Items filtered by date: November 2007

It’s often quoted in reviews that we are unworthy of such beauty or splendor the arts and humanities afford us. The turn of phrase elicits images of Wayne and Garth of Wayne’s World bowing at the feet of Alice Cooper, or a dashing Bridgerton man dropping to a knee at the feet of a lithe debutante to profess his unworthiness of her affections. But in a world that increasingly takes more and more from us, we mere mortals, I challenge that we are worthy. We are worthy of beauty, of art, of the humanities. We are worthy to see the amalgamation of when talented artists bring a work of fiction to a stage, to hear clever prose intermingled with catchy musical numbers, and be visually wowed and transported out of our reality, if only for a few short hours. We are worthy of magic. And magic is precisely what Cadillac Palace Theatre is granting us in Death Becomes Her, the musical, now playing through June 2nd.

(l to r): Megan Hilty (Madeline Ashton), Jennifer Simard (Helen Sharp)

Death Becomes Her, hailed as musical comedy revitalized, is a new musical adaptation based on the 1992 Universal Pictures movie of the same name. When a novelist loses her man to a movie star and former friend, she winds up in a psychiatric hospital. Years later, she returns home to confront the now-married couple, looking radiant. Her ex-husband's new wife wants to know her secret and discovers that she has been taking a mysterious, magical potion which grants eternal life to the person who drinks it. The actress follows suit but discovers that immortality has a price in this supernatural, dark comedy. Producer and writer Marco Pennette transformed the play for the theater, which is directed and choreographed by Tony-nominated Christopher Gattelli. Tony Award nominees Jennifer Simard and Megan Hilty take the lead roles as Helen Sharp and Madeline Ashton, the former friends competing for the same man’s affection and finding a solution that is simply to die for. Renowned stage actor Christopher Sieber and millennial’s goddess Michelle Williams of Destiny’s Child round out the cast as Dr. Ernest Menville and Viola Van Horn (que thunder and lightning). It’s a dark comedy essential to add to any playbill collection.

Christopher Sieber (Ernest Menville)

Few Broadway shows, let alone any play, have had such an illustrious reception in Chicago. The gays, the theys, girlies young and old, allies and kings all donned their best summer theatre attire to attend last night’s performance, all dutifully in their seats the moment the play started with a literal CRASH of magenta-hued thunder. Lightning struck and we were all worthy to be transported to the magical world of New York City to follow the story of best frenemies Madeline Ashton and Helen Sharp. For the entire run time of 2 hours and 30 minutes (with a 15-minute intermission), Chicagoans were treated to an artistic cornucopia for the senses. The live orchestra playing catchy tunes, lavish scene and stage designs, alluring and dramatic costume designs, the illusion and fight sequencing, the lighting, the makeup, the sound, the dancing and musical arrangements, the orchestration, every single solitary artistic element left the audience spellbound and awestruck. Brought to life with the incredible talents of the four main cast members, supported by an inclusive, talented, and drop-dead gorgeous ensemble cast, Death Becomes Her is sure to be a powerhouse on the Broadway circuit for decades to come.

The cast of Death Becomes Her

In addition to the production quality and value delivered, what makes this adaptation so flawless is the story itself. The elegant-gothic motifs in Death Becomes Her are timeless and hold up in 2024 just as well as it did in 1992; beautiful women feeling the pressure of unrealistic societal beauty standards and attempting to defy the natural order of aging, friends as fierce rivals and competitors, love triangles, and the desire to remain as we are, to stop time. While Death Becomes Her might not be able to defy gravity, it does stop time for a blissfully fun three hours. And that is pretty damn magical.

Balanced with witty banter, clever one-liners, raunchy humor, and exceptionally timed comedic delivery, Death Becomes Her is exactly the realistic escapism we need in our chaotic world and one we are all supremely worthy to behold. The musical comedy is now playing at The Cadillac Palace Theatre (151 W Randolph St, Chicago) through June 2nd. Get your tickets today before they magically disappear.

The ROMEO AND JULIET production team includes Isa Noe (they/them/theirs, Scenic/Props Designer), Rachel M. Sypniewski (she/her/hers, Costume Designer), Jack Morsovillo* (he/him/his, Composer/Music Director), LaKecia Harris* (she/her/hers, Assistant Director), Payton Shearn (she/they, Stage Manager), Hailey Piorek (she/her/hers, Assistant Stage Manager), Adi Davis (she/they, Production Manager), Hannah Mary Simpson (she/her/hers, Text Coach), Maureen Yasko* (she/her/hers, Intimacy Director), Chris Smith* (he/him/his, Fight Director), Sammi Grant (she/her/hers, Vocal Coach).

(* Indicates Midsommer Flight Artistic Ensemble member)

Midsommer Flight's productions are performed in natural sunlight and without amplified sound, much as they were done in the Bard's day. Midsommer Flight has become one of Chicago's best-loved and most highly regarded producers of free summer Shakespeare. In her review of Midsommer Flight's 2023 production of CYMBELINE, NEW CITY'S Mary Wisniewski said, "this Midsommer production offers better Shakespeare...the language was beautiful and delivered with heart. ...with Shakespeare, the play has to be more important than the gimmicks. Midsommer remembers that." Sarz Maxwell of BUZZ CENTER STAGE, in reviewing 2022's A MIDSUMMER NIGHT'S DREAM, said "Director/Founder Beth Wolf has brought Midsommer Flight triumphantly through a decade of productions." Kerry Reid, writing for the CHICAGO READER, said of 2019's THE TEMPEST, "Wolf's compact staging comes in at a tidy 90 minutes, but nothing feels rushed here... it wears its ingratiating charms with a light but sure-handed touch."

Chicago continues to produce some of the most exciting work in the country this Summer, offering a wide variety of plays and musicals, as well as comedy, dance, festivals, and more. To highlight these productions, The League of Chicago Theatres is publishing its Summer Theatre Guide, which includes 100+ shows running in the Chicago area through September.

For additional details about this summer's performances and the Summer Theatre Guide visit the League of Chicago Theatres website, ChicagoPlays.com. Additionally, many summer shows will be available at Hot Tix, Chicago's local, discounted ticketing service. Hot Tix operates online at HotTix.org and in-person at Guest Services inside Block 37 Shops on State, 108 N State Street. The Block 37 location is open Monday-Saturday 11am-6pm and Sunday 11am-5pm.

The following is a selection of notable work playing in Chicago this Summer, organized by location.

A selection of productions playing in theatres located Downtown are:

Death Becomes Her

Broadway In Chicago at the Cadillac Palace Theatre

Now Thru June 2

Starring Tony Award^® nominees Megan Hilty (Wicked, "Smash"), Jennifer Simard (Company, Disaster!), and Christopher Sieber (Spamalot, Company), with Grammy^® Award winner Michelle Williams (Destiny's Child, Chicago), Death Becomes Her, based on the classic 1992 film, is a drop-dead hilarious new musical comedy about friendship, love, and burying the hatchet...again, and again, and again.

Midnight in the Garden of Good and Evil

Goodman Theatre

Playing June 25 – August 4

Acclaimed author John Berendt's iconic New York Times best seller becomes a seductive new musical. Southern charm is bountiful in Savannah, Georgia. But behind polite smiles, the eccentric residents are filled with secrets and motives. When wealthy antiques dealer Jim Williams is accused of murder, the sensational trial uncovers hidden truths and exposes the fine line between good and evil – which sparks Lady Chablis and other Savannahians to change the city forever. MacArthur "Genius" grantee Taylor Mac, Tony Award winners Jason Robert Brown and Rob Ashford, and choreographer Tanya Birl bring the true-crime blockbuster book and its beloved characters to life in this new musical adaptation.

The Lord of the Rings: A Musical Tale

The Yard at Chicago Shakespeare Theater

Playing July 19 – September 1

Journey to the magical realms of Middle-earth as J.R.R. Tolkien's trilogy of books are brought to the stage in a US premiere musical. As the Hobbits celebrate Bilbo Baggins' eleventy-first birthday in the Shire, he gifts his nephew Frodo his most precious belonging - a gold ring. This fateful moment launches Frodo on a legendary and perilous quest across Middle-earth to the darkest realms of Mordor, to vanquish evil with his loyal Fellowship. This theatrical event celebrates the magical world of Middle-earth, making for an unforgettable experience for longtime fans and newcomers alike.

The Kite Runner

Broadway In Chicago at CIBC Theatre

Playing June 11 – 23

Based on Khaled Hosseini's beloved, international best-selling novel, The Kite Runner is a powerful new play adapted by Matthew Spangler that follows one man's journey to confront his past and find redemption. Told across two decades and two continents, The Kite Runner is an unforgettable journey of forgiveness, and shows us all that we can be good again.

Queens of the Blues

The Studebaker Theater at the Fine Arts Building

Playing June 7-30

TriCoastal Entertainment Group presents Queens of the Blues, a new musical that captures the heart of the African American experience through the lives of four Blues Queens; Ma Rainey, Bessie Smith, Koko Taylor and Etta James.

The 2024 Rhinoceros Theatre Festival

The Curious Theatre Branch at Facility Theatre

Running May 31 – June 30

Each year, Curious Theatre Branch curates and produces the Rhinoceros Theater Festival, which provides production and exhibition opportunities to hundreds of artists, drawing thousands in attendance each year. The longest-running fringe festival in Chicago, the Rhino features works in theater and performance from Chicago companies and national artists alike.

SIX

Broadway In Chicago at James M. Nederlander Theatre

Playing June 4 – July 14

From Tudor Queens to Pop Icons, the SIX wives of Henry VIII take the microphone to remix five hundred years of historical heartbreak into a Euphoric Celebration of 21st century girl power! This new original musical is the global sensation that everyone is losing their head over!.

Theatres are located in almost every neighborhood in Chicago. A selection of productions playing throughout Chicago are:

The Salon

Black Ensemble Theater

Playing June 8 – July 28

Bernadette's salon has been a place of refuge, love, and community in Chicago since opening their doors in 1974. It's now 2024 and the doors may have to close due to financial hardship, major changes in the community and new ownership. The staff must come together and save the salon by any means necessary! Through music, dance and shared experiences, the salon explores black legacy, black excellence and hair like never before seen!

Black Sunday

TimeLine Theatre

Now through June 29

Take a remarkable trip back in time to witness this haunting story of climate change, migration, and family in the days leading up to a calamitous dust storm in 1930s Texas. It is April 1935 in the dust storm-riddled plains of Texas and a family farm is struggling to keep afloat amidst a mounting series of environmental disasters. As Jesús, a new field worker, arrives in their midst, stubborn Pa refuses to believe his land is no longer viable, young Sunny dreams of a new life in bountiful California, and Ma starts having mysterious visions of the future.

Turret

A Red Orchid Theatre at Chopin Theatre

Now through June 9

Two men survive in a facility deep underground somewhere in the wild woods of the Pacific Northwest, hiding away from something terrible looming just outside. Ensnared in a relentless loop of endless tomorrows, they discover the wolf isn't at the door, he's already inside, waiting in the creeping darkness all around them. Turret is an excavation of masculinity, love, loss and isolation. A claustrophobic carnival of carnage, carrier pigeons, cribbage, whiskey, music, mischief and mayhem.

Little Bear Ridge Road

Steppenwolf Theatre Company

Playing June 13 – July 21

Ensemble Member Laurie Metcalf comes home to Steppenwolf to star in Little Bear Ridge Road, a comic, cosmic and intimate world premiere, penned by MacArthur Fellow Samuel D. Hunter and directed by Tony Award winner Joe Mantello. In the outer limits of rural Idaho, the last two members of the Fernsby family tree, an estranged aunt and nephew, reunite to sort the mess left behind after a troubled father's passing. They now face an uncomfortable and universal question: how do we deal with other people? And is connection more trouble than it's worth?

Alice By Heart

Kokandy Productions at Chopin Theatre

Playing July 18 – September 29

In the rubble of the London Blitz of World War II, Alice Spencer's budding teen life is turned upside down as she and her dear friend Alfred are forced to take shelter in an underground tube station. When the ailing Alfred is quarantined, Alice encourages him to escape with her into their cherished book and journey down the rabbit hole to Wonderland.

A Year with Frog and Toad

Chicago Children's Theatre

Playing through June 9

Children's author and illustrator Arnold Lobel's beloved characters hop from the page to the stage in the Tony-nominated musical A Year with Frog And Toad, based on his popular children's book that follows two best friends - the cheerful, popular Frog and grumpy, but lovable Toad - through four fun-filled seasons.

The Prodigal Daughter

Raven Theatre Company

Playing through June 22

In the Red Summer of 1919, Chicago's Black Belt is boiling over, from both the ruthless heat and the intensifying racial conflict gripping America. Virginia Bass, a successful saleswoman, is traveling with her business partner when they decide to pay her hometown and her family a visit. However, Virginia finds the welcome not nearly as warm as the weather outside, especially from her estranged father, leaving her wondering if it's ever possible to truly come home.

Romeo and Juliet

Midsommer Flight

Running June 28 – August 4

Free outdoor performances of Shakespeare's Romeo and Juliet will be presented outdoors in six Chicago Parks District parks – Chicago Women's Park and Garden, Gross Park, Kelvyn Park, Nichols Park, Lincoln Park, and Touhy Park

Die Hard 4 Your Luv

The Factory Theater

Playing May 31 – July 13

It's NYE 1999. A group of sinister terrorists are holding the world's most popular boy band hostage! Unless the nations of the world hand over their vital Y2K codes by midnight, the Boyz Will B Boyz will be Boyz Will B Dead! Will the non-talented boy band member save the day? Or will the terrorists escape to their all-inclusive resort with the water ski package?

Port of Entry

Albany Park Theater Project

Playing through June 15

Port of Entry invites you to step inside the real-life stories of immigrants and refugees from all parts of the world living side by side in a single apartment building in one of the country's most diverse immigrant communities: Chicago's Albany Park. Formed by APTP's youth ensemble, Port of Entry will take you on a journey through time and across cultures.

Jersey Boys

Mercury Theater Chicago

Playing through July 28

Winner of Best Musical at both the Tony Awards and Olivier Awards, Jersey Boys takes you behind the music of Frankie Valli and The Four Seasons to discover the secret of a 40-year friendship as the foursome work their way from the streets of New Jersey to the heights of stardom.

Native Son

Lifeline Theatre

Now through June 30

Suffocating in rat-infested poverty on Chicago's South Side during the 1930s, twenty-year-old Bigger Thomas struggles to find a place for himself in a world whose prejudice has shut him out. After taking a job in a wealthy white man's house, Bigger unwittingly unleashes a series of events that violently and irrevocably seal his fate.

The Choir of Man

Apollo Theater

Now through July 14

Set in the best pub in the world, a cast of nine (extra)ordinary guys combine hair raising harmonies, foot stomping singalongs, world class tap dance, and poetic meditations on the power of community. Featuring pop, classic rock, folk melodies, and pub anthems from artists such as Adele, Paul Simon, Katy Perry, Red Hot Chili Peppers, Luther Vandross and more, The Choir of Man is 90 minutes of feel good entertainment that has something for everyone and is unlike anything else in Chicago!

A Little Night Music

Theo Ubique Cabaret Theatre

Now through July 14

Adapted from the celebrated Ingmar Bergman film "Smiles of a Summer Night," A Little Night Music follows actress Desire Armfeldt, the affairs she is entangled in, and the men who love her. When everyone gathers at the country estate of her mother, new romances and second chances bloom in surprising ways.

Productions playing in the suburbs of Chicago include:

Peter and the Starcatcher

Paramount Theatre

Playing July 24 – August 25

Tossing aside unfortunate adult notions, Peter and the Starcatcher embraces the bonds of camaraderie, love and duty in this Victorian adventure. Adulting is hard! Join Peter on this quest to protect something important starstuff, and the cheerful spirit of youth itself, in this fanciful rendition of Peter and the Starcatcher.

Ain't Misbehavin'

Drury Lane Theatre

Playing June 26 – August 18

Stride along with the toe-tapping, finger-snapping revue that journeys through the Harlem Renaissance with the music of legend Fats Waller. Brimming with the energetic charm of jazz classics such as "Honeysuckle Rose" and "I Can't Give You Anything But Love," the crooners of Ain't Misbehavin' bring soulful melodies to life, capturing the essence of an era where the joint was always jumpin'.

Beehive: The 60's Musical

Marriott Theatre

Playing June 19 – August 11

The ultimate celebration of 1960's female empowerment! Featuring such timeless classics as "My Boyfriend's Back," "Be My Baby," "Son of a Preacher Man" and "Me and Bobby McGee," Beehive: The 60's Musical nostalgically recalls the days of miniskirts, transistor radios and flower power.

2 Pianos 4 Hands

Northlight Theatre

Playing July 5 – August 4

A talented duo of would-be concert pianists trade stories of pushy parents, eccentric teachers, endless practice, and dreams of stardom. Piano wizardry and roaring comedy combine as piano nerds Ted and Richard play classical, pop, and everything in between, all while portraying dozens of characters that took part in their humbling quest for musical greatness.

The Hot Wing King

Writers Theatre

Playing June 20 – July 21

When it comes to wings, Cordell is king! Supported by his beau Dwayne and the best friends who serve as his fry crew, the group embarks on a fun night of pre-competition prep for Memphis' Annual hot wing festival. But when Dwayne's troubled nephew unexpectedly needs a place to stay, it quickly becomes a recipe for disaster.

Carousel

Music Theater Works

Playing August 8-18

Based on Ferenc Molnar's play, "Liliom," Rodgers and Hammerstein's Carousel tells the love story between carnival barker Billy Bigelow and millworker Julie Jordan. Voted best musical of the 20th Century by "Time Magazine," Carousel includes the songs "If I Loved You," "You'll Never Walk Alone," and "Soliloquy."

For a comprehensive list of Chicago productions, visit the League of Chicago Theatres website, ChicagoPlays.com. Available discounted tickets will be listed at HotTix.org. Chicago theatres prioritize safely gathering. Patrons are encouraged to confirm current protocols at each theatre. Shows and protocols are subject to change.

About Chicago theatre 

Chicago theatre is the leader in the U.S. with more than 250 theatres throughout Chicagoland, comprising a rich and varied community ranging from storefront, non-union theatres to the most renowned resident theatres in the country, including 6 which have been honored with Regional Tony Awards, and the largest touring Broadway organization in the nation. Chicago's theatres serve 5 million audience members annually and have a combined budget of more than $250 million. Chicago produces and/or presents more world premieres annually than any other city in the nation. Each year Chicago theatres send new work to resident theatres across the country, to Broadway, and around the world. For more information, visit www.chicagoplays.com.

The League of Chicago Theatres' Mission Statement

Theatre is essential to the life of a great city and to its citizens. The League of Chicago Theatres is an alliance of theatres, which leverages its collective strength to support, promote and advocate for Chicago's theatre industry. Through our work, we ensure that theatre continues to thrive in our city.

Token Theatre, Chicago's Asian American theatre company, announces the company's first full production, ZAC EFRON, written by Artistic Director David Rhee, co-written by Managing Director Wai Yim and directed by two-time Emmy Award winner Alan Muraoka ("Sesame Street"). ZAC EFRON plays at A Red Orchid Theatre, 1531 N Wells St, June 20-July 21, 2024. The press opening is June 23, 2024 at 3PM.

Tickets, $40 (Theatre industry members and seniors: $25; Student/military: $20; Groups: $30), will go on sale May 16 at www.tokentheatre.net.

ZAC EFRON glimpses into a world that is rarely seen on the American stage—two Asian Americans looking for love and the complexities that come with their adventures. It is a poignant opportunity for radical self-acceptance through YouTube, Tarot readings, and of course, one of America's favorite sweethearts, Zac Efron.

"In 2019, Cheryl Hamada, Wai Yim, and I challenged ourselves to name a theater piece that tells the story of two Asian Americans simply falling in love and doing so without extreme circumstances surrounding the narrative, such as the Vietnam War or going through the trials and tribulations of immigrating to another country. We were stumped. So began my newest play, ZAC EFRON," comments David Rhee. "What none of us foresaw was the pandemic and the rise in AAPI hate crimes that manifested across the country, reminding us that we're still seen as foreigners in our own home. ZAC EFRON revolutionizes the narrative by centering on two AAPI characters, humanizing them, and ultimately celebrating their love within this country's fraught context.

Two-time Emmy Award winner Alan Muraoka ("Sesame Street"), directs. The cast includes Hansel Tan ("Madam Secretary", "The Blacklist: Redemption") Gordon Chow (Fish Men, Jade Heart) and Token Theatre artists Wai Yim ("The CHI", The White Snake) and David Rhee (Broadway's Thoroughly Modern Millie, "Law & Order").

More than five hundred people joined Token as it launched the inaugural season with live, online performances of ZAC EFRON in 2020 and 2021 which included actors and directors from coast to coast. This marks Token's first full production as the company presents this humorous and heartfelt quest. David Rhee adds, "Telling our stories is more important than ever with the onslaught of AAPI hate crimes across our country. Token Theatre's goal is to humanize Asian Americans and foster an environment that recognizes us as Americans."

Facts

ZAC EFRON, by David Rhee, co-written by Wai Yim

Directed by Alan Muraoka

Featuring Hansel Tan*, Wai Yim* and Gordon Chow

*denotes member of Actors' Equity Association

Dates:

Previews: June 20-22

Opening: June 23

Run dates: June 27-July 21, 2024

Performance schedule: Thursdays through Saturdays at 7PM; Saturdays and Sundays at 3PM

Special performances include: Wednesday, June 26 at 7PM (LGBTQ+ night, celebrating Gay Pride Chicago); a talkback following the Thursday, June 27 performance; and, Monday, July 1 at 7PM (Industry Night)

There will be no performances on Sunday, June 30 or on Thursday, July 4.

Tickets: WWW.TOKENTHEATRE.NET

$40

Group tickets (10 or more): $30

Theatre industry members and seniors: $25

Student/military: $20

About Token Theatre

Token Theatre aims to change the narrative and shatter the false constructs about Asian Americans by creating new stories, reimagining classic works, and empowering artists to reshape the American identity.

I arrived at City Lit Theater’s MURDER IN THE CATHEDRAL expecting a heavy, serious, doubtless thought-provoking but rather intimidating major work of literature. By the end of the performance, I wanted to rush out, buy the book and read it immediately. Any production that accomplishes this in three hours must be called a success!

At its most basic level T.S. Eliot’s play is a meditation on Christian martyrdom in a time of great political stress. The quotation from Alexai Navalny, “I’m on the very blackest part of the blacklist,” on the program’s front-page links this theme directly to the times we live in today.  The script was almost entirely in verse (how else would the Nobel Prize-winning poet write a play?) and at many points the extended alliteration and vivacious rhyme remind one of “Skimbleshanks, the Railway Cat,” or “Macavity’s a Mystery Cat, he’s called the Hidden Paw,” and the other wonderful TS Eliot poems that gave us the lyrics to Cats.  

Production operated from many levels. Patti Roeder designed costumes ranging from modern business suits to carefully constructed evocations of medieval garb. The various social classes and estates were delineated, with the Chorus [Sally Olson, Isabel Schmitz, Katarina Bakas, Kara Chandler] representing the working poor of Canterbury while the rich and politically powerful barons were embodied in the Tempters [Sean Harklerode, Varris Holmes, Robert Howard], who doubled as Knights with Fourth Knight Zach Kunde, who also played Messenger.  The Priests of the Cathedral were played by John Blick, Stephen Fedo, and Joel Thompson. As a whole the entire cast was splendid and Paul Chakrin’s fight choreography gave us a bloodcurdling assassination.

Which brings us to Becket himself, masterfully played by James Sparling and appareled with consummate attention to detail. I have no idea what vestments a Roman Catholic archbishop of the 12th Century wore or how his acolytes invested him. I do know what a present-day Anglo-Catholic priest wears and how she vests herself, and costume director Patti Roeder nailed it precisely.

The stage was in the sanctuary of Edgewater Presbyterian Church, and Director [and outgoing Producer and Artistic Director] Terry McCabe presented the play in the (semi) round. The central aisle leading to the stage area in front of an altar table and pulpit was, of course, singularly appropriate, and Mike McShane’s lighting through the stained glass behind the altar had a great effect.  But the most amazing contribution was that of composer Phillip Seward, who set the verses of the four-member chorus (think Greek chorus, not Chorus Line) to haunting music in his world-premiere score.

 The four singer / actresses articulated Eliot’s lines, now lyrics, with great clarity and their four-part harmony was flawless.  As in a Greek play, these chorus members were not characterized in the script, yet their acting ability, as well as subtle cues from their costumes, allowed me to imagine the sort of women they were “in real life” as they went about their arduous daily rounds in the 12th Century city of Canterbury.

The role of the chorus is to propel the plot, and the music – pianist Jacob Adams punctuated by hammered chimes – intensified that effect.  The first act, while intellectually heavy, sped by, and the composer closed with an allusion to a somber, minor key Advent hymn, “O Come, O Come, Emmanuel” – a falling melody line that carries the lyric, “and ransom captive Israel” – a ransom of martyrs’ blood.  

Dialect coach Carrie Hardin’s work with the cast is clearly evident in the British r-lessness, but for the first minutes I wished she’d paid more attention to de-nasalizing the a’s.  However, I soon stopped noticing this. I was particularly intrigued by the choice to portray Becket’s internal conflict as a dialog alternating his middle-class British accent with a working class, almost Cockney style of speech.  

All the performances were strong, but I was particularly impressed with Sparling somehow managing to make Becket not only compelling but also, for me at least, annoying.  Historically, Becket’s assassination was spurred when King Henry II flew into a temper and shouted, “Will no-one rid me of this meddlesome priest?!”  Four of his loyalists took him literally, traveled to Canterbury and, indeed, murdered Becket there in the Cathedral.  How seriously Henry actually meant the comment is unknowable, but I found myself empathizing with his exasperation. 

This reviewer, as it happens, spent 8th grade in England and this period of English history was on that year’s curriculum.  Knowing a bit about the politics of that time was helpful in my understanding the speeches of the first act.  For anyone lacking a middle school level of familiarity with 12^th Century English history, this Wikipedia article covers what Mr. Dowthwaite told us in class.  

Highly recommended!

Playing through June 16 at City Lit Theater.

All my gratitude to Elizabeth Vann for her invaluable assistance in composing this review.

Porchlight Music Theatre is proud to announce the return of its free summer concert series Broadway in your Backyard, now in its fourth year, June 6 - August 6, as part of Chicago Park District’s Night Out in the Parks series, supported by the Mayor’s Office and Chicago Department of Cultural Affairs and Special Events and Free for All, Comcast and Xfinity. Broadway in your Backyard is co-directed by Frankie Leo Bennett and Michael Weber and music directed by Linda Madonia. This 60-minute concert includes Chicago performers singing favorite songs and hidden gems from the Broadway canon. Broadway in your Backyard is suitable for all ages and audiences are encouraged to bring chairs or blankets to enjoy the outdoor concerts. For more information go to PorchlightMusicTheatre.org. 

Broadway in your Backyard 2024, as part of Night Out in the Parks, is FREE and open to the public. This summer’s schedule includes:

Unity Playlot Park,  2636 N. Kimball Ave.

Thursday, June 6 at 6 p.m.

Welles Park, 2333 W. Sunnyside Ave. 

Tuesday, June 11 at 6:30 p.m. 

Porchlight also hosts a “Kids Day” at Welles Park with activities and treats for children, while supplies last 

Washington Park, 5531 S. King Dr. 

Thursday, June 13 at 6 p.m.

Portage Park, 4100 N. Long Ave. 

Tuesday, June 18 at 6 p.m.

Skinner Park, 1331 W. Adams St. 

Thursday, June 20 at 6 p.m.

Munroe Park, 2617 W. 105th St. 

Tuesday, June 25 at 6 p.m.

Seneca Playlot Park, 220 E. Chicago Ave.

Thursday, June 27 at 6 p.m.

Sherman Park, 1301 W. 52nd St. 

Tuesday, July 2 at 6 p.m.

Dvorak Park, 1119 W. Cullerton St. 

Tuesday, July 9 at 6 p.m.

Hale Park, 6258 W. 62nd St. 

Thursday, July 11 at 6 p.m.

Schreiber Playground Park, 1552 W. Schreiber Ave.

Tuesday, July 16 at 6 p.m.

Washington Square Park, 901 N. Clark St. 

Tuesday, Aug. 6 at 6 p.m.

ABOUT NIGHT OUT IN THE PARKS

Porchlight Music Theatre’s Broadway in your Backyard is presented as part of the Chicago Park District’s Night Out in the Parks series, supported by the Mayor’s Office and Chicago Department of Cultural Affairs and Special Events. For more than 10 years, the Night Out in the Parks program has presented cultural events year-round in neighborhood parks throughout the city. The Chicago Park District in partnership with over 100 local artists and organizations, present engaging events and performances that enhance quality of life across Chicago and amplify the artistic and cultural vibrancy in every neighborhood. Through multiple disciplines, which include theater, music, movies, dance, site-specific work, nature programs, and community festivals, the series aims to support Chicago-based artists, facilitate community-based partnerships and programs, cultivate civic engagement and ensure equity in access to the arts for all Chicagoans. For a complete list of Night Out in the Parks and other Chicago Park District events, please visit NightOutintheParks.com.

ABOUT PORCHLIGHT MUSIC THEATRE

Porchlight Music Theatre, now in its 29th season, is the award-winning center for music theatre in Chicago. Through live performance, youth education and community outreach, we impact thousands of lives each season, bringing the magic of musicals to our theatre home at the Ruth Page Center for the Arts in the Gold Coast and to neighborhoods across the city. Porchlight has built a national reputation for boldly reimagining classic musicals, supporting new works and young performers, and showcasing Chicago’s most notable music theatre artists, all through the intimate and powerful theatrical lens of the “Chicago Style.” 

Porchlight's history over nearly three decades includes more than 70 mainstage works with 15 Chicago premieres and five world premieres. 

Porchlight's education and outreach programs serve schools, youth of all ages and skill levels and community organizations. Porchlight annually awards dozens of full scholarships and hundreds of free tickets to ensure accessibility and real engagement with this uniquely American art form. 

The company’s many honors include 178 Joseph Jefferson Award (Jeff) nominations and 49 Jeff awards, as well as 44 Black Theatre Alliance (BTA) nominations and 15 BTA awards. In 2019, Porchlight graduated to the Large Theatre tier of the Equity Jeff Awards and has been honored with seven awards in this tier to date including Best Ensemble for Duke Ellington’s Sophisticated Ladies (2019) and Best Production-Revue for Blues in the Night (2022). 

Through the global pandemic, Porchlight emerged as one of Chicago’s leaders in virtual programming, quickly launching a host of free offerings like Sondheim @ 90 Roundtables, Movie Musical Mondays, Porchlight by Request: Command Performances and WPMT: Classic Musicals from the Golden Age of Radio. In 2021, Porchlight launched its annual summer series, Broadway in your Backyard, performing at parks and venues throughout the city. 

Broadway in your Backyard is part of Chicago Park District’s Night Out in the Parks series, supported by the Mayor’s Office and Chicago Department of Cultural Affairs and Special Events with lead sponsors Free For All, Comcast and Xfinity and, in part, by Unity Park Advisory Council and Trader Joe's.

Porchlight Music Theatre is partially supported by generous contributions from Allstate; Comcast/Xfinity; Abe and Ida Cooper Foundation; Glimpse Vision; James P. and Brenda S. Grusecki Family Foundation; Hearty Boys; A.L. and Jennie L. Luria Foundation; the Pritzker Traubert Foundation; Ryan and Spaeth, Inc.; Daniel and Genevieve Ratner Foundation; The Saints and Dr. Scholl Foundation.

The season program is partially supported by a grant from the Illinois Arts Council Agency, a state agency, and by a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events. 

Porchlight Music Theatre wishes to thank members of the Matching Gift Corporate Program including Abbvie; Allstate; Baxter; Lloyd A. Fry Foundation; Peoples Gas; Pepsico; Polk Bros Foundation and The Saints. 

Despite the fact that I have never read the Newberry Award-Winning children’s book called Last Stop on Market Street, I chose to see the musical adaptation on a sunny Saturday afternoon. And I have to say, I am impressed with this fun-loving musical at the Young People’s Theatre of Chicago. This show is everything you could ask for with beautiful variations of music, singing, dancing and a playful cast.

The show adapted by Cheryl L. West from Matt de la Peña’s best-selling picture book, begins with a young boy named C.J. arriving at his Nana’s house for a short stay while his parents are on a work trip. C.J. is quickly introduced to his Nana’s neighborhood with a joyous welcome song from the neighbors that is contrasted with C.J. 's wishes to go back home. As time goes on, Nana and C.J. reach a point of contention over C.J. wanting to use his electronics and Nana wanting to spend quality time with her grandson. Nana realizes C.J. has been closed off to the world around him and takes him on an adventure through the city on the bus and to a soup kitchen. These experiences challenge C.J. and open him up to the diversity of humans and life around him. Throughout the story C.J, learns valuable life lessons that we all can benefit from.

The backdrop of the stage is a colorful painting of Nana’s street in the city. The buildings and nature on that street are similar to the illustrations in the Last Stop on Market Street book. The setting has smooth transitions from the vibrant neighborhood street to Nana’s old-fashioned living room, and to the bustling soup kitchen. As the stage transforms throughout the story, the cast keeps you entertained by making their way through the crowd.

The six-member cast is packed with talent. Many of them play multiple characters and have fun on stage acting out each of their roles. I love how magnetic the cast is and feel that each of their characters are relatable to those who live around us in Chicago.

One standout cast member is Aja Singletary who plays the main character, C.J. She brilliantly captures the childlike personality of the young boy. She fully embraces the wild ride of emotions C.J. endures as he has his electronics taken away, meets interesting people on the bus, and asks a million questions about the world around him. Despite being an adult woman, Singletary acts as a convincing child who the children in the crowd seemed to have identified with. She takes on C.J.’s mannerisms, whining, imagination, and laughter with ease on stage. 

The wide-range of music is the best feature of this show. The song genres include hip-hop, soul, gospel and Motown funk. I found myself tapping to the beat and bopping my head along with many children dancing along in the crowd. Each song is super catchy and carries a powerful message worth remembering. Last Stop’s wonderful score is by Paris Ray Dozier and his father Lamont Dozier, writer of Motown hits like “How Sweet It Is” and “You Can’t Hurry Love. The lyrics are cleverly written and even left a few of us laughing with interwoven jokes.

Each cast member does a great job singing and dancing along to the music throughout the show. The choreography is on point and complements the music with engaging moves. The cast definitely shows off their talent and even takes their dance moves to the theatre’s aisles among the crowd. Richuan Stewart, who plays as the Tattooed Man and Vernon, shocked me with an impressive vocal range and beautiful singing voice. He captivates the crowd with a few solos and a contagious smile.

If you have an upcoming free Saturday or Sunday, I highly recommend seeing ‘Last Stop on Market Street.’ This musical is an uplifting story filled with diversity and lifelong lessons both children and adults can benefit from. It’s an awesome way to spend some time with your little ones or even on your own. It will leave you feeling joyful and may even give you a new and loving perspective on those who are around you.

Last Stop on Market Street is at the Young People’s Theatre of Chicago located in the Greenhouse Theater Center on 2257 N. Lincoln Ave in Lincoln Park. The show will run May 11th through June 2nd, 2024. Performances run Saturdays at 11:00 a.m. and 1:30 p.m. and on Sundays at 1:30 p.m. This show is best enjoyed by everyone ages 4+, even including adults like me. The show has a quick 60-minute runtime with no breaks. Tickets are $25 for adults and $19 for those under the age of 12. Visit Young People’s Theatre of Chicago’s website at yptchi.org and buy your tickets today!

I’m amazed that it’s been 18 years or so since I first saw a Hell in a Handbag production. Though it seems like yesterday, my first experience with Handbag was taking in their production of The Poseidon Adventure at the cozy and artistic Chopin Theatre in Wicker Park. It was fantastic and it was funny - fantastically funny. The musical’s parody humor, clever innuendos and dry wit reeled me in immediately. I was instantly blown away by Founding Artistic Director and performer David Cerda and the company’s cast of very talented comedic singers and dancers - and I still am. Hell in a Handbag is a dependable theater company that consistently provides hilarious, high-quality productions of camp entertainment (i.e. Golden Girls: The Lost Episodes, Christmas Dearest, Caged Dames) to the appreciative Chicago community and, like so many others, I find myself always looking forward to their next production. 

Handbag’s current production is yet another gem. Also performed at Chopin Theatre, Poor People! The Parody Musical, was brilliantly written by Tyler Anthony Smith and is wonderfully directed by Stephanie Shaw. Poor People! is a dynamite brand-new production that creator Tyler Anthony Smith describes as being a tribute to the characters in shows like Annie and Les Miserables, “that despite dire circumstances, the characters were still belting their faces off and dancing in the streets. Anybody can be happy and sing but it takes something special to be on your deathbed and still be on key.”

In the gritty, smoke-filled streets of 1979 New York City, the story’s fiery-haired protagonist, Li’l Orphan Arnie (played by Dakota Hughes), is on the run. Escaping the clutches of a lascivious, meth-cooking, authoritarian head of the orphanage, Miss A (Sydney Genco), Arnie’s fate takes an unexpected turn when they encounter a mysterious feline dancer named Whiskers (Matty Bettencourt). Whiskers leads Arnie through a supernatural manhole, hurtling them back in time to 1815 Paris, France.

In this new period of time, Arnie trades one impoverished existence for another. The search for their birth parents takes a backseat as they join forces with a ragtag gang of pickpocketing prostitutes, masterminded by the enigmatic Fagin (David Cerda).

Life takes a darker turn when Mama Moneybags (Brittney Brown), a corrupt Republican hailing from the future, sets her sights on dismantling Fagin’s crew. But fear not! A motley crew of vibrant, down-and-out characters steps up to the challenge. Among them are the consumptive Pantene (portrayed by Caitlin Jackson), the wild and feral Beggar Woman (Elizabeth Lesinski), and Nance, the quintessential hooker with an unexpectedly golden heart (brought to life by Tyler Anthony Smith). 

Besides Annie and Les Miserables, the story also parodies a bevy of characters and songs from other favorite Broadway productions including The Phantom of the Opera (“The Groomer of the Flop’ra”), Oliver, and even a lampooned version of Mary Poppins’ “Feed the Birds (Tuppence A Bag)”.   

(front center) Sydney Genco with (back, l to r) Tyler Anthony Smith,Taylor Dalton, Caitlin Jackson and Patrick O'Keefe in Hell in a Handbag Productions world premiere of POOR PEOPLE! The Parody Musical.

So, let's get to the talented cast members…

Dakota Hughes plays Li’l Orphan Arnie with a childlike charm and sass. Not just gifted with comedic talent, Hughes has a tremendous vocal range and gets to show it off throughout the play. Caitlyn Jackson, who plays Pantene and Sydney Genco as Miss A have been longtime favorites of mine in the Hell and a Handbag Productions troupe throughout the years and were both very funny and also had great song and dance numbers, which I have come to expect and enjoy! Along with Genco and Jackson, Brittany Brown also gets to impress the audience with her sensational singing voice. Another favorite Handbag veteran of mine is Elizabeth Lesinski and she absolutely crushes in her role as the Beggar Woman, drawing laughs with just about each delivered line. She also shows us that she can manage a herd or ravenous squirrels while holding a tune. 

Warm, commanding, and consistently hilarious, David Cerda shines in his role as Fagin. Cerda’s presence exudes both comedy and a nurturing energy that envelops the entire cast. Audiences eagerly anticipate his every entrance. Meanwhile, Tyler Anthony Smith remains a beloved fixture from previous Handbag productions - and absolutely steals the show! Smith brilliantly adapted many numbers from well-known Broadway shows into rousing, funny, bawdy and touching ensemble performances that keep the entire audience laughing and cheering right up until the end of this wonderful full-length production.

To complete the ensemble, Matty Bettencourt sizzles as Fosse Kitty, and special recognition is also due for the outstanding performances of Taylor Dalton as Epipen, Shane Roberie as The Groomer, Patrick O’Keefe as Twinky, and Tommy Thurston as Pretty Rich Boy. There is so much to love about this gifted ensemble. Truly, every cast member delivers an exceptional and delightful experience for the audience. 

Poor People! is a fun show filled with one hilarious moment after the next that does not mind pushing the envelope as far as it can. Yet, no matter how ribald or risque the show may be, a Hell in a Handbag production always includes a heartwarming message to the audience of support and acceptance to all people, regardless of their gender, race or age - and this show is no exception. Tyler Anthony Smith delivers the timeless message of wisdom in the uproariously funny and endearingly adapted finale, “We’re All Gonna Die Soon!” Embrace the present moment! We’re all here now, but who knows what tomorrow holds. So, let’s have fun and enjoy life! 

Poor People! The Parody Musical with musical direction by Andrew Milliken and choreography by Christopher Kelley is being performed at The Chopin Studio Theatre (1543 W. Division St.) through June 16th. For tickets and/or more show information visit https://www.handbagproductions.org/.   

Highly recommended.

“Together we created this nothingness,” says Audrey Francis in Steppenwolf’s production of Larissa Fasthorse’s ‘The Thanksgiving Play’. Hot off its Broadway run, this madcap comedy cuts right to the bone. Under Jess Mcleod’s direction, the intimate cast leaps right off the stage.

‘The Thanksgiving Play’ is about three elementary school teachers and one sassy actress who come together to devise a children’s play that illustrates the first Thanksgiving. In a fast-paced one-act, emotions and hypocrisies run amok.

Logan (Audrey Francis) plays the director, a role the actress and Steppenwolf Artistic Director Audrey Francis is used to playing. What a treat it is to see Francis on stage in her element. Francis is a masterful actor, and this play is but another entry in a long list of perfect performances.

Logan is dating her New Age-y coworker Jaxton (Nate Santana) who is also enlisted to help with the Thanksgiving play alongside Caden (Tim Hopper). Thinking they’re being progressive, they hire who they assume is a Native American actress, Alicia (Paloma Nozicka). Without a script, the four theatre artists must work together to tell a story that pays deference to Native American culture. Though well-intentioned, the all-white creative team exposes everything wrong with today’s supposed “woke” ideals.

At its core, ‘The Thanksgiving Play’ is a scathing satire of the “white savior” complex. Though Logan’s heart is in the right place, it’s perhaps her over-education on race-related issues that finds her with her foot in her mouth throughout the play. Larissa Fasthorse’s play suggests that some allies are more concerned with the outward appearance of racism than they are with true authenticity.

As we’ve been told, the very first Thanksgiving was a breaking of bread between settlers and natives to commemorate their collaboration during the harvest season. We can likely agree this probably was more fiction than fact, but for the sake of a children’s play, maybe the gruesome truth isn’t appropriate. Fasthorse’s play asks the audience is there a better way to tell this story with both respect and truth?

Things quickly fall apart between the creatives as they all battle to enact their own will. Sound familiar? ‘The Thanksgiving Play’ is as much an allegory as it is a comedy. Paloma Nozicka’s character Alicia, who is there to be the token Native American character presents an interesting observation: smart people are often not content. The white characters in the play make their lives more complicated with rules and propriety which leads to their unhappiness. Whereas Alicia lives simply and seems really happy. With these parallels established, Fasthorse could be seen as making an argument that European settlers brought neuroses with them to the New World. 

It’s a remarkable thing to hear a crowd of intellectuals be able to laugh at themselves. A lot of the dialogue will leave you with your jaw open because it’s chock full of ideas you know better than to articulate, such as “why isn’t there a white history month?”

‘The Thanksgiving Play’ is not a show for the humorless. It’s a blistering send-up of how bleeding-heart white people can find themselves twisted in knots trying to appease political correctness, and at what cost.

Through June 2 at Steppenwolf Theatre Co. 1650 N Halsted. 312-335-1650

Bramble Theatre Company, is proud to announce the third annual Festival of Unfinished Work at the new Bramble Arts Loft located on the second floor of the historic Capital Garage building at 5545 N. Clark St, June 26 - 30. The Festival's performance schedule is Wednesday, June 26 through Saturday, June 29 at 7:30 p.m. and Sunday, June 30 at 2 p.m. Tickets are $25 each and may be purchased at BrambleTheatre.org.

"Bramble is proud to showcase a variety of new plays in the hopes of launching them to further development. Whether their eventual world premiere is at Bramble or another producing company, it's a thrill to amplify these stories and see them receive well-deserved attention in the Chicago theatre community and beyond," said Bramble Theatre Creative Producer and Co-Founder Matthew Lunt.

The submission process for this year's Festival of Unfinished Work began in fall 2023. A call was put out for original, unproduced plays by Chicago playwrights. From the submissions, the literary committee, composed of Bramble ensemble and staff, went through an extensive review process to narrow the submissions to a list of finalists, which was presented to Bramble Theatre Co-Founder and Artistic Director Karissa Murrell Myers for the final selection. Each 10-15 minute scene will be brought to life by a team of Chicago directors and actors during the Festival. 

The Festival of Unfinished Work was born out of the desire to help amplify writers' new work and provide them development resources while their plays are in progress. Murrell Myers explains, "When we sat down with each of our ensemble members in 2019 to ask them what they wanted to see Bramble produce, every single one of them said, 'new work.' A new works festival seemed like the perfect chance to give writers a platform to have their in-development plays heard."

"It's an unusual and exciting opportunity to stage a scene from a play that is 'unfinished,'" says Festival Literary Manager Spencer Huffman. "Our hope is that this process will give the playwright a sneak peek of what their play could look like when it's finished and help inform their writing going forward."

Another element of the Festival of Unfinished Work is audience participation. During the Festival, the audience will be invited to vote on which pieces they would most like to see developed by Bramble Theatre. Upon entry, audience members get a handful of dried beans, and they vote by dropping beans into cups labeled with each show's title. This voting process will impact which pieces will be given a workshop and public staged reading by Bramble at a future date.

"It's also very exciting that Chicago audiences will have the rare opportunity to voice their opinion on what gets selected for programming by voting for their favorite pieces from the Festival," said Murrell Myers. 

 The Bramble Theatre's Festival of Unfinished Work includes:

Blood of My Mother's

By Karissa Murrell Myers

Directed by Azar Kazemi

A pregnant college student flees to her older sister's house on Christmas Eve, 1997, where she must choose to either abandon her baby or her American dream. This choice turns the entire family's world upside as they are forced to face their inner demons from the past. Because sometimes, the place you run to for safety turns out to be the most dangerous place of all.

Grape Leaves

By Alexander Attea

Directed by Dan Washelesky

A Lebanese-American family runs the Lebanese Festival in a rapidly changing Buffalo, NY during the worsening climate crisis. A play that boils over, freezes and asks how to find what you come from.

New Oleanna

By Zach Barr

Directed by Spencer Huffman

Nona, a faculty advisor, is helping undergraduate student Hudson select a play to direct for his senior thesis, and suggests he look at David Mamet's "Oleanna." However, when Hudson's take on the play becomes much less balanced than Nona expected, she begins overlooking more and more red flags, citing that he should have the freedom to fail. By the end, however, she must decide whether the play – and Hudson himself – are worth defending at all.

Remembrance

By Ben F. Locke

Directed by Aja Singletary

Four friends come together to celebrate Trans Day of Remembrance but when the ghost of Rita Hester starts haunting their apartment, they know they're in for a night to remember. The group decides to team up with the ghost to solve her unsolved murder and bring justice to Rita Hester, the woman who inspired Trans Day of Remembrance.

They Broke Up

By Skyler Tarnas

Directed by Ben F. Locke

Happy New Year! With your whole friend group crumbling at three little words, who can even remember that the world is ending?

Top Girl or the cheerleader play

 By Evalina Lakin

 Directed by Lauren Katz

A tragedy about the most dangerous athletes of our time: competitive cheerleaders. Hearts, spirits and skulls may be broken.

The cast for the festival includes Ky Anderson (Harper); Haley Bolithon (Amy/Carrie); Rasheeda Denise (Nona); Dylan J. Fleming (Dylan/Taufiq); Luke Halpern (Angel/CJ); Carmia Imani (Lacey-May); Iman Kamel (Rosie); Ben F. Locke (Hudson); Matthew Lunt (Richard/Coach); Shane Novoa Rhoades (Husband Bill); Jordan Tannous (Marcus/Griffin); Joshua David Thomas (Derby); Hilary Williams (Naomi); Austin Winter (Blake); Emily Zhang (Marina); Katie Bevil (understudy); Rashaad A. Bond (understudy); Juliet Kang Huneke (understudy) and Travis Shanahan (understudy).

The creative team for the festival includes Melanie Thompson (production manager); Anna Vu (stage manager); Quinn Bachus (asst. stage manager); Dee Etti-Wiliams (sound designer); Hilary Williams (props); Suzy Krueckeberg (props); Tristan Hall (fights and intimacy designer); Karissa Murrell Myers (casting); Haley Bolithon (asst. director); Noella Bonsol (asst. director); Danny Breslin (asst. director) and Andrew Lund (asst. director).

ABOUT BRAMBLE THEATRE COMPANY

Bramble Theatre Company is made up of an ensemble of multicultural artists who seek to create powerful new theatre that both nourishes and challenges our community to explore the question of what it is to be Human. By fostering an Artist-first culture that inspires hope and innovation, the company strives to be a leading voice in this emerging era of American Theatre. The bramble bush symbolizes the duality of the fruit that nourishes and the thorn that challenges; made of many tangled vines, it remains a single, united organism. The beginnings of Bramble first took root among the 2019 cohort of the esteemed School at Steppenwolf. At the end of that ten-week session, members of the group continued building upon their experiences and artistry, and from that, Bramble Theatre Company was born. 
 

MORE INFORMATION
For more information on Bramble Theatre Company, please visit BrambleTheatre.org or follow @BrambleTheatre on Facebook and Instagram.

Bramble Theatre Company, is proud to announce the third annual Festival of Unfinished Work at the new Bramble Arts Loft located on the second floor of the historic Capital Garage building at 5545 N. Clark St, June 26 - 30. Press are invited to attend Wednesday, June 26 at 7:30 p.m. The Festival's performance schedule is Wednesday, June 26 through Saturday, June 29 at 7:30 p.m. and Sunday, June 30 at 2 p.m. Tickets are $25 each and may be purchased at BrambleTheatre.org.