for the Fair (the Sugar Plum Fairy) and Alberto Velazquez, the Great Impresario of the Fair, and the darling Anabelle de la Nuez as Marie (Clara) and Maxwell Dawe as The Nutcracker. Each scene is a feast for the eyes with the entire company dancing exquisitely amount wreaths, glittering snow, and before giant Ferris wheels. Whether this is your first time seeing The Nutcracker, or your hundredth, there is nothing in the world like Joffrey’s Nutcracker. It is truly one of a kind and the perfect addition to any holiday plans. But much like The World’s Fair of 1893, the magic won’t be here forever, so don’t delay and get your tickets today.

The Nutcracker is now playing at The Lyric Opera House, (20 North Wacker Drive, Chicago) through December 28^th. The Performance run time is 2 hours, includes one 20-minute intermission. Tickets are available at www.joffrey.org.

In 1997, Disney came out with the most magnificent adaptation of Rodgers and Hammerstein’s Cinderella that has ever been made. With talent like Brandy, Whitney Houston, Bernadette Peters, Jason Alexander, and Paolo Montalban, the rendition of the classic fairytale lives rent free in the minds of most millennials and their parents who endured countless rewatches of the film on The Disney Channel. With the resurgence and fascination of all things 90s, the musical will no doubt be a successful streaming event. The 1997 film managed to do something previous adaptations of the fairytale could not. It captured pure magic. The charm, the wonder, the beauty and enchantment, it was all perfect. Twenty-seven years later, that same charm and enchantment can be found at Marriott Theatre as they perform Rodgers and Hammerstein’s Cinderella.

Rodgers & Hammerstein’s Cinderella celebrates the timeless enchantment of the magical fairy tale. It tells the story of a young woman named Cinderella, mistreated by her cruel stepmother and stepsisters, who dreams of a better life and is granted a magical night at a royal ball by her Fairy Godmother, where she falls in love with the Prince, ultimately escaping her harsh reality and finding happiness through a glass slipper left behind at the ball. The classic story of Cinderella at Marriott Theatre follows her quest to attend the Prince’s Ball with a twist of originality, charm and elegance. With a magical, minimalist 360-degree stage, the musical transports a new generation to a miraculous kingdom of dreams-come-true. With great warmth and more than a touch of hilarity, this enthralling fairy tale still warms the hearts of children and adults alike.

Though Cinderella’s story has been told thousands of times over in every conceivable style, Rodgers & Hammerstein’s Cinderella has something special. The musical was originally written for television with music by Richard Rodgers and a book and lyrics by Oscar Hammerstein II. It aired in 1957 with the incomparable Julie Andrews playing the title role. The broadcast was viewed by more than 100 million people, the 1997 adaptation boasted an impressive 60 million. While Marriott Theatre cannot accommodate those numbers, the show continues to entertain sold out crowds. Princes and princesses of all ages gather at the Lincolnshire homestead to hear familiar numbers such as Impossible/It’s Possible, Ten Minutes Ago, and A Lovely Night. Jaeda Lavonne absolutely dazzles as Cinderella, accompanied by a remarkably talented cast to include Marriott darlings Lillian Castillo as the Fairy Godmother and Lorezno Rush Jr. as the King.

Marriott Theatre rounds out their season with this enchanting production, reviving the magic and charm of the musical just in time for the holiday season. Be sure to take your princes and princesses to see it before the stroke of midnight and the end of 2024. Rodgers & Hammerstein’s Cinderella is now playing at The Marriott Theatre (10 Marriott Dr, Lincolnshire) through December 29, 2024, a finer night you know you’ll never see. Tickets are available at www.marriotttheatre.com.