Items filtered by date: November 2007

Trap Door Theatre is thrilled to begin its 33rd season with the World Premiere of The Man Who Fell with the Rain, written by Andrei Kureichik and directed by resident director Kay Martinovich. The Man Who Fell with the Rain will play September 3rd – 19th, 2026 at Trap Door Theatre, 1655 W Cortland St. in Chicago. Tickets are now on sale at trapdoortheatre.com or by calling (773)-384-0494.

Based on the short story by Gabriel García Márquez, Kureichik's play is a darkly comic fable about a mysterious old man with enormous wings who falls from the sky into the yard of an ordinary couple.  As neighbors, opportunists, and skeptics descend upon the strange visitor, wonder gives way to greed, fear, and spectacle.

PRODUCTION DETAILS:

Title: The Man Who Fell with the Rain

Author: Andrei Kureichik

Translator: John Freedman

Adaptor/Director: Kay Martinovich

Cast (in alphabetical order): Carolyn Benjamin (2nd Neighbor/Woman), Tony-Elias Choufani (Fisherman/Sleepwalker), Dan Cobbler (Husband), Rich Cotovsky (Old Man with Enormous Wings), Heraldo Hermosillo (1st Neighbor/Son), Emily Lotspeich (3rd Neighbor), Laura Nelson (Wife), Keith Surney (Priest), and Gracie Wallace (Daughter of Neighbor/Spider Woman).

Location: Trap Door Theatre, 1655 W. Cortland St. Chicago, IL 60622

Regular Run: Thursday, September 3rd –Saturday, September 19th, 2026

Curtain Times: Thursdays, Fridays, and Saturdays at 8:00 pm. With a special performance on Sunday, September 13th at 7 pm including a talk back after the performance with the playwright.

Press performance: Press are encouraged to attend opening night.

Tickets: $25. Tickets are currently available at https://our.show/the-man-who-fell-with-the-rain or by calling (773) 384-0494.

An exceptionally good show is now on stage at Chicago’s Trap Door Theatre. This wonder—The Man Who Fell with the Rain— has been translated through three languages on its way to the footlights in its U.S. premiere, right here on the tiny stage on Cortland Ave.

Originating in Spanish as a children’s tale by Columbian Nobel Laureate Gabriel Garcia Marquez, it was turned into a script by Andrei Kureichik, a Belorussian playwright, then translated to English by John Freedman. All that before being adapted and directed by Kay Martinovich for a perfect and very cogent rendering by the Trap Door players in its U.S. premiere.

The Man Who Fell with the Rain hews closely to Marquez’s original short work, “A Very Old Man With Enormous Wings: A Tale For Children,” while playwright Kureichik has unpacked the important details touched only lightly in the original. It becomes truly theatrical as we watch the story unfold that Marquez charted.

The script brings us an Old Man With Enormous Wings (Richard Cotovsky) who is discovered unconscious in the backyard of the Husband (Dan Cobbler) and the Wife (Laura Nelson). The couple also happen to have a two-week-old baby in their house, and a nosy know-it-all Neighbor Woman (Emily Lotspeich) is certain the winged creature is an aging angel who was intending on taking the baby. Her advice: beat him to death with a cudgel.

The cast of The Man Who Fell with the Rain at Trap Door Theatre through September 26, 20206

The couple take pity on the Old Man, and instead place him in their chicken coop, intending to keep his presence a secret. But word gets out and neighbors, and then spectators descend on their abode. The Old Man has regained consciousness and the couple try communicating—but he speaks only his own unknown tongue. Neighbors speculate on what to do with him, suggesting vriously to put him over the military and end wars; or make him a governmental magistrate; perhaps put him out to stud to generate a winged human master race.

The local Priest (Keith Surney) is called in, since the Old Man seems perhaps to be an angel, but there is nothing in the doctrinal books that explains the possibility of an aged, injured angel. So he writes his bishop, who writes his primate, who will then write the Pope for guidance. As this lengthy process continues, and the crowds grow, the couple decides to charge admission for a look at the Old Man.

Laura Nelson, Dan Cobbler, Emily Lotspeich, and (foreground) Richard Cotovsky in The Man Who Fell with the Rain. 

Marquez and the playwright Kureichik provide us a scenic display of society, and the human comedy that so readily arises in its waters. The convoluted religious hierarchical pronouncements delivered by the Priest extend the fun of this strange state of affairs. Other characters arrive, including a girl who has become a Spider Woman (Gracie Wallace), all natural to the magical realism that is Marquez’s stock in trade.

Yet this show is not played for broad comedy. The story line and gradual revelations unfold with restraint. And it is the performances that director Martinovich has drawn from these performers that make this show stratospherically good.

Most memorable for me are two performances: Richard Cotovsky’s Old Man, whose mostly silent acting is magnetic as he quietly gets his bearings and increasingly engages the neighbors and spectators. And Emily Lotspeich’s Neighbor Woman, who is so perfectly recognizable from life. She moves from one certainty to another and always speaks authoritatively, even as her previous pronouncements have proven false. She knows, for example, that this Old Man should be fed a dangerous chemical which she supplies for $50—”Angel food is not cheap!” she declares.

When the Old Man goes dormant and the couple thinks he has died, she advises on his burial: cut off his wings, fold them over him, place a ring of 49 candles around him, then burn him. Despite her certitude, they decide to use a hot branding iron on the Old Man, and he immediately rises and flaps his wings. For his part, the Priest brings only questions, not answers, from the church. They are adsked if the Old Man has a navel, for example, to determine if he is human rather than angelic.

Yes it is a rather dark children’s tale. The Brothers Grimm are also dark, in the original text. What a fairy tale can do is describe to children (and grown-ups) the inexplicable behavior of adults. And the resolution of the play is positive and very satisfying. The townspeople are left as the Old Man found them, and we expect nothing changes, no one learns anything—just like real life.

Highly recommended, advanced ticket sales had driven an extension of the run of The Man Who Fell with the Rain even before opening night, but make haste. The extended run ends September 26, 2026 at Trap Door Theatre at 1655 W. Corland in Chicago.

After their award winning year, The Impostors Theatre Company (ITC) opens Season Eight with the highly anticipated world-premiere of The Snow Queen, a beloved folktale reimagined by ITC ensemble member Mallory Swisher, directed by ITC Artistic Director Stefan Roseen and ITC resident choreographer Anna Roemer. The Snow Queen explores the people who carry our stories when we no longer can – and the courage it takes to let them go. Equal parts whimsical, haunting, joyful, and deeply human, this production warms even the coldest hearts into blooming again. The Snow Queen runs from November 6 to November 21, 2026, at ITC's resident home, The Den Theatre, 1331 N Milwaukee Ave, Chicago, IL 60622.

Once there was, and once there was not, a little girl and a little boy...

Best friends Gerda and Kay spend the changing seasons weaving stories and tending their beloved garden. As the flowers bloom, so do they. But when a shard of enchanted glass pierces Kay's heart, everything changes. His laughter freezes. His warmth disappears. Swept away by the enigmatic Snow Queen to her kingdom beyond the aurora, Kay is destined to remain in an endless winter... unless someone dares follow.

Fueled by unwavering love and impossible hope, Gerda embarks on a journey into the unknown. Along the way she encounters unpredictable elements, a talking raven, a band of singing robbers, whispering flowers, deceptive sweetness, and strangers who become family. With every trial she must decide not only how to save Kay but who she is becoming.

Can Gerda withstand the bitter cold and the Snow Queen's relentless desire to control the narrative? Will Kay reclaim the story that was stolen from him, or surrender himself to the silence of the ice?

A beloved folktale reimagined through a new landscape, The Snow Queen explores the people who carry our stories when we no longer can – and the courage it takes to let them go. Equal parts whimsical, haunting, joyful, and deeply human, this production warms even the coldest hearts into blooming again.

The cast of The Snow Queen features ITC ensemble member Courtney Marie as The Snow Queen, with Shannon McEldowney as Gerda, Cee Scallen as Kay, Hilary Sanzel as Storyteller One (The Raven), Bryson David Hoff as Storyteller Two (The Reindeer), Mary Ross as Storyteller Three (Grandma), JA Loyd as Storyteller Four (Old Woman), Mab De Guzman as Storyteller Five (Sprite), Mara Currens as Storyteller Six (The Robber Girl), and Eilish Morse-O’Rourke as Storyteller Seven (Mother).

Following The Snow Queen, ITC’s Eighth Season will continue with the world-premiere of A Portrait of Dr. Gachet – an original musical written by ITC ensemble member Dominick Vicent Alesia. The season will conclude with Footholds Vol. 8, an anthology play written by the community and directed by ITC Operations Manager Courtney Marie.

About the Artists

Mallory Swisher (Playwright) is one of the founding ensemble members of The Impostors Theatre Company. She is a playwright (The Wood, Beyond the Garden Gate), actor, voice actor, and lighting designer. Acting credits include: Mary Poppins (Memorial Opera House), a staged reading of Tippy: Stories from the River (The Impostors), The Altercation in the Underworld (“Best of the Fest” at the Annual Madcap Production Short Play Festival), and Assassins (Crown Point Theater). She was voted First Runner-Up for “Best Theater Designer of 2023” by The Chicago Reader. Lighting design credits include: Footholds Vol.4, Miranda: A War-Torn Fable, Footholds Vol. 3, The House of Baba Yaga, Summer & Smoke, Tippy: Stories from the River, Footholds Vol. 1, Caged: An Allegory, and The Wood, all for The Impostors. Mallory has studied at the iO Theater and received her degree from Valparaiso University. Catch her every other Tuesday on Roll 4 Your Life: a D&D podcast, available on your preferred podcasting platform!

Stefan Roseen (Director & Sound Designer) is a Chicago-based director, designer, and playwright. Since its founding in 2016, Stefan has served as the artistic director of The Impostors Theatre Company (ITC). He most recently directed ITC’s Static-Head and the critically acclaimed, Jeff Award winning Helena & Hermia in the Enamored Odyssey, earning him the award for direction in the short run category. Additional directing credits include Pilot Island & Her Keepers, Beyond the Garden Gate, The Last Living Gun, Miranda: A War-Torn Fable, Windwalkers, Hertha Nova, Summer & Smoke, Tippy: Stories from the River, Caged: An Allegory, The Wood, Art, and The Terrible Tragedy of Peter Pan. His direction of the short play The Altercation in the Underworld won “Best Of” at the MadKap Productions Short Play Festival. Stefan has been Jeff Nominated for his direction of Helena & Hermia and Hertha Nova, as well as his artistic specialization of sound design for Pilot Island & Her Keepers. All three productions were also nominated for Best Production (Short Run), which Helena & Hermia recently won. By day, Stefan is an educator teaching Performance Art and Fine Art. Recent design credits include sound design for Rising Water and Big Time Toppers (Theatre L’Acadie), as well as scenic design for 7 Minutes to Live, Eurydice, A Doll’s House, 25/25, Occidental Express, the Jeff Recommended They, and the Jeff Nominated The Resistible Rise of Arturo Ui (Trap Door Theatre).

Anna Roemer (Director & Choreographer) is a Chicago-based choreographer, director, actor, and teaching artist. She is an ensemble member and the resident choreographer for The Impostors Theatre Company, as well as the co-founder and artistic director of Schoolhouse Shakespeare Company. Recent credits include choreography for the Jeff Award winning Helena and Hermia in the Enamored Odyssey, Monstrous, and Miranda: A War Torn Fable (ITC); as well as Sweeney Todd (Big Noise Theater) and 35 Millimeter: A Musical Exhibition (Three Brothers Theater Co.). She also acts as resident choreographer for the youth performing arts company Music House Inc., where she has choreographed and/or directed over 40 productions. Anna is passionate about creating spaces where stories can be told freely and joyfully, and she is so excited to share one of her favorite fairytales with audiences through The Snow Queen!

The Snow Queen

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

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

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

About The Impostors Theatre Company

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

In our eighth season of storytelling, The Impostors endeavor to share stories that weave directly throughout our objective to excite among youth a passion for the arts and to inspire alike the wide-eyed and world-weary. In a rerendering of a fairytale classic, our characters will chart course through a wintery landscape and its garden of lost things, focusing on the beating hearts of its heroes and its resigned foe. In the spring, a brand new musical will unspool the inner lives of those closest to the once unsung artistic genius, Vincent Van Gogh. And, in the fashion of perennial plants, our traditional anthology Footholds will return with an appreciative nod to other avenues of creating and sharing art.

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

Full cast and production team have been announced for City Lit's production of August Wilson's KING HEDLEY II, to play from Friday, October 16 through Sunday, November 29. KING HEDLEY II is set in the same backyard in Pittsburgh's Hill District seen in August Wilson's SEVEN GUITARS (for which the company won the 2024 Jeff Award for Best Production of a Play). One of Wilson's "Century Cycle" of ten plays, each set in a different decade of the 20^th Century, KING HEDLEY II takes place in 1985, 37 years after the action of SEVEN GUITARS. KING HEDLEY II explores the lives of the children and neighbors of the characters introduced in the earlier play. It will be directed by City Lit Artistic Associate Manny Buckley, who earned a Jeff Award nomination for his direction of City Lit's SEVEN GUITARS. KING HEDLEY II will begins with previews October 16 and will play through Sunday, November 29.
 
Cast in the title role of King Hedley, recently released from prison and determined to rebuild his life on his own terms, is James Lewis, seen most recently in Chicago in A DOG'S HOUSE with Sandbox Theatre Collective. Lewis earned raves in 2025 as the brilliant and arrogant Ben Jonson in Promethean Theatre Ensemble's THE BOOK OF WILL. Andrea Conway-Diaz, remembered for her City Lit roles as Barbara Jordan in VOICE OF GOOD HOPE and Louise in SEVEN GUITARS; will play Ruby, King's mother, a former blues singer whose past reaches back to Wilson's SEVEN GUITARS. Isis Elizabeth, returning to the work of August Wilson after understudying the role of Dussie Mae in the Goodman Theatre's recent production of MA RAINEY'S BLACK BOTTOM, will be King's wife Tonya.
 
Brandon Boler, who is currently playing Ernie in City Lit's World Premiere adaptation of SHANE, is set to play Stool Pigeon, a neighborhood elder and witness figure whose prophetic language links everyday life to spiritual and historical forces. Ernest Henton, an ensemble member of The Artistic Home whose many credits with that company include the Chicago and New York productions of MALAPERT LOVE, will play Mister, King's longtime friend and partner.
 
Jelani Julyus, who had the only male role in HONEYPOT: BLACK SOUTHERN WOMEN WHO LOVE WOMEN in Fleetwood-Jourdain Theatre's world premiere co-production with Northwestern University, plays Elmore. Elmore is Ruby's former lover, whose return stirs old desires, unresolved history, and a devastating revelation. Understudies are Fred Cavair Robinson (u/s Elmore and Stool Pigeon), Yahdina U-Deen (u/s Ruby), LaTorious Givens (u/s Tonya), and Dairyon Bolden (u/s King and Mister).

The KING HEDLEY II designers include Jeremiah Barr (Scenic Designer), Mike McShane (Lighting and Sound Designer), Greg Geffrard (Intimacy/Violence Director), and Melanie Thompson (Props Designer). The production team also includes Michael Lesko (Stage Manager), Jeremiah Barr (Technical Director), Bruce Bennett (Scenic Charge), and Devi Angel (Assistant Stage Manager and crew).
            
All performances will be at City Lit Theater, 1020 W. Bryn Mawr Avenue, Chicago, on the second floor of the Edgewater Presbyterian Church. Tickets are priced at $32 for previews and $40 for regular performances and are on sale now. Senior prices are $5 off the applicable ticket prices. Students and active military are $22.00 for all performances.

KING HEDLEY II
by August Wilson
Directed by Artistic Associate Manny Buckley
25th Anniversary of the Broadway Production
October 16 - November 29, 2026
Previews October 16 – 23

Regular run October 24 - November 29, 2026
Fridays and Saturdays at 7:30 pm, Sundays at 3 pm, Monday, November 16 at 7:30 pm
Tickets $32 for previews and $40 for regular performances. Seniors $5.00 off all prices. Students and active military are $22.00 for all performances. Groups are $30 per person Prices include all fees and taxes.
Tickets available online at www.citylit.org or by phone at 773-293-3682.
All performances at City Lit Theater, 1020 W. Bryn Mawr, on the second floor (accessible via elevator) of the Edgewater Presbyterian Church.
 

Revisiting characters established in August Wilson's SEVEN GUITARS, this play returns to Pittsburgh's Hill District in 1985. King Hedley, a man recently released from prison, attempts to rebuild his life by selling stolen refrigerators so he can buy a video store. Despite decades of generational trauma, can King break free from the crippling socio-economic struggles that have held him down? Amid the realities of rampant crime and drug use in the neighborhood community, he tries to carve out his own destiny. 

It must have been heavenly for the creative leaders of Goodman, Steppenwolf, Chicago Shakespeare and Court, Chicago’s top regional theaters, to be greeted by a standing room only crowd. But there they were, on a panel moderated by the eminent Chicago Tribune theater critic Chris Jones. The program was introduced by Marla Mendelson, MD, then by her daughter, Tova Wolff, who also happens to be artistic director at Refracted Theatre Company.

Held on the 6th floor of the airy University of Chicago Gleacher Center overlooking the Columbus Drive bridge at the Chicago River, the event was part of the Evening Inquiry Series founded by Mendelson and her husband Stephen Wolff, and arriving on the heels of a landmark report from the Arts Alliance Illinois that shows the creative sector is the sixth largest business sector in the state. In Chicago, where nearly half (47.5%) of the overall state’s direct creative economy output takes place, the sector supports 212,875 jobs, generates $50 billion in output, and generates $5.7 billion in tax revenue. It is Chicago’s 3rd largest industry (11.3%), larger than educational services (10.2%), retail (8.3%), and manufacturing (7.9%).

Citing that as a backdrop, moderator Chris Jones led the panelists through the discussion.

Also referencing the report, Edward Hall, artistic director at Chicago Shakespeare Theater noted, “This city has a very powerful, strong cultural economy as well, which I think feeds social and cultural life, but also it's an economic driver. And you haven't even begun to count the trickle-down effect of people's secondary spending when they fly into town and see Iceboy, or they see Lord of the Rings, whatever they come and see. They're taking cabs. They're going to hotels. They're spending money.”

Jones's questions led to the perhaps surprising revelation: subscriptions to theaters have dwindled. Audrey Francis, artistic director for Steppenwolf, said that at its height, Steppenwolf had 25,000 season subscription holders. “And now we have 5,000,” she said, which was the number when she started her tenure at the theater.

“It's challenged me as an artist to say, ‘Okay, this is the game,’” said Francis. “And it's not about, for us, necessarily what's popular. It's about how are we being our best to make sure that when you come dance with us, we're the best dance partner you have.” According to Francis, “Being challenged to evolve and to keep up and to say, ‘Okay, we can't keep doing the same thing. The rules are changing, and everybody's getting better, and how do we keep up?’”

Budget-wise, ticket revenue overall covers just half the operations of any of these theaters.What that means for theater operators is audience preferences and marketability to individual ticket buyers is a key driving force in the creative selection of scripts to be produced at larger Chicago theaters. Given that, how do artistic directors determine the roster of shows for each season?

What came up in the course of the panel is that there is serious tension (as might be expected) between including the established “canon” of playwrights—Eugene O’Neil, Ibsen, Chekov, Shakespeare, Shaw, etc.—and new works from rising talents around the country. Over recent years new works have risen in prominence, while the number of scripts from the old guard have diminished.

The event was preceded with an open bar reception and generous array of hor d'oeuvres, during which the audience mingled. There were actors, creatives from theater companies, and the regulars who attend these Evening Inquiries sessions at the University of Chicago’s Gleacher Center. As a theater critic for Buzz Center Stage, I recognized a number of publicists from theatrical groups and agencies that specialize in communications for this marketplace.

One woman I spoke to was the spouse of an actor. I also met a man who was a retired professor of drama from Bates College in Lewiston, ME, who complained heartily of the numerous new works in seasons just announced by the panelists’ theaters, to the exclusion of Shaw and other traditional canonical works. “What’s the best thing you’ve seen in the last year?” he asked me, his voice ripe with challenge. I answered unequivocally: “The Devil Comes to Town at Trap Door Theater.” (It was adapted and directed by Jeremy Ohringer who is also on the faculty at DePaul University.) 

This was a perfect lead-in to the discussion of seasons filled with newer works, discovered through careful dramaturgy of who and what is trending around the country, which may be unfamiliar to Chicago audiences. There is risk attached to trying such unknown works as part of a mission for exposing audiences to what the theaters think they might or should like. 

“If you go back to that origin statement about serious, mission-driven work, fully fifty percent of your annual income is box office dependent,” said Susan Booth, artistic director at Goodman Theatre. Producers can no longer rely on subscription ticket holders to weather through whatever they’re given in a season. “That box office number is a reality in our day-to-day life,” Booth said. “And I would love to hear from my colleagues on the panel about the challenge of selling mission-driven work versus selling popular work.”

Chicago Shakespeare’s Hall noted that theater lives in a perpetual recession. “There has never been a moment when I've heard any of my colleagues say, ‘What do we do with all this excess money?’ And theater has always been striving to do mission-driven work. And the idea that if you go popular, it's easy,” Hall said, “it's a lie, actually.” (Though the exception proving the rule perhaps are the lavish productions at Paramount Theatre in Aurora, generously underwritten by its neighboring casino profits.)

Avery Hoffman, who was named artistic director just last November at Court Theatre at the University of Chicago, described her theater’s audiences as many layered: the students and faculty on campus, individuals throughout the surrounding Hyde Park area, and the entire south side of Chicago, the city at large and the region. “This knowledge of your audiences is really, really important to that collective thinking, certainly to my collective thinking,” Hoffman said. “It means that our seasons maybe take a little bit longer to come to fruition. But then at the end of the day, you have a collective agreement about what your mission is, what shows that you're doing that serve that mission, and an audience that knows that mission and is there to support [it].”

A lengthy discussion covered the shifting role of these big regional theater companies from gatekeepers of what should be seen by audiences, to collaborative facilitators of what audiences want—even if that means bringing them unfamiliar scripts that meet their latent interests. Francis noted that the ensemble-powered company of Steppenwolf has long meant that the establishment of each season's offerings is the product of intense creative conflict, in the best sense of those words.

Best Question of the Night
After 30 minutes, Jones entertained a few questions from the audience, and the first out-of-the-gate came from a long-haired young man who cited the recent transfer of the a cappella musical Octet from Raven Theatre’s space on Clark St. to extend its run at the Goodman’s Owen Theater for three weeks this summer. 

Goodman’s Booth responded that she had an immediate reaction when she saw Octet at Raven: “I thought the ceilings are just too low for these great voices.” And so it happened, but that is a rarity in Chicago. “The big theaters are often dark,” the questioner pointed out, and these successful storefront shows need to be able to get to bigger venues in order to extend their runs, rather than simply close to accommodate a subsequent planned production from their own season. "All of us are keenly aware that we benefit from the ecosystem," Booth said, referring to Chicago's many storefront and small theaters. 

Of course, this is the natural ecosystem in New York, where Off Off Broadway shows frequently transfer to Off Broadway and sometimes on to Broadway—usually driven by proven audience demand. Why couldn’t that happen more frequently in Chicago? This led to an intriguing proposition from Chicago Shakespeare's Hall for a separate non-profit theatrical entity that might serve as a development center for co-producing shows, lef by Chicago's regional theaters. 

Three cheers to University of Chicago and Mendelson's Evening Inquiry series for putting this remarkable discussion of theater on stage. 

The Joffrey Ballet today announced that President and CEO Greg Cameron will depart in December 2027, concluding a 15-year tenure that transformed the organization's financial and institutional strength and elevated its standing in Chicago and the international dance community.

The transition follows a succession plan Cameron and the Joffrey Board of Directors developed three years ago. The Board has formed a search committee and is finalizing the selection of a national search firm. The committee will conduct an extensive search within and outside the dance world, with Cameron's successor expected to begin before the end of 2027. Cameron will continue to lead the organization throughout the search and work closely with the Board and incoming CEO to ensure a smooth transition.

"All of us are temporary stewards of these organizations," Cameron said. "Our responsibility is to leave them stronger. This transition was set in motion from a place of stability and with great confidence in the Joffrey's future. I will spend the next 15 months advancing our priorities and creating every opportunity for the next President and CEO to succeed."

Cameron joined the Joffrey in 2013 with extensive experience in philanthropy and civic leadership. His appointment demonstrated the value of looking beyond traditional backgrounds to identify an executive whose vision matched the organization's ambitions. The Board will take the same expansive approach in identifying the Joffrey's next President and CEO.

"Greg's leadership changed the trajectory of the Joffrey, and we enter this transition with tremendous momentum," said Board Chair Jim McDonough. "Our next CEO will inherit a thriving cultural institution, prepared to pursue its future from a position of extraordinary strength. We will cast a wide net for a leader who champions artists, cultivates enduring partnerships, and can spearhead a complex organization of this scale."

Under Cameron's leadership, the Joffrey eliminated an ongoing budget deficit, established the organization's first endowment, and created the Artistic Innovation Fund, which is on its way to successful completion. These achievements placed the Joffrey in the strongest financial position in its history and created an enduring foundation to artistically thrive. In 2026, Make It Better Foundation founder Susan B. Noyes honored Cameron's tenure with a $3 million endowment gift to the Joffrey, carrying forward his leadership values of collaboration, innovation, and artistic excellence.

Cameron also led the organization through two strategic planning sessions with McKinsey & Company. The resulting plans became road maps for the Joffrey's growth, guiding long-term financial modeling and sustained investment in its people. With a high-performing leadership team, the Joffrey strengthened governance and negotiated two consecutive five-year agreements with the American Guild of Musical Artists (AGMA). This institutional stability allowed the Joffrey to invest more deeply in its artists and increase the scale of its work.

"The business of the Joffrey exists to give the art form the support it deserves," Cameron said. "Financial strength equips artists with the freedom and resources to take risks and create on a grand scale. We built an organization capable of sustaining the Joffrey's artistic ambitions while supporting the health and well-being of our artists. I am enormously proud of what our team has accomplished together."

Cameron guided the Joffrey's move to Lyric Opera House, increasing the Company's production capabilities and establishing a long-term residency through 2034. He also helped forge partnerships with leading ballet companies that brought major co-productions to Chicago, including Anna Karenina with The Australian Ballet, Princess and the Pea with Oregon Ballet Theatre, Atonement with Ballett Zürich and Eugene Onegin with San Francisco Ballet.

His tenure included the 2016 world premiere of Christopher Wheeldon's reimagined The Nutcracker, now a cornerstone of the Company's repertory. Cameron championed the expansion of live music and helped secure the Joffrey's first commissioned orchestral scores.

"Greg gave the Joffrey the structure to pursue ambitious ideas with confidence," said The Mary B. Galvin Artistic Director Ashley Wheater MBE. "He understood that the Joffrey could honor its remarkable history while building something larger for the future. Greg sees possibility everywhere—in a partnership, a production or a relationship waiting to grow. His belief in the Joffrey inspires others to believe in it, too."

Beyond the dance field, he developed collaborations with the Chicago Symphony Orchestra, Harris Theater for Music and Dance, Ravinia, and the Museum of Contemporary Art Chicago. Partnerships with Art on theMART, Aurora University, and the Golub Capital Board Fellows Program at Northwestern University's Kellogg School of Management strengthened the Joffrey's role within Chicago's cultural community.

Cameron led the transfer of the complete Joffrey archive to the Jerome Robbins Dance Division of The New York Public Library for the Performing Arts in 2017—the Library's largest acquisition in a decade. The archive led to the Company's first large-scale retrospective, The Joffrey + Ballet in the U.S., which opened at the Library for the Performing Arts in 2024 before traveling to Chicago in 2025, presented by Wrightwood 659. The project brought nearly 70 years of the Joffrey's history before the public while preserving its films, photographs, and records for future artists and scholars.

Cameron also helped bring the story of Winning Works—The Joffrey Ballet's annual choreographic competition for emerging artists—to a national audience. Working with Kartemquin Films, he helped launch the documentary project, secured funding, and engaged PBS as its broadcast partner. Premiering Friday, September 18, Joffrey Ballet: The Next Movement follows the 2024 Winning Works choreographers in Chicago as they create original works with students from the Grainger Academy. The documentary reveals how choreographers find their voice and how access to a studio can change an artist's life.

Cameron established Joffrey for All, an organization-wide commitment to making dance accessible and ensuring that people across Chicago can experience and participate in the art form. Under his leadership, the Joffrey increased its investment in dance education and access. The Joffrey also deepened its presence in Chicago Public Schools, providing dance education to approximately 1,600 students in 30 partner schools each year. Free student matinees of The Nutcracker welcome more than 5,000 CPS students, offering many their first experience of live ballet accompanied by a full orchestra.

In 2018, the Joffrey received its first naming gift: $5 million from the Galvin Family, which named the Mary B. Galvin Artistic Director position. Two years later, in 2020, a $3 million gift from the Abbott Fund named the Abbott Academy Director position, and, in 2025, a $5 million gift from The Grainger Foundation endowed and renamed the Joffrey Academy of Dance to the Grainger Academy of The Joffrey Ballet—a landmark commitment that secured the Academy's future and increased scholarship support for the next generation of artists.

Today, the Joffrey generates an estimated $51 million in economic activity across Chicago, including $32 million in direct spending. The organization supports over 300 jobs and welcomes more than 135,000 audience members each year. Its artists, staff, students, and patrons contribute to the vitality of downtown Chicago while driving business to local restaurants and hotels.

Cameron has championed the arts as an essential part of Chicago's civic future. His work includes stewardship efforts along State and Randolph Streets and support for the Cultural Stadium, a vision for harnessing the city's cultural institutions as a force for downtown renewal. In 2011, he was inducted into the Chicago LGBT Hall of Fame, whose members also include Joffrey co-founder and former Artistic Director Gerald Arpino.

Cameron describes his leadership philosophy as being an "elegant partner"—leading with trust, caring for people, and becoming the kind of partner others seek out. That approach guided the Joffrey through the COVID-19 pandemic and informed its continued investment in professional growth, wages, and employee benefits, including recent completion of the Joffrey Tower Refresh Project to support the health and wellness of artists and staff.

"As Board Chair, I had the privilege of working closely with Greg during one of the most difficult periods in the Joffrey's history," said former Joffrey Board Chair Anne L. Kaplan. "Throughout the pandemic, he led with wisdom and extraordinary compassion, keeping care and feeding of our community at the center of every decision. His attentiveness to the individuals across the organization, paired with his steady judgment, carried the Joffrey through the crisis and made us stronger. That is the kind of leader Greg is, and it is one of the many reasons the Joffrey stands apart today."

Cameron's planned departure comes as arts organizations nationwide face constrained funding, rising costs, and shifting audience behavior. Against that backdrop, the Joffrey stands as a powerful story of resilience. The Company is debt-free, its long-term investments are $40 million and growing, and it continues to break box-office records.

"Greg's impact can be seen in the Joffrey's financial strength and on its stages, but it is equally present in the culture he created," McDonough added. "He cares deeply about the people who make this organization possible, sustaining it by investing in talent and establishing a culture of care and accountability. The leadership team he assembled is a defining part of his legacy and an important source of continuity for the years ahead."

The transition continues the Joffrey's history of reinvention. Robert Joffrey and Gerald Arpino founded the Company in 1956 as a touring ensemble dedicated to creating a distinctly American form of ballet. Its move from New York to Chicago in 1995 established a permanent home and began a new era of growth. Cameron's arrival in 2013 opened another chapter, defined by financial stability and greater institutional reach. Today, the Joffrey is recognized across the dance field as a model of how administrative strength can advance artistic achievement.

"We have accomplished far more than I imagined when I arrived," Cameron said. "Every milestone belongs to the artists, administrative staff, Board of Directors, Women's Board Members, and supporters who believed in where the Joffrey could go. We made deliberate choices about our future and followed through. Now we have the strength to build what comes next."

Following his departure, Cameron plans to continue supporting artists and arts education while broadening his civic work across Chicago.

"I remain committed to this city and to the artists who give it life," Cameron added. "I believe Chicago is the greatest city in the world, and I look forward to bringing my experience—and my values of curiosity, creativity, community and collaboration—to more organizations in service of its future. For now, my focus remains fully on the Joffrey and on preparing the strongest possible handoff to its next leader."

The Joffrey will share additional information as the search progresses.

About President and Chief Executive Officer Greg Cameron

Driven by his lifelong love for the arts, his hometown, and connecting with people from every background, Greg Cameron leads The Joffrey Ballet as President and CEO, responsible for organization-wide administration and strategy. Under Greg's partnership with The Mary B. Galvin Artistic Director Ashley Wheater MBE, the Joffrey has set new records at the box office and built the strongest financial foundation in its history. His 2013 appointment was the culmination of three decades of work in arts administration and philanthropy. 

As a child in suburban Chicago, Greg ran a makeshift theater out of his garage and sold more mints than anyone else for his local YMCA. And as an adult, he turned those passions into a career raising funds for the cultural organizations he loves. At the Chicago Department of Cultural Affairs; the Art Institute of Chicago; the Museum of Contemporary Art, where he rose to the role of Deputy Director and Chief Development Officer; and WTTW/WFMT, where he served as COO, Greg dedicated himself to supporting art and artists and to creating meaningful experiences for others.

Today, Greg leads the Joffrey's efforts to support unforgettable productions and new commissions, reach out to organizations and communities across Chicago, and open up world-class ballet for audiences from all backgrounds. Throughout the span of his 40-year career as an arts administrator in Chicago, Greg has volunteered for a wide range of nonprofit organizations and civic committees. He currently serves on the Facing History and Ourselves Chicago Advisory Board, the State Street SSA Commission, and the Driehaus Museum Board. In 2024, Greg was honored by the Association of Fundraising Professionals Chicago Chapter with their Benjamin Franklin Award, and by the University of Illinois Chicago Alumni Association with their Distinguished Service Award.

About The Joffrey Ballet 

The Joffrey Ballet is one of the premier dance companies in the world today, with a reputation for boundary-breaking performances for 71 years. The Joffrey repertoire is an extensive collection of all-time classics, modern masterpieces, and original works.  

Founded in 1956 by pioneers Robert Joffrey and Gerald Arpino, the Joffrey remains dedicated to artistic expression, innovation, and first-rate education and engagement programming. The Joffrey Ballet continues to thrive under The Mary B. Galvin Artistic Director Ashley Wheater MBE and President and CEO Greg Cameron. 

The Joffrey Ballet is grateful for the support of its 2026–2027 Season Sponsors: The Abbott Fund, Alphawood Foundation Chicago, Daniel and Pamella DeVos Foundation, The Florian Fund, Gallagher, Anne L. Kaplan, and Lynda Sue Lane, M.D. Season-long sponsorship of the Company Artists is generously made possible by Margot and Josef Lakonishok.

Live Music Sponsors: Sandy and Roger Deromedi, Sage Foundation, and The Marina and Arnold Tatar Fund for Live Music. The Joffrey also acknowledges our Season Partners: ATHLETICO and Chicago Athletic Clubs.

For more information on The Joffrey Ballet and its programs, visit joffrey.org. Connect with the Joffrey on Facebook, Instagram, and LinkedIn. 

Come From Away begins from a place of deep uncertainty, yet what emerges is a story grounded in the steady, everyday kindness people offer when they have nothing else to give. Rather than revisiting the events of September 11 themselves, the musical focuses on the human responses that rose in their wake - small gestures that became anchors for thousands of strangers. Currently running at Marriott Theatre, this production leans into that humanity, reminding us that even in moments defined by fear, communities can reveal their best selves and set the stage for the remarkable true story that follows.

The origins of Come From Away trace back to the ten-year reunion of Gander residents and the airline passengers who found themselves unexpectedly grounded there during the September 11, 2001 airspace shutdown. Writers Irene Sankoff and David Hein attended that gathering, listening as people shared memories of fear, generosity, and the strange intimacy of those five days. Those first-hand accounts became the foundation of their musical, built from interviews, lived experiences, and the community’s own reflections.

Come From Away tells the remarkable true story of how the residents of Gander, Newfoundland opened their town to nearly 7,000 stranded passengers, transforming crisis into connection. Sankoff and Hein’s folk-infused score and ensemble-driven storytelling capture both the urgency of the moment and the warmth that defined the community’s response. Through intersecting vignettes - a pilot grappling with the weight of the tragedy, a couple who unexpectedly find love, and townspeople mobilizing with astonishing kindness as they scramble to meet the needs of thousands - the musical builds a fast-moving, emotionally resonant tapestry of resilience. The many moments are uniquely moving. One storyline follows a gay couple who initially fear they may have been displaced into a community that would not welcome them, only to discover that Gander’s embrace is far more open-hearted than they ever expected. Another centers on a mother whose son is a New York City firefighter, her fear deepening with every hour she goes without word of his safety. A further scene reveals how fear and uncertainty led to an instance of racial bias toward a Middle Eastern passenger, underscoring the tension and misunderstanding that shaped those early hours. It is also notable how long it took many of the stranded passengers to even learn why they had been grounded, completely unaware of the September 11 attacks unfolding beyond the airport tarmac.

One of the most striking things Come From Away made me realize is how little I had ever considered the logistics of suddenly hosting 7,000 unexpected guests. Lodging is the obvious hurdle, but the production makes you think about everything else: baby formula and diapers for stranded families, toothpaste and toilet paper for thousands of people who never planned to stay overnight, the sheer volume of food, toiletries, and basic supplies required to keep an entire town functioning under extraordinary circumstances. It is the kind of practical, human detail that rarely crosses your mind until a musical places it right in front of you. And right in the middle of all that panic and uncertainty, one passenger quietly quotes Philippians 4:6 — “Be anxious for nothing.” The moment lands with such gentle force that it clearly holds the audience, as if the reassurance reaches beyond the stage.

The ensemble works together with the fluid precision Come From Away is known for, but a few roles naturally carry more emotional weight. Beverly, played by Lexie Dorsett Sharp, provides one of the show’s strongest through lines, her reflections as a pilot adding quiet depth to the production. Claude, portrayed by Alex Goodrich, anchors the local perspective with a steady, good-humored presence as Gander’s mayor who so wonderfully inspires the townsfolk, while Hannah, brought to life by Sharriese Hamilton, is a deeply felt presence as the firefighter’s mother. Around them, the rest of the company contribute vivid moments that round out the tapestry of stories, each adding texture without overshadowing the show’s ensemble spirit.

Lexie Dorsett Sharp and cast in Marriott's Come From Away. Photo by Justin Barbin.

The cast also gets a welcome lift from its other strong players, each actor shifting cleanly through multiple roles with the precision the show demands. Justin Albinder, in particular, delivers sharply timed, very funny moments that consistently land. Alongside him, Matt Crowle, Devin DeSantis, Denise Devlin, Sarah Bockel, Madison Kauffman, Heidi Kettenring, Michael Earvin Martin, and Jonathan Shaboo contribute to a unified, well-calibrated company whose collective work feels much larger than the sum of its parts.

Marriott’s production benefits from clear, confident leadership behind the scenes. Jessica Fisch’s direction keeps the ensemble moving with purpose, shaping the intersecting stories with a calm, assured touch that lets the emotional beats land without force. Katie Spelman’s choreography adds subtle lift to the staging - never flashy, but always intentional - helping the momentum build in ways that feel organic to the storytelling. Scenic designer Scott Penner and lighting designer Jesse Klug further elevate the production, using Marriott’s in‑the‑round configuration and luggage that doubles as plane seats to create the illusion of a bustling, overcrowded environment despite a cast of just twelve. Through razor‑sharp transitions, fluid movement, and smart spatial design, the stage often feels packed with 40 or 50 people, turning simplicity into spectacle without ever losing intimacy.

The musical’s score finds some of its strongest moments in a handful of standout numbers. “Me and the Sky,” led by Lexie Dorsett Sharp, remains the show’s defining emotional peak, her performance giving the song a grounded clarity that resonates long after it ends. Ensemble pieces like “Blankets and Bedding” and “28 Hours / Wherever We Are” showcase the cast’s cohesion, capturing both the frantic energy of Gander’s rapid mobilization and the passengers’ first fragile steps toward connection. Alex Goodrich brings an easy charm to “Screech In,” turning the raucous drinking ritual into one of the evening’s most crowd-pleasing scenes. And in “I Am Here,” Sharriese Hamilton delivers a quiet, concentrated punch, shaping one of the musical’s most affecting solo moments. The musical lift throughout is supported by conductor Celia Villacres and music coordinator Trevor Jones, whose work keeps the score driving, unified, and emotionally sharp. In these moments, the score shows its full range, moving easily between lightness, tension, and heartfelt storytelling.

What surprised me most was how deftly the musical balances somberness with humor. Given the weight of September 11^th (now approaching its 25^th anniversary), I expected the tone to stay anchored in grief, but Come From Away keeps finding pockets of levity, warmth, and genuine laughter. The humor never undercuts the tragedy; instead, it highlights the resilience and humanity that emerged in the midst of fear. The show moves back and forth between emotional registers with such ease that you are never left in one feeling for too long, making the experience unexpectedly uplifting.

Marriott Theatre’s production of Come From Away offers a thoughtfully crafted, emotionally grounded evening that earns its place among the company’s stronger musical offerings. The ensemble’s cohesion, the clarity of its overall arc, and the steady warmth woven throughout make this a production well worth seeing.

Highly Recommended.

Runs through October 18^th at Marriott Theatre in Lincolnshire.

One hour and forty‑five minutes with no intermission.

Tickets and additional information: www.marriotttheatre.com/show/come-from-away  

 Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to launch its 51st Season with Suzan-Lori Parks' Pulitzer Prize-winning drama Topdog/Underdog, helmed by Tony Award-winning director Kenny Leon, who returns to Steppenwolf following his hit production of King James. Ensemble members Glenn Davis (Windfall, Purpose–Chicago/Broadway, King James) and Namir Smallwood (Windfall, The Book of Grace, Bug–Chicago/Broadway) go head-to-head in this highly-anticipated revival, more than two decades after the company's celebrated 2003 production. 

Topdog/Underdog will play a limited engagement September 17 — November 1, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Single tickets are currently on sale at steppenwolf.org or the Box Office at (312) 335-1650. 

About the Production:

Brothers Lincoln and Booth, named in jest, are two Black men living in America just trying to get by. Lincoln dresses like his namesake, reenacting his assassination for money and laughs. Booth stays stuck in their apartment, working tirelessly on his three-card hustle. Sibling rivalry and a lifetime of resentment come to a head in this fast-paced and ferocious thrill ride. The deck is stacked with a Tony Award-winning director, a Pulitzer Prize-winning script and a tour-de-force showdown for ensemble members Glenn Davis and Namir Smallwood. "Take thuh cards and show me whatcha got!" 

The creative team includes Arnulfo Maldonado (Scenic Design), Dede Ayite (Costume Design), Lee Fiskness (Lighting Design), Justin Ellington (Sound Design), Jyreika Guest (Violence & Intimacy Consultant), Kate DeVore (Vocal Coach), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), ensemble member Laura D. Glenn (Production Stage Manager) and Jaclynn Joslin (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Topdog/Underdog
Playwright: Suzan-Lori Parks 
Director: Kenny Leon
Cast: ensemble members Glenn Davis (Lincoln) and Namir Smallwood (Booth)
Understudies: Anthony Fleming III (Lincoln) and Patrick Newson Jr. (Booth)

Location: Steppenwolf's Downstairs Theater, 1650 N. Halsted St., Chicago

Dates: Previews: Thursday, September 17 – Saturday, September 26, 2026
Opening: Sunday, September 27, 2026 at 6 pm
Regular run: Tuesday, September 29 – Sunday, November 1, 2026

Curtain Times: Tuesdays, Wednesdays, Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 7:30 pm; and Sundays at 3 pm. Please note: there will not be 7:30 pm performances on Tuesday, September 22, Thursday, October 1, Tuesday, October 6, Tuesday, October 13, Wednesday, October 21 or Thursday, October 22; there will be an added 2 pm matinee on Wednesday, October 21.

Tickets: Classic Memberships starting as low as $165 are now on sale for Steppenwolf's 2026/27 season at steppenwolf.org/myseason. Single tickets for Topdog/Underdog ($20 – $129*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale: Black Card Memberships with six tickets for use any time for any production and RED Card Memberships for theatergoers under 30. *Pricing includes an $8.50 handling fee

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

Accessible Performance Dates:

Audio-Described and Touch Tour: Sunday, October 25 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Thursday, October 8 at 7:30 pm & Saturday, October 17 at 3 pm
ASL-Interpreted: Friday, October 16 at 7:30 pm

Education and Engagement:

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

Artist Biographies:

Suzan-Lori Parks (Playwright) is a multi-award-winning writer and musician. She is the first African-American woman to receive the Pulitzer Prize for Drama for Topdog/Underdog, which recently won the 2023 Tony Award for Best Revival. Her other plays include Sally & Tom (2024), Plays for the Plague Year (Drama Desk Award, Best Music, 2023) and Father Comes Home From The Wars (2014). Parks' first marathon-writing "micro diary plays," 365 Days/365 Plays were produced worldwide in what was the largest grassroots collaborative theatre project to date. She is a MacArthur "Genius" Fellow, a novelist: Getting Mother's Body (Random House); and a screenwriter: Girl 6, Genius: Aretha, and The United States vs Billie Holiday. Parks also writes songs and fronts her band "SLP& The Joyful Noise," with her punk-couture medicine show, The Tune Up, world-premiering this summer. As a college student Parks is grateful to have studied creative writing with James Baldwin, who encouraged her to write for the theatre.

Kenny Leon (Director) is a Tony Award-winning director. Broadway: The Balusters, Othello, Our Town, HOME, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch, Topdog/Underdog, Ohio State Murders, A Soldier's Play, American Son, Children of a Lesser God, Holler If Ya Hear Me, A Raisin in the Sun, The Mountaintop, Stick Fly, August Wilson's Fences, Gem of the Ocean and Radio Golf. Off-Broadway: The Conversation (Astor Place Theatre), This World of Tomorrow (The Shed), King James, The Underlying Chris, Everybody's Ruby, Emergence-See! (The Public), Smart People (Second Stage). Opera: Amahl and the Night Visitors, Margaret Garner. Television: Robin Roberts Presents: Mahalia, Colin in Black & White, 4400, Amend: The Fight for America, American Son (adapted for Netflix), Hairspray Live!, The Wiz Live!, Steel Magnolias, Dynasty, In My Dreams. Author: Take You Wherever You Go. Artistic Director Emeritus: Kenny Leon's True Colors Theatre Company. Senior Resident Director: Roundabout Theatre Company. Awards: Obie, Actors Fund Medal of Honor, George Abbott Lifetime Achievement for American Theatre, Jason Robards Award for Excellence in Theatre.

Glenn Davis (Lincoln) is an actor, producer and Artistic Director of Steppenwolf Theatre Company, alongside Audrey Francis, where he has been an ensemble member since 2017. His Steppenwolf credits include Downstate, The Christians, You Got Older, The Brother/Sister Plays, Head of Passes, King James (also Mark Taper Forum), Describe the Night, Purpose and Windfall. Broadway credits include: Purpose; Bengal Tiger at the Baghdad Zoo (also Kirk Douglas Theatre, Mark Taper Forum). Off-Broadway credits include Transfers (MCC Theatre), Wig Out! (Vineyard Theatre), Downstate (Playwrights Horizons, Outer Critics Circle Nomination) and King James (MTC). Other regional credits include Moscow x6 (Williamstown Theatre Festival). International credits include Downstate (National Theatre, UK), Edward II, The Winter's Tale and As You Like It (Stratford Festival), Othello (The Shakespeare Company). Television credits include Billions, 24, The Unit, Jericho and The Good Wife. Glenn is an Artistic Associate at the Young Vic in London and at the Vineyard Theatre in New York. He is also a partner in Cast Iron Entertainment, a collective of artists consisting of Sterling K Brown, Brian Tyree Henry, Jon Michael Hill, Andre Holland and Tarell Alvin McCraney. Cast Iron is currently in residence at The Geffen Playhouse in Los Angeles. In 2021, Glenn founded The Chatham Grove Company along with his producing partner Tarell Alvin McCraney.

Namir Smallwood (Booth) joined the Steppenwolf Theatre Company ensemble in 2017. Steppenwolf: Windfall, Mr. Wolf, You Will Get Sick, The Book of Grace, Seagull, Bug, True West, BLKS, Monster, Man In Love, The Hot L Baltimore, Last Night and the Night Before. Broadway: Pass Over, Bug. Off Broadway: Pipeline, Pass Over (Lincoln Center). Chicago: The Lost Boys of Sudan (Victory Gardens Theater); Charm (Northlight Theatre); The Grapes of Wrath (The Gift Theatre); East Texas Hot Links (Writers Theater). Regional: Marin Theatre Company, Pillsbury House Theatre, Ten Thousand Things, Guthrie Theater. International: True West (Galway International Arts Festival). Television: Chicago Fire, Betrayal, Elementary, American Rust (Showtime/FreeVee); Power Book IV: Force (STARZ). Film: Rounding, About Time, Bailey's Blues.

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

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

About Steppenwolf Theatre Company:

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

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

The first thing you notice about the meticulously curated Black dance performance held at the Harris Theater over the weekend is language.  The eloquence and weight of the words used to explain why the Chicago Black Dance Legacy Project (CBDLP) exists and what it hopes to achieve. 

Organized in 2019, Black dance companies rooted in Chicago joined forces to learn from one another artistically and operationally while working in collaboration with the Reva and David Logan Center for the Arts in Hyde Park and “other University of Chicago entities”. Sustaining viability and preserving legacy were placed at the heart of the project’s end objectives. 

Its formation would have several residual benefits.  An annual festival of dance performed by the companies who make up CBDLP remains chief among them.  Events like the one held Friday night to a sold-out house also raise the profile of Black dance in Chicago and underscore its contributions to the city’s cultural topography and its continuing vitality. 

Dancing the Archive:  Embodied Histories, Collective Power / Photos by Kyle Flubacker.

Honoring and showcasing the history and the arc of Black dance sat at the core of Dancing the Archive: Embodied Histories, Collective Power, the title of the evening’s multi-textured production.  Not only was it dense with dance featured by ten of the project’s cohort companies, video clips that provided essential context on the trailblazers who spearheaded creative renewal within the Black creative community was also woven through this remarkable gala.  The clips also helped to convey the importance and significance of the works being performed.  Framed as chapters in a book, the dances flowed together to tell a comprehensive story.

Made up of 175 companies, dance culture in Chicago is extraordinarily deep, wide and rich. For Black companies who often face greater exposure challenges, Dancing the Archive serves to train the spotlight on their presence and gifts. The high degree of that talent and its proliferation marked the entire program that opened with a focus on youth. 

Each individual work or dance suite performed honored a key individual who is making or has made significant contributions to Black dance or some other aspect of the city’s cultural art forms that reflect the Black experience.  Through The Stillness celebrated Homer Bryant, founder of the Chicago Multi-Cultural Dance Center.  A work that Mr. Bryant choreographed and performed here by members of his company, it used Albinoni’s Adagio for Organ and Strings to pay homage to concentrated sensuousness. A dance for two performed by Sasha Levy and Davion Bellinger, it was an accomplished composition of strength, control and technical mastery executed with extreme beauty by two young dancers.

Dancing the Archive:  Embodied Histories, Collective Power 

The first chapter’s companion piece, Touch U, was a world premiere and an adaptation of Gerald Arpino’s Touch Me.  In it, choreographers Bradlee Lathon and Pierre Lockett collaborated with a phalanx of their very youthful and talent-laden dancers at Forward Momentum Chicago to present a dance sparkling with infectious positivity.  Bursting with innovative and highly sophisticated contemporary dance design, Touch U felt as if you were watching the next generation of dance on a maiden voyage. One that couldn’t have been more stimulating or aesthetically refreshing.

That sense of captivating vibrancy defined Dancing the Archives.  In addition to the absorbing heritage-centered components of the program, dance was used to provide visual markers to history and highlight the place Black dance held during its march.  Najwa Dance Corps’ Ancestral Steps looked back to dance crazes 100 years ago in the mid 1920s when the Charleston electrified a generation and the music of Count Basie ruled the airwaves.  Later, in another world premiere, M.A.D.D. Rhythms with their Oscar Plays Gershwin Suite (They All Laughed, Summertime, Nice Work If You Can Get It), deftly exalted the “fire, finesse and swing” of tap with cool bravado.

The span of time and of dance expressions that paralleled it was vast.  Muntu Dance Theatre of Chicago in Woven jubilantly recalled another time and place when “living archives” were embodied in a central griot-like figure.

Lines in Motion danced by The Era Footwork Collective was all about the kind of suavity that happens when you fuse mellow chill to dazzling footwork; creating repeated flashes of dance lightning in the process. 

With Chance the Rapper as honoree, Chicago Multicultural Dance Center and Hiplet Ballerinas placed an impish toe in the future with its playfully eerie Speed of Light; attaching culturally specific overtones to our tech laden times.

Dancing the Archive:  Embodied Histories, Collective Power 

Superlatives in either concept, execution or; most commonly, both ran thick in many of the other dances performed.  Most of which have never been seen by audiences until now. Dorianne Thomas’s solo in Who Will Comfort Me, a world premier for the record books by the Joel Hall Dancers, was flawless in her display of dance fluency and emotional projection through movement.  Attributes found in other performances were just as noteworthy.   Praize Productions Inc.’s Leader of the Pack and Deeply Rooted Dance Theater’s excerpt from Crowns instantly come to mind.  As does that churning and jubilant tribute to Curtis Mayfield and Lupe Fiasco by Move Me Soul.  Curtis Suite and Sour, masterminded by Diana Muhammed, brought back to life the musical catalog of a genius and created a dance piece that complemented it gorgeously.

Because remembrance played such a significant role in the program, the In Memoriam segment commemorating leaders and standard bearers who died in 2025 was particularly notable and memorable.  Before presenting the names and images of the fallen, a solo rendition of Precious Lord was sung by Cholé Johnson.  Distinguished by its spare simplicity and for Ms. Johnson’s captivating interpretation, the artistic merits of the performance were astonishingly high.   The song’s inclusion fittingly reveals the thread of the divine that lies within so much Black creative enterprise.  An indispensable component often found in the bedrock of creative inspiration.

Dancing the Archive:  Embodied Histories, Collective Power

Chicago Black Dance Legacy Project

August 28, 2026

The Harris Theater for Music and Dance

205 E. Randolph Street

Chicago, IL  60601

For more information:  https://www.chicagoblackdancelegacy.org/

Vape! The Grease Parody, currently running at Chicago’s Apollo Theater through January, takes a satirical swing at the iconic 1978 film. The production leans heavily into campy, low‑brow humor, poking fun at the original and the characters who appeared in it - Danny Zuko and Sandy Olsson, made famous by John Travolta and Olivia Newton‑John, their respective groups, the T‑Birds and the Pink Ladies, and a parade of other colorful personalities. Vape! attempts to capture the same irreverent energy that made recent parody hits like Titanique and Schmigadoon! work, but it struggles to carve out its own distinct identity.

For those unfamiliar with the source material, Grease follows the summer‑fling romance between Danny Zuko, the swaggering leader of the T‑Birds, and Sandy Olsson, the wholesome new girl who unexpectedly lands at his high school. Their reunion at Rydell High kicks off a swirl of teen drama, pep‑rally posturing, and 1950s hot‑rod bravado, all set against the antics of their respective cliques. The story ultimately tracks whether Danny and Sandy can bridge the gap between their carefully curated images and who they actually are - all wrapped in a soundtrack that has produced some of the most memorable songs from a stage and screen musical.

The narrative of Vape! modernizes the classic tale by tossing an assortment of pop-culture tropes and theatrical nods at the audience. Some of these updates land, such as transforming Sandy into a washed-up mermaid or reimagining "Beauty School Dropout" as an "Influencer Dropout" sequence featuring the ensemble performing with ring lights affixed to their heads. Theater lovers will also spot references to Wicked, The Phantom of the Opera, A Chorus Line, and others. However, some of the updates – like turning Rizzo into a Scream-esque murderer – don’t.

At times, the structural additions feel somewhat disjointed. The modernizations do not always mesh smoothly with the source material, creating an odd juxtaposition where 1950s greasers and TikTok culture clash rather than complement one another.

While the original Grease carried a certain tongue-in-cheek approach beneath its mature content, Vape! leans fully into explicit and crude farce. For instance, Grease’s "Hand Jive" gets a lyrical update to become the "Handjob.”

Despite the material, the cast delivers energetic and capable performances, keeping the energy high. Will Leonard offers an enjoyable Travolta impersonation, capturing his signature vocal whine with precision – though it’s a bit disappointing he didn’t have the iconic black hair. Jenna Smith makes Sandy fun to watch, especially in the way she pokes fun at Olivia Newton‑John’s accent. Among the ensemble, Suzanne Sole and Sophia Brazada turn in standout moments, each showing off impressive vocal chops.

The creative team behind Vape! brings together a mix of comedy writers and seasoned parody specialists. Sketchworks Comedy and Catie Hogan supply the show’s core concept, while Billy Recce - of A Musical About Star Wars fame - contributes additional lyrics and book alongside Danny Salles. Jack Plotnick, known for directing Broadway’s Disaster!, steers the production, with Ashley Marinelli shaping the choreography and Lena Gabrielle overseeing music supervision and arrangements. Sketchworks also produces the show, with Seth Rudetsky and James Wesley Jackson offering input as creative consultants.

It’s clear from the theater’s decorative environment that great care has been taken with the overall experience. It’s immersive and outfitted with goofy parody posters, themed photo ops, cutouts, and even Grease‑themed cornhole. So, for devoted Grease fans looking for a lighthearted mockery of the classic, or perhaps theatergoers simply seeking silly, inconsequential escapism, Vape! offers a breezy night out.

Vape! The Grease Parody is being performed at the Apollo Theater Chicago through January 3rd, 2027. Tickets and information are available at vapethemusical.com.