Items filtered by date: November 2007

Chicago’s Tony-Award winning Lookingglass Theatre Company is proud to share its current 2025 season including two mainstage productions, Circus Quixote, January 30 – March 30, and Iraq, But Funny, May 29 – July 20; a wide variety of Circus Quixote accessibility, education and community events including juggling workshops, a Latine Night and talkbacks in collaboration with Teatro Vista and Instituto Cervantes; performances by Lookingglass Theatre’s Young Ensemble: The Portrait of Madame X, March 2 - 4: a dream inspired unGALA on March 20 and coming this summer, the latest edition of Sunset 1919 on July 27 and Summergglass Camps, August 4 – 15. Details are included below and may also be found at LookingglassTheatre.org.

The 2025 season includes the following programs, performances and special events:

Lookingglass Theatre Company presents

Circus Quixote

January 30 - March 30

Based on Miguel de Cervantes’ “Don Quijote of La Mancha”

Adapted and Directed by Kerry and David Catlin

Circus by Sylvia Hernandez-DiStasi

Produced in Association with Actors Gymnasium Circus School & Theatre Company

Featuring Michel Rodríguez Cintra, Micah Figueroa, Julian Hester, Laura Murillo Hart, Andrea San Miguel, Ayana Strutz and Eduardo Martinez

Previews: Thursday, Jan. 30 - Saturday, Feb. 1 at 7:30 p.m., Sunday, Feb. 2 at 1:30 p.m. and Wednesday, Feb 5 - Friday, Feb. 7 at 7:30 p.m.

Press Opening: Saturday, Feb. 8 at 6 p.m.

Performance schedule for February 9 - March 30: Tuesdays and Wednesdays at 7 p.m., Thursdays at 1:30 and 7 p.m., Fridays at 7 p.m., Saturdays at 1:30 and 7 p.m. and Sundays at 1:30 p.m.

Joan and Paul Theatre at Water Tower Water Works, 163 E Pearson St. at Michigan Ave.

Tickets are $35 - $80

LookingglassTheatre.org

For more than 400 years, Miguel de Cervantes’ Don Quijote of La Mancha has inspired readers and cultures across the globe. Lookingglass’ production, first incubated at The Actors Gymnasium, brings this literary classic to life anew in 2025. Somewhere in La Mancha there lived a man who read so many books about chivalry that his brains dried up. In this world premiere, Lookingglass transports audiences tiltingly and acrobatically into the dreamy madness of Don Quixote and his impossible folly-filled quest to bring good-deed doing back into the world … whether the world wants it or not.  

Circus Quixote Accessible Programming

Accessibility Performances:.

• Mask Required Performance: Friday, Feb, 21 at 7 p.m.
• Open Caption Performance: Wednesday, March 5 at 7 p.m.
• Audio Described/Touch Tour Performance: Saturday, March 8 at 1:30 p.m.
• Masked Required Performance: Wednesday, March 12 at 7 p.m.
• Sensory Friendly/Relaxed Performance: Sunday, March 16 at 1:30 p.m.

An accessible entrance to Lookingglass is located at Pearson Street directly to the west of the main entrance at 163 E. Pearson Street using the wooden double doors.

Patrons may access The Joan and Paul Theatre at Lookingglass using the elevator or ramp located in the newly renovated lobby. Lookingglass offers accessible seating for all performances on the ground floor and balcony. These seats are accessible for all patrons who use a wheelchair, a scooter, walkers, other mobility aids or cannot use stairs. Lookingglass also has a variety of aisle seating options available.

Assistive listening devices are available for every mainstage performance at the box office free of charge. Attendees may pick up the device at the box office upon arrival.

Sensory Bags are available for every mainstage performance at the box office free of charge. Attendees may pick up the bags at the box office upon arrival.

Large print programs are available in electronic form at the box office.

If assistance booking is needed, please call 312.337.0665 or email This email address is being protected from spambots. You need JavaScript enabled to view it.

More information on these performances atLookingglassTheatre.org/Accessibility.

Circus Quixote Education and Community Programming

NEW

A LookinggClass: Juggling 101

Wednesdays, Feb. 12 – Feb. 26 and Sundays, Feb. 23 and March 9 at 6 p.m. 

Recommended for ages 8 years old and older

Tickets: $15

LookingglassTheatre.org/event/juggling-101-a-lookingclass/

This season, go behind the scenes of every Lookingglass show with workshops and classes designed to spark curiosity. During Circus Quixote, join Lookingglass and The Actors Gymnasium before select performances for a juggling lesson that will lift audiences’ spirits and get them ready to show off new party tricks.

Teen Takeover

Saturday, Feb. 15 at 1:30 p.m.

RSVP here to reserve your  $5 ticket

Theatre loving, Chicago area teens are invited for pre-show pizza and Circus Quixote artist chat before heading into the theatre for the performance. Tickets are LIMITED.

Reflect Panel Discussion Series in partnership with Teatro Vista

“Chasing the Dream: Reclaiming Cultural Narratives”

Sunday, Feb. 16 at 1:30 p.m.

Free with Circus Quixote ticket, following the show

The REFLECT Panel Discussion Series draws on a theme or social issue inherent in the current production and gives space to speak on them and with each other.

Lookingglass Ensemble Member and Teatro Vista Producing Artistic Director Wendy Mateo and Teatro Vista Managing Director Cruz Gonzalez-Cadel examine Cervantes’ text as a tool for cultural colonialism and speak about their personal intersections as Latinas with “Don Quixote.” Lookingglass Ensemble Member and Creative Producer Kareem Bandealy hosts/moderates.

REFLECT takes place following the Sunday matinees and is held, after a short break, in the Joan & Paul Theatre.

Latine Night

Friday, Feb. 28 at 5:30 p.m.

Free with Circus Quixote ticket

Latine culture is the world. And the world is here in our Chicago.

The fiesta begins at 5:30 p.m. with a pre-show mixer featuring full bar service and a vast curation of Latine Music spun by a surprise guest DJ. The evening continues with the main event – the night’s performance of Circus Quixote. and concludes with a tri-lingual (Spanish, Portuguese, English) post-show discussion featuring the cast and hosted by Lookingglass Artistic Associate J. Salomé Martinez, Lookingglass Assistant Director of Development Carlos García León and Circus Quixote Dramaturg Gabriela Furtado Coutinho.

Reflect Panel Discussion Series in partnership with Instituto Cervantes 

Dawn of Quixote: Iberia Pre & Post Reconquista

Sunday, March 9 at 1:30 p.m.

Free with Circus Quixote  ticket, following the show

The REFLECT Panel Discussion Series draws on a theme or social issue inherent in our current production and gives us a space to speak on them and with each other.

Teresa Hernando Rojo (Gestora Cultural at Instituto Cervantes) and public media personality Narimon Safavi engage in a fascinating discussion on Iberia pre- and post- Reconquista and the diverse cultural influences that would have been a part of Cervantes’ Spain. Lookingglass Ensemble Member and Creative Producer Kareem Bandealy hosts/moderates.

REFLECT takes place following the Sunday matinees and is held, after a short break, in the Joan & Paul Theatre.

Young Ensemble Returns with The Portrait of Madame X

Lookingglass Young Ensemble

The Portrait of Madame X

Written by Ensemble Member Phil Smith based on an adaptation of Alexander Pushkin’s “The Queen of Spades” by Tommy Rapley and Dennis Watkins

Directed by Ensemble Members Louise Lamson and Phil Smith 

Sunday, March 2 at 7:30 p.m.

Monday, March 3 at 7 p.m.

Tuesday, March 4 at 7 p.m.

Tickets: $35 (General Admission) and $10 (students)

LookingglassTheatre.org/young-ensemble/

Who is really holding the cards at Madame X’s high stakes Gaming Parlor? Find out as the one and only Lookingglass Young Ensemble unspools their feverish take of Alexander Pushkin’s unrivaled tale of gambling and the supernatural, “The Queen of Spades.” 

Now in its 26th year, The Lookingglass Young Ensemble is a group of Chicago-area young adults, ages 13-18, committed to building their theater skills, lifting their voices and developing their creativity through collaborative creation. The 2024/25 Young Ensemble is composed of 16 teens from all over Chicago.  

“There’s always something new I can learn and I have a very different understanding of what theatre meant,” said Young Ensemble Member Natasha Friedman. “Lookingglass is a place where everyone wants to learn and are so ready to put their whole selves in the process and that’s an important tool for growing your craft.” 

The annual Young Ensemble production weaves together language, visual spectacle, music and the unique talents and contributions of the ensemble. Inclusive, rigorous, playful and endlessly creative, the Young Ensemble builds not only better artists, but better collaborators, thinkers, and leaders.

unGALA: DREAM

Thursday, Mar. 20 at 5:30 p.m.

The Casino Club, 195 E. Delaware Place, Chicago, IL

Tickets: $750 (Sponsorships begin at $2500)

LookingglassTheatre.org/event/ungala-dream/

Join Lookingglass for an unforgettable experience that takes guests on a dream-like journey through the first night of spring—featuring an epic pajama party.

This year’s unGALA invites all to join the Lookingglass Board of Directors, Ensemble, Artistic Associates and guest artists for an evening that pushes boundaries and defies expectations—celebrating creativity, artistic innovation and the shared experience of dreaming beyond the ordinary.

WORLD PREMIERE

Iraq, But Funny

May 29 – July 20

Written by Atra Asdou

Directed Dalia Ashurina

Joan and Paul Theatre at Water Tower Water Works, 163 E. Pearson St. at Michigan Ave.

Tickets: $30 - $80

LookingglassTheatre.org/event/iraq-but-funny/

A raucous satire about five generations of Assyrian women reclaiming their stories, as narrated by a British guy. Making its world premiere at Lookingglass Theatre, Ensemble Member Atra Asdou’s original dark comedy jauntily marches through the Ottoman Empire to modern-day U.S.A. exploring history, family and dysfunction.

Sunset 1919

Sunday, July 27 at 7 p.m.

Eugene Williams Memorial Marker

125 Fort Dearborn Drive, Chicago 60615

1/4 mile north of 31st Street Beach

Free

LookingglassTheatre.org/event/sunset-1919-2024/

Sunset 1919 is an annual community art ritual performed in honor of Eugene Williams, a Black teenager who was killed for crossing an imaginary racial line on the waves of Mishigami (from Ojibwa “Great Water”). Sunset 1919 was first curated and coordinated in 2020 by Ensemble Member and Creative Producer Kareem Bandealy and Ensemble Member and Mellon Playwright in Residence J. Nicole Brooks and it offers a communal moment to acknowledge our Indigenous roots and for Black artists to merge movement, music and word in a free, spirit-guided ritual.

Youth Ensemble Summergglass Camps

August 4 - 8 and August 11 - 15

Lookingglass Theatre, 163 E. Pearson St. at Michigan Ave.

Enrollment: $450

Early bird enrollment begins Monday, Feb. 3

LookingglassTheatre.org/summergglass-camp-2025/

Through drama and creative play, the experienced teaching artists of Summergglass will focus camp days to explore creative problem solving, collaboration, story structure, speaking directly to the audience and all the inventive visual storytelling that makes Lookingglass so special.

Mornings are spent working with teaching artists to learn many of the same theatre techniques and skills used to create Lookingglass shows. During the afternoons, campers will work on their drama skills as they create and adapt original stories to share on the final day of camp. 

Paper Magic:  Shadow Puppet Camp

August 4 – 8 from 9 a.m. – 3 p.m.

Ages: 6 – 10

Lights. Paper. Magic! Create epic adventures with shadow puppets as campers design, build and bring puppets to life using storytelling traditions from around the world.  

Through creative drama and movement games, this camp explores folk tales from around the world, inventing original heroes and villains and building magical stories to share! Learn the fundamentals of Lookingglass playmaking techniques, explore design and story structure and go to the park each day for lunch. By the end of the session, friends and family are invited to join campers on a magical adventure into, and out of, the shadows.

Mysterious City: Chicago Scavenger Hunt Camp

August 11 – 15 from 9 a.m. – 3 p.m. 

Ages 8 – 14

The Mysterious City Society needs your help! Together, campers will build a summer adventure demanding all of their creativity and daring-do. The mission: report to the historic Lookingglass Water Tower theatre for a scavenger hunt camp that will take campers through the Lookingglass, beyond the pumping station pipes and back in time through the pop culture, music and movements and milestones of Chicago’s not-so-distant past. Young adventurers will learn the fundamentals of Lookingglass playmaking techniques, explore the structure of scavenger hunts and choose “your own adventure” stories, search for clues on walking field trips and work with Lookingglass teaching artists to create an original scavenger hunt play to share with family and friends.

ABOUT LOOKINGGLASS THEATRE COMPANY

Founded in 1988 by graduates of Northwestern University, Lookingglass Theatre Company is a nationwide leader in the creation and presentation of new, cutting-edge theatrical works and in sharing its ensemble-based theatrical techniques with Chicago-area students and teachers through Education and Community Programs. Guided by an artistic vision centered on the core values of collaboration, transformation and invention, Lookingglass seeks to capture audiences’ imaginations leaving them changed, charged and empowered.

Recipient of the 2011 Tony Award for Outstanding Regional Theatre, Lookingglass has built a national reputation for artistic excellence and ensemble-based theatrical innovation. Notable world premieres include Mary Zimmerman’s Tony Award-winning Metamorphoses and The Odyssey, J. Nicole Brooks' Her Honor Jane Byrne, David Schwimmer’s adaptation of Upton Sinclair’s The Jungle and Studs Terkel’s Race: How Blacks and Whites Think and Feel about the American Obsession, Matthew C. Yee's Lucy and Charlie's Honeymoon and David Catlin’s circus tribute to Lewis Carroll, Lookingglass Alice​​, which was captured by HMS Media and reached 1.6 million PBS viewers.Looking Alice is now available to more than four million students worldwide through Digital Theatre+. Work created by Lookingglass artists has been produced in Australia, Europe and dozens of cities throughout the United States.

James Ijames' Pulitzer Prize-winning play, Fat Ham, bursts onto the Goodman Theatre stage in a vibrant, deeply resonant co-production with Definition Theatre. Directed with an expert hand by Definition Theatre's Artistic Director Tyrone Phillips, this contemporary reinvention of Hamlet dazzles with humor, heart, and a profound exploration of identity, toxic masculinity, and generational burdens.

Set in a Southern backyard during a family barbecue, Fat Ham transforms Shakespeare's dark tragedy into a poignant yet hilarious meditation on living one's truth. At the center of this narrative is Juicy, played with remarkable nuance and emotional depth by Trumane Alston. Juicy's journey of self-discovery unfolds amid the ghosts—both literal and figurative—of his family's past, grappling with expectations of masculinity and the weight of inherited trauma.

Alston's performance is layered and compelling; his Juicy is introspective and tender yet brimming with an undercurrent of resilience, given time he will lean more into the character arc. His comedic timing is impeccable, delivering Ijames' sharp and incisive dialogue with a natural ease that invites the audience into his emotional world. Juicy's interactions with his spirited best friend Tio, brought to life by the dynamic Victor Musoni, provide some of the play's most humorous and thought-provoking moments. Musoni's portrayal of Tio is electric, offering a counterpoint to Juicy's introspection with boundless energy and unfiltered wisdom.

Ronald Connor impresses in the dual role of Rev and Pap, seamlessly shifting between the domineering ghost of Juicy's father and the charismatic over-sexed preacher presiding over family affairs. His presence looms large, embodying the toxic masculinity that haunts Juicy's world with an intensity that is both chilling and oddly comedic. Opposite him, Anji White as Tedra, Juicy's vivacious mother, delivers a powerhouse performance—balancing maternal warmth with an underlying desperation to escape her own past.

Ireon Roach’s Opal is a revelation, with her confidence simmering to the surface, while Sheldon Brown’s Larry, a stoic Marine grappling with his own identity, offers a poignant reflection of the play’s central themes. And no production would be complete without the powerhouse that is E. Faye Butler, whose presence on stage is nothing short of magical.

The technical elements of the production elevate the storytelling to new heights. Arnel Sancianco’s set design captures the essence of a Southern backyard with rich, lived-in detail, creating a tangible sense of place that enhances the play’s themes of home and heritage. Jos N. Banks’ costume designs are vibrant and character-driven, reflecting each individual's inner conflicts and outward personas. Jason Lynch’s lighting design cleverly shifts from naturalistic warmth to eerie supernatural hues, underscoring the play’s tonal shifts. Meanwhile, Willow James’ sound design punctuates the emotional beats with a careful blend of music and ambient sounds that ground the play’s heightened moments.

Phillips’ direction is both deft and sensitive. He embraces the play's comedic elements without undercutting its emotional weight. He crafts a production that honors Ijames’ bold vision while allowing the cast to fully explore the complexities of their characters.

Fat Ham is a triumph—an innovative, riotously funny, and ultimately moving exploration of what it means to break free from the ghosts of the past and forge an authentic future. Whether you're a Shakespeare purist or someone looking for a fresh, contemporary take on a classic story, this production offers something truly special.

With an outstanding ensemble, sharp direction, and a creative team firing on all cylinders, Fat Ham at Goodman Theatre is a must-see theatrical event that redefines what it means to inherit, to resist, and to thine own self be true.

Highly Recommended
When:    Through March 2
Where:  Goodman Theatre, 170 N. Dearborn St.
Tickets:  $25 - $85
Info:     Goodmantheatre.org/Ham

Before Alison Bechdel became famously associated with her “Bechdel Test” for evaluating fiction by how women are portrayed, she published the now classic graphic novel ‘Fun Home’. Through meticulously created panels, Bechdel explores her splintered relationship with her father who died shortly after she came out to him.

Renowned composer Jeanine Tesori collaborated with Lisa Kron to adapt Bechdel’s graphic novel into a stage musical. Following significant rewrites, the 2013 off-Broadway production transferred to Broadway in 2015. The production went on to garner several Tony nominations as well as a nomination for the 2014 Pulitzer Prize.

Porchlight Music Theatre brings ‘Fun Home’ back to Chicago in an all-new revival directed by Stephen Shellhardt. There’s a freshness to this production that strives less for technical perfection but instead for a full-throated sense of emotion. Alanna Chavez leads the cast as the full-grown narrator Allison reflecting back on her childhood, While Patrick Byrnes plays her father Bruce with whom she has a complex relationship. In a series of non-linear memories and heartbreaking songs, ‘Fun Home’ combs through Bechdel’s memories for explanations for her father’s apparent suicide.

This revival isn’t trying to be the Broadway tour and it’s all the better for it. As evidenced by the part of Allison’s mother originated by Judy Kuhn played here by Neala Barron with a wildly different take. Gone is the passive mid-century housewife this part is typically played as. Barron takes Helen in a darker direction that perhaps more accurately captures the suppressed rage flowing through Tesori’s music.

In many ways, ‘Fun Home’ is a story about how emotional abuse as a child impacts the adults we become. Shellhardt’s interpretation doesn’t gloss over the more unsettling details of Bechdel’s relationship with her father. Byrnes gives a cool, but certainly not reserved performance that thrillingly straddles the line between scary and vulnerable.

Small but cleverly dressed staging helps the beautiful harmonies soar. One thing Porchlight can always be counted on for is the music. Even the arrangements seem slightly reinterpreted for this production. As the 100-minute show narrows its focus onto the exact moment Bechdel’s father’s life reached a crisis point, Tesori and Kron’s score goes for the jugular in duets like ‘Telephone Wire’ between Barron and Byrnes.

Though ‘Fun Home’ deals with heavy issues around suicide, closeted homosexuality and dysfunctional family relationships, it’s also a story of queer celebration. Bechdel’s father may not have been comfortable with who he really was, but Bechdel’s life and success is a living testament to shifting generational mores. Thanks to a more tolerant world, Allison Bechdel was able to live her life in a way her father never could.

‘Fun Home’ continues to shine as one of Broadway’s most original queer musicals, specifically because of its female protagonist. The sumptuous music by Jeanine Tesori and Lisa Kron brings out the bittersweetness of Bechdel’s graphic novel. Porchlight’s version feels as relevant today as ever and in the hands of this well-curated cast, ‘Fun Home’ soars off the stage.

Through March 2 at Porchlight Music Theatre at Ruth Page Center for the Arts. 1016 N Dearborn. (773) 777-9884

Brightside Theatre's latest production, Jekyll And Hyde In Concert is a truly mesmerizing experience. And if you are a Chicago resident like myself, this theatrical performance is well worth the not-so-long trek to the burbs. The musicians and the impressive array of talented singers delivered a performance that seized my attention from the very start and held me spellbound throughout. With cozy table seating on the floor and traditional theater seating in the rear, there isn't a bad spot in the house. The acoustics are superb, and the singers frequently stroll through the audience, creating an immersive and intimate experience.

Jekyll and Hyde In Concert rejuvenates the eerie narrative of The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. This musical retelling masterfully brings the enthralling story to life on stage, showcasing the complexity of human nature through riveting songs and dynamic performances. The plot centers on the esteemed Dr. Henry Jekyll, whose attempt to distinguish the good from the evil within himself results in the birth of the malevolent Edward Hyde. As Hyde's horrifying deeds escalate uncontrollably, Jekyll battles with the monster he has unleashed, culminating in a heart-wrenching and inevitable end. The concert format accentuates the stirring score, featuring unforgettable pieces that illuminate the internal and external struggles of the characters. With its powerful melodies and expressive lyrics, the audience is drawn into the mesmerizing and dark world of Jekyll and Hyde, promising an unforgettable theatrical journey.

Picture a theater abuzz with excitement as the audience prepares for an "on book" concert performance of Jekyll And Hyde. The performers, each clutching their scripts and scores, take their places at music stands arranged across the stage. Behind them, a full orchestra sits poised, instruments at the ready. Magical.

As the orchestra dives into the stirring opening notes, the performers join in, bringing to life characters such as Dr. Henry Jekyll, Lucy Harris, Emma Carew, and Sir Danvers Carew with their powerful vocals and deep emotion. The "on book" format adds an intimate, unpolished charm to the performance, allowing the audience to focus on the music and the performers' interpretations. Throughout the concert, the orchestra's lush harmonies and soaring crescendos amplify the drama and intensity of the story, creating a gripping and immersive experience. This fusion of live orchestration and on-book singing offers a distinct and unforgettable rendition of the cherished musical.

Gerald Kelel masterfully leads this concert, seamlessly transitioning between the roles of Dr. Henry Jekyll and Edward Hyde, executing each note with precision and authority. Rachel Carreras as Lucy Harris and Julie Ann Kornak as Emma Carew also deliver standout performances, showcasing their impressive vocal range. Veteran stage actor Stan Austin shines as Sir Danvers Carew, bringing intensity and robust vocals to the role. While the entire cast is brimming with talent, both Molly Bremer and Sean Rhead each have their moments to highlight their remarkable vocal prowess. This is just a brilliant piece of theatre in concert form that was such a pleasure to watch.

This particular performance of Jekyll And Hyde In Concert is a highlight of Brightside Theatre’s Concert Series, following the company’s spectacular run of Dracula. Artistic Director Jeffrey Cass has skillfully curated the upcoming season, featuring Beetlejuice Jr., Pippin, and A Midsummer Night’s Dream, promising an exhilarating 2025.

Brightside Theatre, nestled in the heart of Naperville's historic downtown district, is a professional non-profit theatre company dedicated to enlightening, educating, and entertaining audiences. Established in 2011, it holds the distinction of being the only professional non-profit theatre in Naperville. Brightside Theatre's diverse offerings include comedies, inspirational stories from around the globe, mainstage productions, a musical theatre concert series, and a free Summer in the Parks Series. They also provide educational programs and summer camps for young performers. Recognized with multiple awards, Brightside Theatre has been named the Best Entertainment Venue by Naperville Magazine for five consecutive years.

RECOMMENDED!

Jekyll And Hyde In Concert

About: Conceived for the stage by Frank Wildhorn and Steve Cuden

Music by Frank Wildhorn, Book and Lyrics by Leslie Bricusse

Directed by De Haddad

Musical Direction by Phil Videckis

2 hours 15 minutes including intermission

Where: Madden Theatre, North Central College, 171 Chicago Avenue, Naperville, IL

When: Fridays and Saturdays at 7:30 pm and Sundays at 2:00 pm from January 17 through 26, 2025.

Tickets: $37 for Adults and $32 for Seniors and Students

Show and Theatre Information: http://www.brightsidetheatre.com/ 

JaJa’s African Hair Braiding, written by first-generation Ghanaian American playwright Jocelyn Bioh and directed by Obie Award-winning Whitney White, is a vibrant celebration of the resilience, community, and complexity of West African immigrant women striving to establish their place in New York City. Currently receiving an acclaimed production at Chicago Shakespeare Theater, the play offers a poignant, colorful, and often humorous exploration of identity, survival, and aspiration in the face of challenges such as undocumented status, systemic inequities, and cultural displacement.

Set in a bustling Harlem hair braiding salon, the production immerses the audience in a world where conversations flow as freely as the braiding hands of skilled stylists. David Zinn’s set design meticulously recreates a Harlem salon, complete with brightly painted walls and posters of intricate braid designs. A steady stream of music fills the space, creating an environment that pulsates with life. Whitney White’s direction ensures every corner of this intimate setting remains vibrant with activity, embodying the controlled chaos where clients, stylists, and commerce intersect.

Bioh’s talent for crafting razor-sharp dialogue between women is fully realized here—no surprise from the playwright behind School Girls; or, the African Mean Girls Play. She skillfully weaves together a rich tapestry of personalities and cultural backgrounds, resulting in an ensemble that crackles with authenticity and charm.

At the heart of the story is JaJa, portrayed with commanding presence by Victoire Charles, and her daughter Marie, played with youthful vigor by Jordan Rice. Both Senegalese women have aspirations that stretch beyond their circumstances. Aisha Sougou’s Ndidi, a Nigerian with an encyclopedic knowledge of the soap operas playing in the salon, serves as a comedic anchor. Meanwhile, Awa Sal Secka’s Bea, a proud Ghanaian and longtime employee, offers a compelling foil to Ndidi’s antics, resisting with simmering resentment but asserting herself as the true Queen Bee when necessary. Tiffany Renee Johnson, last seen in Blues for An Alabama Sky, delivers a standout performance as Aminata, Bea’s devoted gossip partner, now preoccupied with her own troubles.

Bisserat Tseggai infuses Miriam, a Sierra Leonean longing for lost love, with a tender wistfulness, while Mia Ellis’s Jennifer spends the entire day getting her hair done and dispensing advice. Special mention must be made of the chameleon-like talents of Melanie Brezill, a standout in Stokley: The Unfinished Revolution, and Leovina Charles, who nimbly juggles six different customer roles between them, injecting each with distinct personality. Yao Dogbe, whom I last saw in Intimate Apparel, is the lone male in the cast and effortlessly steps into various roles with charm and versatility.

Illegal immigration is a central theme in JaJa’s African Hair Braiding, and Bioh handles it with nuance and compassion. The fear of deportation and the pressures of living in the shadows are palpable, yet these issues are presented with sensitivity, avoiding one-dimensional portrayals. Instead, the play highlights the characters' individuality, dreams, and relationships, reminding the audience of the humanity behind the headlines.

The artistry of Hair and Wig Designer Nikiya Mathis truly steals the spotlight in this production. As the first wig designer to receive a special Tony Award for her groundbreaking work on the Broadway production, Mathis brings her award-winning expertise to Chicago Shakespeare Theater with stunning results. Each intricate braid and carefully styled wig not only enhance the authenticity of the characters but also serves as a visual testament to the cultural richness at the heart of the story. Complementing Mathis’s work is Costume Designer Dede Ayite, whose keen eye for detail and vibrant selections beautifully capture the essence of each character, reflecting their personalities and cultural heritage with remarkable precision. Together, Mathis and Ayite create a visually immersive experience that elevates the production to new heights.

JaJa’s African Hair Braiding is a testament to the power of storytelling in illuminating the lives of those often overlooked. Through its richly drawn characters, sharp writing, and dynamic direction, the play captures the essence of a community striving against the odds, celebrating their culture while forging paths toward a better future. It’s a timely, heartfelt production that leaves audiences not only entertained but also more empathetic and informed about the realities faced by so many immigrants in America and today, don’t we need more empathy

Highly Recommended
When: Through Feb. 2
Where:  Chicago Shakespeare Theatre 800 East Grand Avenue in Chicago.
Tickets: $30 - $90
Info:  www.chicagoshakespeare.com

Broadway In Chicago and Starvox Touring are excited to announce individual tickets for XAVIER MORTIMER: MASTER OF MAGIC are now on sale. XAVIER MORTIMER: MASTER OF MAGIC will play the CIBC Theatre (18 W. Monroe St.) for a limited engagement, March 21-23.

Xavier Mortimer, the illusionist who starred in Cirque du Soleil’s production – MICHAEL JACKSON ONE, has enchanted Las Vegas with his solo shows and captivated millions of fans on social media, will be coming to Chicago for the very first time! He will perform at the CIBC Theatre Chicago starting on March 21, 2025, for a breathtaking series of shows. After dazzling thousands of spectators around the world, Xavier Mortimer will present MASTER OF MAGIC, a unique and grandiose show that promises to amaze audiences of all ages.

A true social media phenomenon with over 30 million followers and videos amassing over 15 billion views on YouTube, TikTok, and Instagram, Xavier Mortimer is one of the most groundbreaking magicians of his generation. He is the most followed magician in the world, and his popularity continues to soar. A 5-time winner of Best Magic Show in Las Vegas, Xavier Mortimer also gained fame through his appearances on America’s Got Talent (Seasons 10 & 12) and Penn & Teller: Fool Us (Seasons 5, 7 & 9). His innovative approach to magic has captivated audiences worldwide.

“We are absolutely thrilled to bring Xavier Mortimer's extraordinary show to Chicago. His unique blend of magic, humor, and creativity has captivated audiences around the world, and we’re excited for Chicagoans to experience this incredible journey. This city is the perfect setting for Xavier’s magical artistry, and we can’t wait to see the audience’s reaction!”
– Corey Ross, Starvox Touring

A Phenomenal Success in Las Vegas
Famous for his poetic illusion, Xavier Mortimer quickly became a Las Vegas sensation, with over 1,500 performances to his credit. Known for his innovative approach, he blends music, mime, and illusion to create an immersive and visually stunning experience like no other. His award-winning show, The Dream Maker, has captivated audiences and critics alike, solidifying Mortimer's place among the most innovative magicians of his generation.

Xavier Mortimer has been described as “a show with winning doses of pantomime and personality” by Splash Magazines. His act has received rave reviews, with the Las Vegas Review-Journal calling it “Genius Magic!” and Howie Mandel, from America’s Got Talent, hailed it as “Phenomenal!”

A Unique Opportunity to See Xavier Mortimer Live
For the first time, Chicago audiences will have the chance to experience this internationally acclaimed artist live on stage. This appearance promises to be an unforgettable event. Don’t miss this unique opportunity to dive into Xavier Mortimer’s magical and enchanting world, a one-of-a-kind entertainment experience.

For more information, visitxaviermagic.com.

PERFORMANCE SCHEDULE
Friday, March 21 at 7:30 p.m.
Saturday, March 22 at 2:00 p.m. and 7:30 p.m.
Sunday, March 23 at 1:00 p.m.

TICKET INFORMATION
Individual tickets for XAVIER MORTIMER: MASTER OF MAGIC are on sale now to the public and range from $40.00 - $115.00 with a select number of premium tickets available. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

ABOUT XAVIER MORTIMER
Born in the South of France, Xavier Mortimer started performing at a young age as a street performer. He studied Music and Dance in La Rochelle and Acting and Mime at the Jacques Lecoq School in Paris and London. Over the years, Mortimer has collected numerous awards for his work, including 1st place in Italy in 2001 and 3rd place in France in 2002. In 2006, he gained recognition in France with his show L’Ombre Orchestre (The Shadow Orchestra), which he performed more than 1,000 times worldwide. Xavier Mortimer is also the creator and performer of various visual shows, composing music for his productions as well as for other shows alongside his friend Maxime Rodriguez. In 2012, he created the character Sneaky for Cirque du Soleil’s MICHAEL JACKSON ONE, performing in Las Vegas. Between 2013 and 2018, Mortimer appeared on numerous international television shows. He debuted his new show, Magical Dream, at Planet Hollywood in 2016, which later moved to Bally’s due to its overwhelming success. Between 2018 and 2022, Xavier was voted Best Magic Show in Las Vegas four years in a row by the Las Vegas Review-Journal, and Best Family-Friendly Show for three consecutive years. His social media success skyrocketed in 2020, amassing billions of views and millions of followers. Today, Mortimer holds the record for the most viewed magic video on YouTube with over 576 million views.

ABOUT STARVOX TOURING
Starvox Touring has been producing and delivering exciting and ground-breaking shows and live entertainment experiences throughout North America and globally since 2003. Founded in Toronto by Corey Ross, Starvox Touring has ranked in Profit Magazine’s Fastest growing Canadian companies for five years in a row. Starvox produces, manes, represents, and promotes crossover performing arts shows and exhibitions that tour Canada, the United States, and internationally. Mr. Ross has produced multiple theatrical shows and exhibits in the US, including the Harry Potter parody Potted Potter and Champions of Magic, and is a producer of the world-renowned blockbuster Immersive Van Gogh Exhibit. In Las Vegas, Mr. Ross produces three shows for Caesars Entertainment – Wow, Rouge, and Potted Potter. In the world of art exhibitions, Mr. Ross produces Immersive Van Gogh, Immersive Disney Animation, and more.  For more information, please visit www.starvoxent.com.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 25 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the  Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway  Playhouse at Water Tower Place.

For more information and tickets, visit www.BroadwayInChicago.com.
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Chicagoland's longest running musical theatre, Marriott Theatre, officially kicks off its spectacular 50th Anniversary Season with one of the most enduring and beloved musicals of all time, Joseph and the Amazing Technicolor Dreamcoat, previewing on Wednesday, February 5, opening on Wednesday, February 12 at 7pm and running through March 30. Directed and choreographed by Jeff Award nominee Amber Mak (Marriott Theatre: Buddy - The Buddy Holly Story; Paramount: The Sound of Music, Beauty and the Beast), this vibrant reimagining of the biblical story of Joseph, his father Jacob, eleven brothers, and the iconic coat of many colors is set to captivate audiences of all ages. Andrew Lloyd Webber and Tim Rice's beloved score is packed with pop and musical theatre classics, including "Any Dream Will Do," "Close Every Door," "There's One More Angel in Heaven" and "Go, Go, Go Joseph."

"I am absolutely thrilled to be helming and collaborating with the Marriott team on this fresh interpretation of Joseph and the Amazing Technicolor Dreamcoat for their 50th Anniversary Season," said director Amber Mak. "This production aims to be a joyous celebration of the power of storytelling as we explore this infectious score and story through the boundless imagination of a child's perspective. Joseph is a musical that has captivated audiences worldwide and I can't wait to share this vibrant new production and all-star cast of talent with the Marriott audience."

Joseph and the Amazing Technicolor Dreamcoat stars Devin DeSantis as "Joseph" (Marriott Theatre: Honeymoon in Vegas, Godspell; MUNY: Waitress; Goodman Theatre: Matchbox Magic Flute); Kaitlyn Davis as "Narrator" (Marriott/National: Beautiful: The Carole King Musical (Jeff Award); National: The Phantom of the Opera);  Lorenzo Rush Jr. as "Pharaoh" (Marriott Theatre: A Christmas Story, The Wizard of Oz, Holiday Inn; 3 Time Jeff Award Winner); and George Keating (Marriott Theatre: Hello, Dolly!, The Producers, Guys & Dolls) with Lillian Castillo, Avelyn Lena Choi, Sophie Liu David, Christopher Kale Jones, Kayla Kennedy, Ron King, Michael Earvin Martin, Teah Kiang Mirabelli, Leah Morrow, Justin Payton Nelson, Juwon Tyrel Perry, Tommy Rivera-Vega, Maxel Schingen, Lena Soszynski,  Elizabeth Telford, Amanda Walker, J Tyler Whitmer,  Margot Frank, Kevin Kuska, Jordan Radis, and Savannah Sinclair.

The artistic team features Associate Director Elizabeth Romero, Associate Choreographer Nich O'Neil, Scenic Designer Jeff Kmiec, Costume Designer Theresa Ham, Wig Designer Miguel Armstrong, Lighting Designer Jesse Klug, Sound Designer Michael Daly, Props Designer Sally Zack, Stage Manager Colt Luedtke and Conductor Rick Bertone.

Joseph and the Amazing Technicolor Dreamcoat – featuring NEW WEEKNIGHT PERFORMANCE TIMES is scheduled to run Wednesdays at 1 p.m. and 7:00 p.m., Thursdays at 7:00 p.m., Fridays at 7:30 p.m., Saturdays at 4 p.m. and 8 p.m., and Sundays at 1 p.m. and 5 p.m., with select Thursday 1:00 p.m. shows. Call for group, dinner-theatre, student, senior, and military discounts. To make a restaurant reservation, please call 847.634.0100. Free parking is available at all performances. To reserve tickets or become a Marriott Theatre subscriber during the 50th Anniversary season, please call the Marriott Theatre Box Office at 847.634.0200 or go to www.tickets.marriotttheatre.com. Visit www.MarriottTheatre.com for more information.

We all have Christmas rituals; practices we incorporate into our personal experiences of the holidays.  For me, it used to be reading all three books of The Lord of the Rings. This has naturally morphed into watching all three extended-version DVD’s – a significant investment of time, but far less than reading the entire trilogy was! Yet another reason to be thankful for and to Peter Jackson.

If your holiday ritual entails music, chances are it includes Handel’s Messiah, a glorious Baroque musical tribute to the celebration of Jesus’ birth. But – no disrespect intended but I’m tellin’ you now: if you haven’t heard the Jazz-Gospel Messiah, you ain’t heard Handel’s Messiah!

Almost 300 years ago Georg Frideric Handel composed his legendary Messiah and the accompanying Hallelujah Chorus, and it’s been thrilling audiences ever since. About 30 years ago Maestra Marin Alsop, chief conductor of the Vienna Radio Symphony, undertook to re-invent this masterpiece and, with co-arrangers and -orchestrators Bob Christianson and Gary Anderson, created a new sensation, TOO HOT TO HANDEL.  They recognized that classical European liturgical music is not, as some may believe, antithetical to more modern forms like jazz and gospel, or even rap and scat. Alsop is by no means the first to modify Handel’s work: during Handel’s lifetime, many performers (including Mozart) sought to embellish, ornament, and improvise … and improvisation is, by its very nature, jazz-like.

Even the original, unadorned Messiah is beautiful, but when some years ago Alsop informed a friend she was doing Messiah their response was, ‘yeah, I like the ending with the hallelujahs, but the rest is boring’. Seeing that this was accurate but not right, Alsop began work on what would be TOO HOT TO HANDEL, and ever since it premiered in 1993 audiences have been standing and clapping and shouting and dancing in the aisles!  Certainly, they were doing all that and more last weekend at the Auditorium Theatre!

The orchestra included guest artists from the Chicago Symphony Orchestra with George Stelluto as Music Director and Conductor. Fred Nelson III, Director of the Chicago Collective Rhythm Section, manned the organ while Alvin Waddles made magic on the piano. Drummer Quin Anderson, Joseph Woolfalk on electric guitar, and Sharay Reed playing bass (both string and electric) transported the classical orchestra into jazz-hood (jazz-ness? jazz-dom? whatever). The choir (more than 80!) was directed by Bill Fraher, and they were fabulous, swaying and rocking, clapping and nodding and ultimately dancing along as joy filled the Auditorium.

The three solo vocalists were spectacular: alto Karen Marie Richardson, soprano Alfreda Burke and tenor Rod Dixon. Dixon in particular was absolutely breathtaking! He did so much more than sing – he spun and leapt, flung his arms out in ecstasy and up in supplication; his face mirrored the emotion of each piece. His free-spirited performance gave the audience license to be just as impetuous and unconstrained.

I’m going to back up here, as the venue deserves note.  The Auditorium Theatre was built in 1898 and certainly looks it! The marble-tiled floors dip and slant; marking the stairs with tape makes them easier to see but no less erratic and uneven … but I’m focusing on this because I personally have some ambulatory challenges; if your walk is steady, you’ll see these details as a feature rather than a defect, because the beautiful features of the Aud are abundant. It was, as I said, built in 1898, before budgets overruled beauty. The result is an enormous edifice of surpassing elegance and grandeur that simply couldn’t happen in 2025. If you’ve never seen it, find a way to do so. It’s a splendid Chicago landmark.

TOO HOT TO HANDEL is not an overlong production, but it’s so lavish that it felt like we’d been there for hours before Intermission: through Behold, a Virgin Shall Conceive; For Unto Us a Child is Born, culminating in the Angels singing Glory to God – Part I was so lush that we were a bit confused. People were taking up their coats and making their way up the aisles – was this Intermission or was it the End? But wait! we hadn’t heard the Hallelujah chorus! so this simply could not be the end. And sure enough, the performers returned after their well-deserved break. Part II opened with Rejoice Greatly, O Daughter of Zion; Behold the Lamb of God; The Trumpet Shall Sound; culminating finally with King of Kings, Lord of Lords … and He shall reign forever and ever … HALLELUJAH! The orchestra was rockin’, the chorus was dancing on the risers, the soloists were giving their all, the audience was on its feet applauding, and we were all suffused with wonder and joy. HALLELUJAH!  

Rivalling the Hallelujah Chorus was a truly magnificent piano solo, where Alvin Waddles elicited cheers and laughter with an extensive medley, wandering from Gershwin to Celine Dion, from pop to rock to rap … a truly stunning performance.

I need to give a shoutout here to Light Designer Matt Miller and Video Director John Petrosky, for the videography was stellar. Even from orchestra seats there were so many performers onstage it was impossible to see individuals. Petrosky was on it, though: a huge screen was mounted behind the choir, providing us closeups of soloists, conductors, and various artists. I just thought of it now because of how superbly the videos followed Waddles’ hands on the keys!

Jazz and gospel are predominantly associated with African American artists, and that was certainly reflected in TOO HOT TO HANDEL. Most (all?) of the soloists, voice and instrumental, were African American, and it’s no coincidence that TOO HOT TO HANDEL appears on the Chicago stage on or around Martin Luther King Day. TOO HOT TO HANDEL is, like Kwanzaa, a singularly African-American holiday celebration.

The original Messiah is unquestionably a beautiful work of art, but it is also ponderous and staid – like most European Christian music and ceremony it’s measured, methodic, orthodox … in a word, white. Alsop’s genius was to maintain all the splendor of Handel’s Messiah while uniting it with the joyous spirit of modern gospel music and the unconstrained freedom of jazz. She forged a merger between the restraint of traditional European (white) liturgical music and the exuberance of the gospel (Black) style of worship, utilizing the whimsy and spontaneity of jazz. As my companion said, “imagine how you’d feel upon learning that ‘unto us a Child is given.’ That sort of news inspires exultation and jubilation!” TOO HOT TO HANDEL renders that joy without losing the elegance of Handel’s original. Hallelujah!

There were only two performances, Friday January 10 and Saturday January 11. However, TOO HOT TO HANDEL has reappeared on the Chicago stage every year since 2006, on or around Martin Luther King Day, so mark your calendars for mid-January 2026! The production will be back, and it is VERY HIGHLY RECOMMENDED.

Collaborations can produce tremendous results and the one between Nathan Gunn, his wife Julie Jordan Gunn and Jam Orchestra counts as a particularly splendid example. Nathan Gunn & Friends: Beloved Broadway, a tribute to some of the finest music produced on Broadway, had nestled within it an ulterior agenda Saturday night.  Along with a maelstrom of delightful music, it provided an ideal platform for displaying the highly impressive talent being nurtured and developed at Lyric Theater @ Illinois (LTI).  A first of its kind program on the University of Illinois’ Champaign campus, LTI provides its students with a comprehensive foundation of “sung theatre”.  Created by Mr. and Mrs. Gunn nearly a decade ago, the program entrenches a thorough understanding and proficiency in “traditional European opera, American Musical Theatre and new, contemporary works”.  

Each an alumnus of U of I, both Nathan and Julie Gunn have achieved exemplary success in their musical careers.  Opera lovers well know why the Opera Wire has called Mr. Gunn one of the great baritones of our time and Mrs. Gunn has enjoyed luminous success as a pianist and musical director.  Their rich experience in the many facets of musical performance would be an invaluable asset in any learning environment.  Together they worked with Aaron Kaplan of the Chicago based ensemble, Jam Orchestra, to bring a world class tableau of music and song to the community.  In this case, Evanston’s Nichols Concert Hall on a clear and frigid January evening.  

A feast of plenty, the program concentrated on seven Broadway shows well suited for orchestration.  Works were also selected on how well they displayed daring and musical innovation at the time they were produced. Some of the selections like Rogers and Hammerstein’s “If I Loved You” from Carousel and “Maria” from West Side Story are imminently well known.  Others like “Lily’s Eyes” from The Secret Garden and “What Good Would the Moon Be” from Street Scene are likely less so.  Beloved Broadway with Gunn and friends puts them all on equal footing and shows why each stands a musical milestone.

Produced by Julie Gunn and co-directed by herself, her husband and Kaplan, Beloved Broadway turns into a fascinating gambol through excellence.  That journey proved to have a stealthy edge.  At the beginning of both acts, the orchestra displayed its considerable chops with renditions devoid of voice accompaniment.  First with “The Carousel Waltz” and later with the Bernstein’s “Overture to Candide”, Jam Orchestra set high expectations for what was to follow.  

As pleasing as the opening songs from Carousel were, an elusive passion-defining spark had yet to be struck. Glimmers of that fire could be detected in Lisa Buhelos’ voice as she sang “When the Children are Asleep” with Eldon Warner-Soriano.  And anyone who never experienced how sublimely exquisite Mr. Gunn’s baritone can be certainly got that opportunity when he performed “Soliloquy” from the musical.  Those flashes of the exceptional were just harbingers of the deluge of musical pleasure that was to come. 

All noted for their technical dexterity, masterful versatility and natural talent, the five young “friends” accompanying Gunn in this musical tribute are all graduates of LTI; and all voices one would do well to seek out.  Buhelos would once again prove herself excellent in the duet “How Could I Ever Know?” from The Secret Garden with Ryan Bryce Johnson.  A rare and magical tenor, once Johnson centered himself on the stage, he electrified.  Chill inducing, his interpretation of West Side Story’s “Maria” showed that even the best-known masterpiece can render bright new exhilarating wonder in the right hands.  The sophistication of the arrangements hugely accentuated the enjoyment of this and many other selections.  Lara Brooks would later show how subtlety produces the same effect with her sweetly delicate treatment of “Send in the Clowns”. 

There can be no tribute to Broadway without the inclusion of Sondheim and his genius is liberally sprinkled throughout the program.  One of those songs that will likely always read as radical and revolutionary, “Now/Later/Soon” from A Little Night Music exists in a league of its own.  Intricately complex, instantly engrossing and wonderfully amusing, it’s a stylistic marvel that Buhelos, Johnson and baritone Warner-Soriano perform with the deftness of well-seasoned Great White Way veterans.  Exacting requirements in timing and phrasing are essential if the flawlessness the song strives for, in truth demands, is to be achieved.  With this crew, that box is a guaranteed check. 

A performance saturated in delight, Beloved Broadway with Nathan Gunn and Friends moves superlative, uniquely American music from the bastions of city centers to the communities where people live. That gesture makes the bounty of the arts more accessible to more people and encourages those with creative impulses to continue to dream.  It’s difficult to imagine a better vehicle for carrying such an important message with such beauty and ability.  

Nathan Gunn and Friends: Beloved Broadway

January 11, 2025

Nichols Concert Hall

1490 Chicago Avenue

Evanston, IL  60201

It’s the second act, and Beau (Jake Odmark) is in quite a state. The love of his life is about to marry another man, and he doesn’t know what to do. In an effort to lift him up, his friends do what anyone in their positions should do – insult the competition and highlight all of Beau’s strengths in the process. The effort is spearheaded by Beau’s loveable younger brother, Peanut (Mike Nappi – with an adorably genuine charisma.)

“Best Man Wins” is fast-paced and hilarious - with a tune that just might invite you to dance along in your seats. As Beau sits dejected on a barrel, his friends surround him – each hopping in with an insult about this “other man” that trumps the last. Sarah O’Gleby’s choreography does not disappoint. With talented performers jumping on barrels and racing on beams throughout the farmhouse, there is an impressive feat to witness regardless of where you direct your attention on stage. As Beau becomes consumed in the positivity and joins his friends in the choreography, this particular audience roared with applause – clearly swept up in the journey alongside him.

As you take in the musical as an audience member, you might find that Shucked amazes for a number of reasons. The script is witty, and the love story is the definition of wholesome. However, in my personal opinion, what truly sets this production apart is the talent in the ensemble as a whole. The soloists in particular wow with their vocal capabilities – with Lulu (Miki Abraham), Maizy (Danielle Wade), and Beau (Jake Odmark) standing out in particular. However, every ensemble member exudes a joyful energy that is impossible not to love. This, in my opinion, is so much a part of what makes this production a success.

The Cast of The North American Tour of SHUCKED.

With book by Robert Horn and music and lyrics by Brandy Clark and Shane McNally, Shucked follows Maizy (Danielle Wade) as she sets out to save Cob County’s dying corn crop – despite her fiancé, Beau’s, wishes. She finds Gordy (Quinn Vanantwerp) in Tampa – a podiatrist she believes can be the hero they need, and one who is more than excited to trick the community into giving him their precious resources as he “heals” their crops. Much as to be expected, nothing quite goes as expected when Maizy brings this new man home. However, as with so many romantic comedies, the true lessons are in the journey, and each of the characters has a little something to learn about how to love those closest to them.

The musical features a catchy score – full of hits that are sure to keep you singing on the way home including “Corn,” “Travelin’ Song,” “OK,” and “Holy Shit.” As much as the high-energy songs wow and amaze, the slower, emotional ballads carry an equal level of wonder – particularly with the voices that perform them. Beau’s rendition of “Somebody Will” elicited cheers that lasted minutes as he completed the solo. The song appears in the middle of the first act, when Beau finds himself stuck – hoping that Maisy will return to him but also unsure if he should forgive her for leaving him in the first place. Odmark’s vibrato soared in this performance, but the grounded, emotional energy he infused into the number truly pushed it over the top.

Directed by Jack O’Brien, Shucked is a classic romantic comedy – with all of the ups and downs that come with it. Romance fans in the audience are sure to find themselves looking away as the central heroes make silly choices and leaning in when they see them get increasingly closer to solidifying the happy ending of which they always dreamed. The script itself is witty, filled with dark, comedic jokes that keep you on your toes as you watch the events unfold. A good portion of the comedy comes from the two narrators at the center – Storyteller 1 (Maya Lagerstam) and Storyteller 2 (Tyler Joseph Ellis). Both performers showcase top-notch comedic timing and judging by the uproars of laughter surrounding me at this performance, I was not the only one who felt this way.

Full of laughter and infectious joy, Shucked is the perfect show for the family as Chicago slides into the colder months.

HIGHLY RECOMMENDED

Shucked runs through January 19, 2025 at the CIBC Theatre – 18 W Monroe Street. See the Broadway in Chicago website for further information regarding tickets.