Items filtered by date: November 2007

From its beginning in 1992 on the tiny stage of a modest theater, Dance for Life (DFL) has grown and grown over the decades into something glorious.  Its purpose over the last 35 years, as conceived by DFL’s creator, Keith Elliott, then with the Joseph Holmes Chicago Dance Theatre, has never altered or faltered.  Mobilize a community devastated by a deadly scourge.  Raise money to help the stricken. Build solidarity within Chicago’s professional dance culture.  Initially and always a festival of dance chiefly focused on that second point, a few things have changed with time.  Although AIDS has virtually been vanquished, at least in the first world, health and other needs within the dance community have not diminished.  In 2025, DFL affiliated Chicago Dance Health Fund awarded $75,000 to dancers and other dance professionals facing critical need. 

The annual celebration of dance very much remains a way for dancers to help other dancers by practicing their art.  These days its being done on a much grander scale and showcasing a far wider range of what world class dance looks like and even feels like in the present day.

There were hints the 35^th annual Dance for Life performance at the Auditorium Saturday night would be particularly memorable and they all centered on dress.  Although venue is always a factor, dance audiences are not especially circumspect when it comes to presentation.  Much of the attire on display in the concert hall’s spacious lobby that evening was not only stylish, dashing and glamorous, some pieces touched on the spectacular.  Collectively, the energy they generated heightened the sense of expectation that already hung heavy in the air.  The display proved just the right harbinger to forecast a sensational night of dance.

Bulging at the seams with the exceptional, the latest iteration of DFL showcased ten dance companies along with two additional finale works - and even a third, a raffle performance. In addition to the traditional large-scale finale that always closes the show, the program would also include a sizzling bonus dance performance that was also featured in the inaugural DFL concert. 

This year’s show opened with elegance.  Danced to the music of Wolfgang Amadeus Mozart, Deeply Rooted Dance Theater’s Beyond Mortal used sweep and grace to beautifully capture the secular spirituality of Mozart’s score.  Choreographed by the company’s Artistic Director Nicole Clarke-Springer, it reveals how one Black-led dance company lives up to its mission to “diversify the aesthetics of contemporary dance”.  Fireworks scripted in the language of the ethereal, Beyond Mortal ushered in the night with a nod to serenity and poise.

Giordano Dance Chicago. Photo by Cheryl Mann.

Giordano Dance Chicago decided to leave a different stamp on the gala by amping up a version of its signature heat.  There would be several excerpts featured throughout the evening and Giordano chose the best of its 2011 Sabroso to spellbind the thousands seated in the ornate theater.  Not only were the dancers speed and precision blinding, their joy blasted from the stage.  Triggering genuine awe and lighting up the room with cheers.

The temperature would ebb and flow throughout the night and after such a prodigious display of white-hot energy, a cool down came in the form of romantically sublime ballet.  This year a pair of fresh Joffrey faces, Hyuma Kiyosawa and Yumi Kanazawa, superlatively danced Postcards, founder Robert Joffrey’s ode to love, innocence and Paris of the 1920s.  With Jorge Ivars’ ravishing accompaniment on piano, the dance ushered in an extended moment of enchantment.

A slight pause and rocket engines soon screeched again with Loud, created by KC Bevis and performed by the Ensemble of Chicago Dance Crash.  Street dance and concert dance converged to make scorching hot magic in this mesmerizing performance. Here dance takes on a decidedly charismatic persona. One defined by strength, vigor, dexterity and boundless native imagination.   Jazzed up with the burning beats of DJ B-Gram P, the heady mix of club and dance culture lit the theater on fire.  One of many highlights that evening, Loud proved once again boundaries in dance simply don’t exist.  

Both Ensemble Español Spanish Dance Theater and later Trinity Irish Dance Company stole the show with drama and the ability to turn the sound of synchronized feet striking a stage floor into transfixing music.  In this case eliciting two completely different emotional responses that were both riveting.

Trinity Irish Dance Company. Photo by Todd Rosenberg.

Ballet 5:8 luxuriated in the freedom and unique beauty of contemporary ballet.  On their heels was another band of boundary pushers.  Chicago Dance Artists Piece performed Harrison McEldowney and Jeremy Plummer’s Red, White & Black; employing aerial concepts devised by Plummer.  Aerial acrobatics, dance and music by F.U.N. came together to blend brawn-flecked whimsy with a healthy dash of wholesome excitement.

After intermission, and dressed up in colorfully glam togs, Visceral Dance Chicago tapped into mischief. Dancing R E V E L, set to Maurice Ravel’s Bolero, they vamped, seduced and cavorted to the timeless music of an international classic. Devilishly choreographed by Nick Pupillo, it was not only brilliant and unexpected, it was massive delight to watch.

Visceral Dance Chicago. Photo by Cheryl Mann.

Two other works were even more impactful.  One was a dance featured in the very first Dance for Life performance called The Man That Got Away.  Sultry, sexy and a solid story told in dance, it featured only two dancers.  One acted simply as a prop.  The other, Johnathon Dole, was the soloist who danced the part of a shattered heart. One that begged and pleaded not to be ignored and cast aside.  Dole’s was the kind of dancing that kept rising and rising until it struck magnificent.  Buoyed by the right dancer, the right music and the power of bold expressive choreography, The Man That Got Away induced amazement and roars of approval.

The other masterwork was more restrained but no less beautiful or potent.  Robyn Mineko Williams and Artists danced a portion of Cloudline, a dream-state piece that used a 30-foot-silk cloth to help accentuate the dance’s atmosphere.  Two lovers find one another and embody the mystery and overwhelming satisfaction true love manifests through dance. As portrayed in movement by Morgan Clune and Amari Frazier, a more convincing display of that ideal is impossible to imagine.  A benchmark piece, its sudden and surprising ending provoked a collective gasp and then robust ovations.

This year’s concert honors choreographer, mentor and teacher Randy Duncan.  Mr. Duncan has created most DFL closing works since its inception, including Renewed; this year’s finale. Made up of dancers from the night’s performing companies, freelancers and students, they comprise a large contingent.  And in the muteness of Richard Dayhoff’s quiet gray costumes, there was a somber cast that shadowed their numbers. 

As the dance developed and took shape to music and lyrics by Ira Antelis, you could see the themes of resilience and positive conviction shining through.  A rejoicing in emerging from darkness to thrive once again.  The essence of Dance for Life. 

Dance for Life

August 22, 2026

The Auditorium Theatre

50 Ida B. Wells Drive

Chicago, IL  60605

For more information:  https://www.cdhf.org/danceforlife

There was a particular kind of magic to seeing a movie outside when I was a kid in 1970s Chicago - a feeling that lived somewhere between summer air and pure possibility. Back then, drive-ins still dotted the map, and a couple sat right at the city’s edge: the Bel Air Drive-In in Cicero and the Harlem Outdoor Theater at Harlem and Irving in Norridge, each glowing like its own little universe. An evening at either of them felt bigger than the movie itself - the slow parade of cars, the metal speakers crackling to life, the giant screen lighting up the sky as if it were waking the stars. Those memories stayed with me long after drive-ins began to disappear nationwide, as owners sold their land for residential and commercial development, leaving only a small fraction of drive-in theaters still standing.

As the years went by, the drive‑ins of my childhood faded into a soft, far‑off memory, the kind that settles into the back of your mind and stays there untouched. So, when I visited the McHenry Outdoor Theater for the first time in 2017, I wasn’t chasing nostalgia so much as testing whether that old spark still existed. It did - and then some. The drive from Chicago isn’t terribly long, and it’s surprisingly scenic - the kind of easy stretch where you throw on your favorite true crime podcast, settle in, and enjoy the ride. We make regular weekend trips from Chicago to McHenry now, and every visit feels like a small gift. If you already live nearby, what a bonus - you’re even closer to one of the last places where that childhood wonder still flickers to life every time the projector starts to glow.

The sunset sets the stage, the screen takes it from there. Photos by Ken Payne.

Why Write About a Drive-In on a Theatre and Dance Site?

Even though McHenry Outdoor Theater sits outside the world of proscenium arches and sprung floor studios, it belongs in the same constellation of live, communal storytelling that theatre and dance celebrate. A drive-in may swap footlights for headlights and velvet seats for lawn chairs, but the heart of the experience is strikingly similar: people gathering in a shared space, settling in as dusk falls, and giving themselves over to a story unfolding on a giant stage. There’s ritual, anticipation, atmosphere - the same ingredients that make live performance feel alive. It’s another place where art meets audience in real time, where community forms in the dark, and where the night itself becomes part of the show.

The Fun Before the Movie Starts

Going to the McHenry Outdoor Theater isn’t just catching a movie - it’s giving yourself over to an entire summer evening. McHenry generally opens its gates about two hours before showtime, which means there’s plenty of room for the night to breathe and unfold. Families and friend groups spill into the grassy areas, tossing frisbees, batting birdies, kicking soccer balls, or setting up little picnic spots. Kids chase bubbles, play tag, or run around in that wide-open space that feels tailor-made for burning off energy. Solo guests wander the property, stretch out in camp chairs with a book, snap sunset photos, or just enjoy the easy rhythm of people arriving. Some folks grab dinner from the concession stand, others unpack coolers and fold-out tables, turning their parking spot into a tiny outdoor dining room. By the time the screen flickers to life, you’ve already had a full evening - the movie becomes the final chapter.

Double Features, Nostalgic Snacks, and Throwback Magic

McHenry keeps the classic drive-in rhythm alive with two features every night, separated by an intermission that always includes a throwback countdown cartoon - you know the one, with dancing popsicles and ice cream bars, hot dogs doing circus tricks, and cheerful little characters racing toward the concession doors every time the countdown number drops. It’s a charming time capsule that sets the countdown and taps straight into the old-school drive-in joy that’s defined summer nights for generations. The concession stand only adds to the retro charm, serving old-time candies, brats, burgers, pizza, chicken sandwiches, nachos, soft drinks, and what might honestly be the best popcorn around.

A rainbow beyong the vintage concession stand. Photo courtesy McHenry Outdoor Theater. The McHenry Outdoor Theater Hearse. Photo by Ken Payne. 

Seven Days All Summer / Fridays & Saturdays in the Extended Season

McHenry is open seven days a week from Memorial Day through mid‑August, giving guests the freedom to enjoy the grounds whenever the mood strikes. They offer a season pass that covers one carload for the entire year - and includes a free bucket of popcorn every visit - for around $300. Depending on how many people you bring, it can pay for itself in just a handful of trips. During the full summer season, there’s also $15 carload night every Tuesday and Thursday, and $2 hot dog night every Sunday. And unlike most Midwest drive‑ins that shut down for half the year, McHenry opens its season in mid‑March or early April and keeps the movies going almost to Christmas. Outside of those peak summer months, the drive‑in remains a reliable weekend destination, operating on Fridays and Saturdays.

Merchandise and Keepsakes

Beyond the food and films, McHenry has built a small but thoughtful selection of drive-in merchandise that fans love to browse between features. Blankets, baseball hats, hoodies, and tees line the shelves, each one stamped with the McHenry Outdoor Theater logo - the kind of keepsakes that let people take a little piece of the night home with them. It’s all part of the atmosphere: a place where the movies, the memories, and even the merch feel like they belong to the same warm tradition.

Speakers, Sound, and Film Lineup

While the original external speakers on poles still stand throughout the lot, they’re mostly aesthetic now - a nostalgic nod to the past. Today, the theater uses powerful external speakers that radiate sound across the grounds, giving the whole place a warm, ambient audio bed. To actually pick up the movie’s soundtrack, you tune your car radio to the FM station or bring (or rent) wireless FM speakers for a cleaner, fuller boost. And the film lineup is its own kind of magic: a mix of new releases and beloved throwbacks like Jaws, Grease, The Goonies, American Graffiti, and Raiders of the Lost Ark. At McHenry, the movies fold into the atmosphere of the night.

Charlie Hustle - Drive-In dog extraordinaire. Summer fun (left) and cuddling up in the car during a winter feature. Photos by Ken Payne.

Bring the Dog - They’re Part of the Experience

Dogs aren’t just allowed at McHenry - they’re part of the charm. There’s nothing better than your pup curling up beside you as the sky darkens and the first feature flickers to life. And if your dog is more of an explorer, the wide-open lot becomes a world of new smells and friendly encounters. Many guests take their pups on a full lap around the perimeter of the grounds, a slow, easy tour that lets them sniff every corner and take in the night. Whether stretched out on a blanket or trotting around to explore, having your dog with you makes the night even better.

Choose Your Setup - Creativity Encouraged

There are countless ways to enjoy a movie at McHenry. You can watch the traditional way - parked head-on, windows down - or back into your spot, pop the hatch, and turn the rear of your vehicle into a cozy den. Over the years, many regulars have leveled up their setups into full outdoor living rooms: folding recliners, tables, FM speakers, tarps, mosquito-repellent candles, dog beds, and whatever comforts they dream up. Half the fun is seeing how everyone builds their own setup. You’ll spot inflatable mattresses in truck beds, swinging chairs, and clever canopy structures that stay low enough not to block anyone’s view. At McHenry, the movie is only part of the experience; the way people build their own little worlds for the night is also part of the adventure.

Chairs out, monkey mask on  it’s Planet of the Apes time at the drive‑in. Photos by Ken Payne.

A Rare Survivor of a Fading American Tradition - 75 Years!

At their peak in the 1950s and 60s (then still named Sky Line Drive-In), the United States had more than 4,000 drive-ins. The numbers tell the story: thousands in the ’70s, fewer than a thousand by the end of the ’80s, and only around 300 left today. That’s part of what makes the McHenry Outdoor Theater - built in 1951 and now celebrating its 75th anniversary - feel so meaningful. It is a living piece of American moviegoing history, still doing what so many others couldn’t hold onto. And this season, they’re marking the milestone with all kinds of promotions, including a massive giveaway offering free movies for the next 75 years to some lucky fans (I'd only be 134 years old when it expires).

And can you imagine the wonderful cars from the late 1940s and early 1950s parked throughout the lot when it first opened? On a warm summer night, families spread out across the gravel just as generations before them did, and it’s easy to picture what those early evenings looked like: rows of gleaming Chevrolets, Studebakers, and Ford Fairlanes easing into their spots, chrome catching the last of the daylight. Windows were rolled down as the hum of summer drifted through the air, the smell of fresh-cut grass mixing with a faint hint of gasoline. Elvis Presley crackled through AM radios - maybe "Heartbreak Hotel" or "Hound Dog" - while kids in cuffed jeans and saddle shoes raced to the concession stand for popcorn and fountain sodas. The screen towered over it all like a beacon, pulling everyone into a story as fireflies blinked across the lot. Today, the cars and the music may be different - or sometimes the same - but we’re still out here doing what they did then, reliving yesterday in our own way.

McHenry Outdoor Theater owner Scott Dehn. Photo courtesy McHenry Outdoor Theater.

Scott Dehn’s Vision: Nostalgia with a Modern Touch

Owner Scott Dehn, now in his 26th year, has done far more than keep the grounds tidy and the towering six-story screen in pristine shape. He guided the theater through the costly transition from analog film to digital projection, refreshed the concession area, expanded food options, added powerful external speakers, introduced tiered parking from VIP to standard, updated the bathrooms, and even added a selection of alcoholic beverages. He’s also woven cinematic aesthetic touches throughout the property, deepening the atmosphere and honoring the theater’s history. As Scott likes to say, McHenry offers “nostalgia with a modern touch” - and he’s absolutely right.

Enter Joe Cicero: Marketing, Community, and Big Ideas

Scott expanded his vision by bringing in Joe Cicero, a beloved longtime radio personality with deep roots in McHenry County, to serve as Director of Promotion and Marketing. Together, they’ve turned the theater into a nonstop engine of creativity: family value packs, themed nights like the wildly popular John Hughes triple feature, Bring Your Dog Night (complete with adoptable pups), and movie-themed car photo ops. They’ve partnered with local businesses for specialty snacks, art, and clothing pop-ups, and they often spotlight local singers by inviting them to perform the National Anthem before showtime. On occasion, they even bring in hometown bands to play live sets before the movie, adding an extra layer of energy and connection to the night. They also support organizations like Lamb’s Farm by selling their baked goods. If you can dream it, Scott and Joe are probably already planning it.

The team that makes it happen. Photo 1 (left to right) Joe Cicero, Director of Promotion and Marketing, Emily Knapik, General Manager, team members and Scott Dehn, Owner. Photo 2 (left to right) Scott Dehn and Joe Cicero. Photos courtesy McHenry Outdoor Theater.

Special Events, Themed Nights, and Seasonal Programming

McHenry Outdoor Theater celebrates its 75th anniversary with the kind of creativity and community spirit that has become its signature. All summer long, they’ve leaned into the milestone with special promotions and double features, including a partnership with Martin Chevrolet, who sponsored a one-day celebration where the first 75 cars were admitted completely free - a perfect nod to the drive-in’s 75 years of moviegoing history. On Fourth of July weekend, they hosted one of their biggest events ever when Major League Baseball selected McHenry as one of only four drive-ins nationwide for its America250 Summer Drive-In celebration. MLB rolled in a 43.6-foot-wide LED screen bright enough for daylight viewing, screened The Sandlot, hosted a live Cubs vs. Cardinals watch party, and capped the night with a full fireworks show over the grounds - a sellout event that felt like a love letter to American moviegoing. And the excitement isn’t ending with the anniversary year: McHenry plans to bring the MLB event back in 2027, keeping the momentum going into next season.

Themed nights remain a major draw, including this weekend's John Hughes Night with a triple feature of Ferris Bueller’s Day Off, The Breakfast Club, and Sixteen Candles, bringing fans back to the golden age of Chicago-made cinema and honoring the filmmaker whose stories defined a generation. Then, on August 28th and 29th, they’ll host Bring Your Dog Night with Scooby Doo and Beethoven, a crowd favorite that turns the lot into a tail-wagging celebration for movie lovers and their pups. The entire Back to the Future trilogy will follow on October 2nd and 3rd, a perfect fall throwback for longtime fans and a tribute to one of the most beloved time-travel stories ever put on film. And not long after, horror fans get their own treat with a full triple feature of A Nightmare on Elm Street, Friday the 13th, and Texas Chainsaw Massacre (all the originals) October 23rd and 24th, keeping the spooky season alive in true drive-in fashion.

Theme nights are highly popular. Replica cars were displayed from Sixteen Candles and Ferris Beuller's Day Off for John Hughes Triple Feature Night 2025 (left). Horror nights are always fun at McHenry Outdoor Theater. Photos by Ken Payne. 

As Halloween approaches, McHenry leans even further into the horror genre, scheduling classics like The Exorcist, Poltergeist, Halloween, and The Conjuring - a lineup that gives fans a chance to revisit some of the most iconic scares ever put on film. And while most drive-ins close for half the year, McHenry keeps the energy going almost to Christmas, transforming the lot into a cozy cold-weather movie haven. Winter brings visits with Santa Claus, a hot chocolate station with all the works, and chilly double-feature throwbacks where guests can bundle up under blankets and watch movies flicker against a winter sky. They plan to feature a Christmas throwback movie throughout November and December, screening it each Friday and Saturday, with admission set at just $15 per vehicle - one of the most affordable holiday outings around. With an off-season of only about three months or so, McHenry remains a year-round destination for classic drive-in spirit, community, and the kind of movie glow that keeps this place thriving decade after decade.

A Staff That Makes the Place Feel Like Home

Another part of what makes McHenry so welcoming is its staff, led in part by Emily Knapik, General Manager, whose friendly presence sets the tone for the entire team. They help with everything from stubborn headlights (tip: engaging the parking brake often works) to lowering hatches so no one’s view is blocked. They patrol the lot, assist with concessions, and even offer a jump-start service for anyone who drains their battery. But mostly, they’re there to assist patrons with whatever’s needed to make the evening smoother, more fun, and completely hassle-free. It’s the kind of attentive, good-natured support that makes the place feel like a community rather than just a venue.

On most nights, you’re likely to spot Scott, Joe, or Emily making their rounds - sometimes all three - always quick with a friendly wave or hello. They’re the steady heartbeat of the place, the folks who keep things running smoothly while making every guest feel like they belong, and they’re a big part of what makes McHenry feel so welcoming.

The staff is friendly and helpful. General Manager, Emily Kanpik covering the drive-in grounds (left). The outstanding staff of McHenry Outdoor Theater. Photos courtesy McHenry Outdoor Theater.

Stay Connected

For more information on upcoming films and promotions, visit www.goldenagecinemas.com - but the best way to stay up to date is by following them on Instagram at @mchenryoutdoor or on Facebook, where they post the latest news, unique events, and night-of surprises.

In the End

In the end, what makes the McHenry Outdoor Theater so special isn’t just the movies, the promotions, or even the history - it’s the feeling you get when the sky dims, the headlights fade, and a whole community settles in together under the stars. It’s a place where the past and present meet, where memories are made in real time, and where that old drive-in magic still lives and breathes. If you haven’t experienced it yet, you’re missing one of the pure joys of a Midwest summer evening. And in a world that moves faster every year, there’s something quietly remarkable about a place that invites you to slow down, look up, and enjoy a night that feels both timeless and entirely your own.

McHenry Outdoor Theater is located at 1510 N Chapel Hill Rd, McHenry, IL.

See ya at the drive in!

Perhaps surprisingly, Anatomy of a Suicide is not an overwhelmingly emotionally gripping play, nor is it horrifying. Instead, it vividly portrays the slow drip of suffering for Carol, a woman in the grip of depression, living always with suicidal tendencies. It also presents the impact of an intergenerational transference of Carol’s condition on her daughter and granddaughter. Written by British playwright Alice Birch and ably directed by Alex Mallory, it features Tatiana Pavela in the role of Carol, Taigé Lauren as her young adult daughter Anna, and Isabel Lee Roden as her granddaughter Bonnie.

Anatomy of a Suicide is hard to watch because of the design Birch has chosen for it. The central stories of these three women are performed simultaneously for two hours with one fifteen minute intermission. These focal storylines are in three different time frames, years apart. And some characters carry their roles between the timeframes. In other words, it is difficult to follow. A number of actors play multiple roles as numerous ancillary characters, adding to the challenge.

The program is helpful, but audience members are given just a barcode then told to silence their phones, so there is nothing to guide us as we watch. As a consequence, it is only by reading the program afterward, then studying the Wikipedia page for the play, that I could understand more of the details of what I witnessed.

Still, the broad lines of Anatomy of a Suicide on stage are clear enough to appreciate the heart of the story. All three actors are stunning in their roles. Pavela as Carol, whose life revealed, we are told spans the time frame of 1967-1985, registers the emotions that accompany what we now recognize as post-partum depression. We see every nuance of her internal strife as she struggles to meet societal expectations as homemaker and mother in that window of time when expectations of a woman’s place were unquestioned.

For those of us around then, it is an accurate portrayal of the menial roles women were expected to play in family life. And it puts in the spotlight how that period militated against women having an inner life, especially one that ran counter to the foreordained narrative line. Those who were depressed by childrearing or housekeeping bore the brunt of social opprobrium. And if their condition persisted, they might be subjected to brutal mental illness treatments, including shock therapy.

Isabel Lee Roden (left) as Bonnie and Taigé Lauren as Anna in Anatomy of a Suicide.

When we first see Anna, Carol’s daughter, portrayed in the window of 1994-1999 and in her twenties, she is being retrieved by her father, John (Josh Razavi) from a hospital where she was placed following a drug binge. The juxtaposition of these two characters, though in separate unconnected scenes, suggests a link between her mother Carol’s condition and Anna’s drug dependency. Anna emerges from her situation, finds her true love Jamie (Raúl Alonso) marries, and eventually bears a daughter, Bonnie.

We gather the pregnancy and birth are triggering emotionally for Anna. But most of her timeline on stage seems happy. She is a vibrant person. Her wedding day is full of joy; her father embraces her. Taigé Lauren's performance is full, rich and vibrant and it is a pleasure to see her on stage. Another actor, Laila Malak, plays a youthful version of Anna, and it seems that later, during Malak's tenure on stage, she and her father are nearby during a picnic at the moment of Carol’s suicide. This happens later in the play’s sequence, and explains retroactively why Carol was not at Anna’s wedding.

We meet Carol’s granddaughter, Bonnie, who seems to be on the spectrum of some neurodivergent condition. Isabel Lee Roden reflects an inertness in Bonnie, her lack of affect in engaging others. But in climactic moments, Roden leaps from reticence to full-throated dramatic presentation, a great performance that bides its time in deference to the character, but is always there.

To my mind, this is an actor’s play, one for theater professionals, but not something the average ticket buyer would want to see. The play is also burdened with a difficult to market title - Anatomy of a Murder or Anatomy of a Fall have worked, but Anatomy of a Suicide is an unlikely draw. With just 32 seats in the theater, I’m guessing co-producers JunkHeart and The Metal Shop Performance Lab do not have high expectations for revenue. Anatomy of a Suicide runs through August 30, 2026 at Redtwist Theatre in Chicago.

Finding love has always been a challenge. In Jane Austen’s day, a time governed by strict rules of courtship, couples had to avoid mistakes that could potentially ruin a reputation. One might think that the complexities of dating would have eased over time, yet modern romance remains just as fraught with pitfalls. Exploring these timeless rules of attraction is Oil Lamp Theater’s production of I Love You Because, with music by Joshua Salzman and book and lyrics by Ryan Cunningham. Directed by Scott Shallenbarger, this musical, inspired by Austen’s Pride and Prejudice, examines two mismatched couples and asks a fundamental question: Do we love someone despite their differences, or because of them?

Meet our musical’s core couple. Austin Bennet (Aiden McCoy) is a straight-laced, slightly vanilla greeting card writer who fancies himself a "poet" yet struggles to craft anything with authentic depth. Marcy Fitzwilliams (Hanna Kipp) is a carefree photographer who balks at rules and lives in the moment. Having both recently gotten out of long-term relationships, Austin and Marcy decide to follow their friends’ advice and get back out there. This time, though, they’re not looking for “the one,” just someone.

Their first date couldn’t go worse. Austin is still hung up on his unfaithful ex, and Marcy makes little effort to hide her disinterest. Gradually, however, a friendship develops. When they least expect it, sparks fly, prompting both to reexamine what they were looking for in a mate.

Central to any compelling romance is chemistry. Perhaps it was opening weekend jitters, but the on-stage tension between McCoy and Kipp left something to be desired. While their initial awkwardness felt appropriate as the characters grew more familiar, the spark never really intensified. That missing connection made it difficult to fully invest in the material, because their relationship never felt entirely natural.

Part of the issue may stem from character interpretation. Although the script frames Austin as conventional and Marcy as unconventional, neither performer fully embraced those extremes. For example, Austin is written as a Type‑A personality who brings his own black coffee from home to a local café - a funny character trait meant to establish a tightly wound demeanor - but the joke didn’t quite land. If both actors pushed further into their contrasting traits, the show’s humor, which relies on highlighting their polar opposites, might be more effective.

Conversely, the "opposites attract" dynamic succeeded with the supporting couple. Kristin Brintnall plays Diana, an actuary who relies on her rigid mathematical system for love calculations. Maxwell J. DeTogne plays Jeff Bennet, a boyish man-child whose views on relationships are as jumbled as his vocabulary, leading to malapropisms like "duck in a line" or "barking up the wrong treehouse." What begins as a casual fling eventually forces them into the dreaded "Define the Relationship" conversation.

Brintnall and DeTogne play off each other wonderfully by fully embracing their characters' differences. Her rigid precision complements his easygoing demeanor, creating genuine stage friction and strong comedic timing. Their energetic performances helped elevate a relatively straightforward plot.

Unlike Austen’s rich source material, this musical offered few complications for its core couple. Other modern adaptations of classic texts, like 10 Things I Hate About You, which adapted Shakespeare’s The Taming of the Shrew, successfully updated stories while preserving their complexity. But once Austin and Marcy recognize their feelings, there really aren’t any obstacles in their way.

The strength of I Love You Because comes from its performers. Their vocal ability shined in each song, and when the ensemble came together for group numbers, they blended beautifully. As the cast settles into their roles, the chemistry between the leads should deepen and help the audience connect to the central love plot. In any case, the message of I Love You Because was effectively communicated. True love isn’t loving someone in spite of their quirks, but because of them.

I Love You Because runs through September 13 at Oil Lamp Theatre in Glenview, IL.

Advisory: Oil Lamp Theater advises that the production contains mature content, including explicit language and sexual situations.

https://www.oillamptheater.org/

Pulse Theatre Chicago proudly announces a defining new chapter in the company's history with the expansion of its artistic leadership, the beginning of its residency at the historic eta Creative Arts Foundation, and the cast and creative team for its Fall 2026 production of Dominique Morisseau's acclaimed drama, Detroit '67.

More than a season announcement, this moment represents the culmination of twelve years of artistic growth— from a storefront theatre founded in 2014 to a Black-led company entering a new chapter through expanded artistic leadership, a residency at one of the nation's most historic Black theaters, and its most ambitious season to date.

As the flagship production of its 2026–2027 season, Detroit '67 marks an exciting milestone for Pulse Theatre Chicago. Dominique Morisseau's celebrated drama explores family, resilience, and hope amid the Detroit uprising of 1967—themes that resonate deeply with the company's season-long exploration, The Healing Pulse: Mental Health in Black Homes.

Founded in 2014, Pulse Theatre Chicago enters its twelfth season by expanding its artistic leadership. Executive Artistic Director Aaron Reese Boseman is joined by Associate Artistic Director Isis Elizabeth, who joined the company in 2023. Together they will guide Pulse's artistic vision as the company begins its residency at eta Creative Arts Foundation and continues its commitment to creating bold, community-centered theatre on Chicago's South Side.

"This moment represents years of dreaming, building, and believing," said Executive Artistic Director Aaron Reese Boseman. "Since founding Pulse Theatre Chicago, our mission has been to create theatre that doesn't simply entertain—it transforms. Beginning our residency at eta Creative Arts Foundation and expanding our artistic leadership strengthens our commitment to building an artistic home where artists and audiences alike can gather, heal, and imagine together."

A New Chapter for Pulse Theatre Chicago

Founded in 2014, Pulse Theatre Chicago has grown into a Black-led professional theatre company recognized for producing new works, reimagined classics, and immersive theatrical experiences rooted in poetic grit, bold imagination, and deep compassion.

Boseman's directing work in Chicago storefront theatre includes acclaimed productions of Confederates, The House That Will Not Stand, Topdog/Underdog, The Mountaintop, The Colored Museum, and A Raisin in the Sun, reflecting the company's longstanding commitment to centering Black voices and transformative storytelling.

An actor, playwright, and educator, Isis Elizabeth joined Pulse Theatre Chicago in 2023. Her original play Beneath the Willow Tree received its world premiere at Pulse, exemplifying the company's investment in developing new work alongside celebrated classics. As Associate Artistic Director, Elizabeth will help shape artistic programming while continuing Pulse's commitment to nurturing emerging artists and new voices.

A New Home at eta Creative Arts Foundation

Pulse Theatre Chicago proudly begins its residency at the historic eta Creative Arts Foundation, one of the nation's oldest continuously operating Black theaters.

The residency reflects a shared commitment to expanding professional theatre opportunities, fostering artistic collaboration, and investing in the cultural vitality of Chicago's South Side while honoring eta's enduring artistic legacy.

The partnership builds upon an already successful artistic relationship. Pulse Theatre Chicago's production of Once on This Island, presented at eta Creative Arts Foundation, earned a Jeff Award, laying the groundwork for this exciting new chapter and underscoring the artistic partnership between the two organizations.

The Healing Pulse

The company's 2026–2027 season, The Healing Pulse: Mental Health in Black Homes, explores the emotional landscapes of Black life through stories of grief, healing, caregiving, identity, joy, memory, and restoration.

Earlier this summer, Pulse launched its immersive Ritual & Rhythm Reading Series, featuring City of Water by Isis Elizabeth and Rhyme Deferred by Kamilah Forbes and Chadwick Boseman. The series transformed traditional staged readings into immersive theatrical experiences, inviting audiences into conversations that continue throughout the season.

Through The Healing Pulse, Pulse Theatre Chicago asks audiences not simply to witness these stories, but to consider what healing looks like behind closed doors, who gets to rest, who gets to unravel, and how communities care for one another through joy, grief, and resilience.

Detroit '67

By Dominique Morisseau

Directed by Aaron Reese Boseman

Set during the Detroit uprising of 1967, Detroit '67 follows siblings Chelle and Lank as they struggle to preserve family, hope, and home amid profound social change. Both an intimate family drama and a sweeping historical portrait, the play explores the enduring strength of community in moments of uncertainty.

The cast features Shenise Danyèl as Chelle, Tamarus Harvell as Lank, Emma Jean Eastlund as Caroline, Dairyon Bolden as Sly, and Jimiece Gilbert as Bunny. Completing the company are understudies Marlissa Stalling (Chelle), Destin Patton-Warner (Lank), Jen Agather (Caroline), Michael Ashford (Sly), and Y'vonne-Rose Smith (Bunny). The creative team includes AnJi White, Assistant Director; Ashley Coney, Production Stage Manager; Chels Morgan, Intimacy & Violence Director; Kevin M. Rolfs, Scenic Designer; Levi J. Wilkins, Lighting Designer; Warren Levon, Sound Designer; Terri Devine, Costume Designer; and Rueben Echoles, Hair & Makeup Designer, Enjoli Valentine, Property Design; Sierra Coachman, Dramaturgy.

Previews: September 11, 2026

Closing: November 1, 2026

Performances take place at eta Creative Arts Foundation.

About Pulse Theatre Chicago

Founded in 2014, Pulse Theatre Chicago is a Black-led professional theatre company committed to producing new works, reimagined classics, and immersive theatrical experiences that amplify underrepresented voices. Through bold storytelling and community-centered artistry, Pulse believes theatre can serve as both a catalyst for dialogue and a space for collective healing.

Now a resident theatre company at eta Creative Arts Foundation, Pulse continues its mission to expand access to professional theatre on Chicago's South Side while cultivating artists, developing new work, and strengthening Chicago's vibrant Black theatre ecosystem.

For more information and tickets, visit www.pulsetheatrechicago.org.

Coming of age stories resonate more profoundly when they mirror the lived reality of a real person.  That’s why the firecracker of a play, Hail Mary/Maria, that’s just begun its far too short run at Theater Wit, is must-see theater for just about anybody who counts themselves as a member of the human family.  If you’ve ever been young or wracked with self-doubt, Hail Mary/Maria proves there are avenues that lead to clarity and self-actualization.  Making the play act as a raucous, hugely humorous and often touching guide on how to find them.

Very much a reflection of playwright RJ Silva’s own experiences, the story follows the life of Kid (Juan Sedonio), a teenager who immigrated to the US with his mother from the Philippines when he was in the seventh grade.  Now in an all-boys high school, he’s a little bit of a loner and completely hooked on the exploits of his favorite pro-wrestler, Maria.  He’s also, with great misgivings, about to embark on his first journey into romance.

A badass brawler with heart, it’s Maria we first meet when the play opens. She pumps up the crowd with her bravado, high voltage smile and saucy hair flips.  A stark contrast with the subdued and self-enclosed Kid, Maria’s the bolt of energy that serves to ignite a story that’s about to match her spirit.

The core of the play starts innocently enough in school with Kid, which is short for Kindness, sitting alone listening to music through his earbuds.   He’s joined by another student who casually strikes up a conversation.  Confident and friendly, the boy is feeling Kid out, trying to learn more about him.  He trips over the typical stumbling blocks when it comes to pronouncing foreign names and learning new things about a different culture.  But there’s no animus. He’s open and curious. They both tap into their recall and remember being aware of each other from previous school encounters.  Blond and self-assured, the new arrival’s name is Jack and it’s clear he wants to be friends.  Since Jack (Aidan Leake) is really into the new Avatar movie, we can tell it’s the original he’s talking about and that the play’s setting is fifteen years or so in the past. 

We can see too from their exchange that Kid, although on the surface quiet and retiring, has some spunk to him.  Once he begins talking about why he’s such a fan of the wrestling phenom, Maria, played with zestful impeccability by Carina Lastimosa, we get a glimpse of his animated side.  To Kid, she’s an underdog who became the top dog. An inspiration.  There’s a lot of pride that comes pouring through in his admiration for her.

We meet Kid’s other role model at home.  It’s his Mom, Marie (Marie Tredway).  The quintessential Filipina nurse; tireless, indispensable, magnanimous, Marie’s got an iron core that’s fortified and sustained by her faith and belief in Mama Mary.  A figure most of us know as the Blessed Virgin Mary.  In Kid’s household, she has a shrine set up in her honor and consulted by Kid as well as his Mom for guidance and advise.  Filling two roles, Lastimosa shows how easily she can portray widely divergent personalities.  As Mama Mary, she beautifully personifies a potent blend of compassion and enlightened understanding when responding to Kid’s solicitations.

Scenes that take you inside Kid’s home are some of the most moving and treasured in the production.  Thanks in no small part to Katelyn Montgomery’s wonderfully evocative set.  They’re portals into a world rich in tradition, strongly held belief and the type of family values that insure cohesion.  Attributes that on one hand are wonderfully sublime and on the other almost quaint. The types of characteristics that may have once flourished in the American culture as well; but have long since dissipated or atrophied.    

Very much a collaborative effort, Hail Mary/Maria is directed by Mr. Silva’s husband, Adam Reed.  The unconventionality of the central character is complemented by an equally unorthodox directorial approach in Mr. Reed’s debut directing effort.  One that fills the one-act performance with heaps of emotional and physical dynamism while encouraging plenty of audience interaction.

Pro wrestling of various shades have long been extremely popular in the Philippines.  From the responses of the audience Saturday night, it has a strong following in this country too.  Rather than conjuring it only through the imagination, Hail Mary/Maria brings it live and center stage, giving the uninitiated a taste of its electric appeal.   The ploy works beautifully, making Hail Mary/Maria as much a rewarding visceral charge as it is a splendid theatrical offering. 

From that initial conversation between Kid and Jack, you somehow know Jack had more than friendship on his mind when he sat down next to Kid that day.  And he likely sensed that Kid was interested in him, too.  As we all know, a lot can be transmitted in a simple glance.  

Kid and Jack inch their way toward understanding one another and liking each other even more as their familiarity grows.  Something that triggers trepidation and even fear in Kid.  How can he reconcile who he is with what he thinks should be? How that dilemma is resolved is what makes this project so appealing.  There’s a wholesomeness to it that feels very honest.  The solid gold cast help make Hail Mary/Maria a treasure.  Both Sedonio and Leake fill their roles with the kind of intangibles that make what they present on stage memorable.  A statement that’s just as true for Lastimosa and Tredway.  You can’t help but want to see them all in other works that showcase their skill and gifts as well as this project one does.

The only pressing question now might be, what’s the fledgling entertainment enterprise going to roll off their runway next?

Hail Mary/Maria

Presented by Nova Entertainment

Thursday, August 20^th  - 7:30pm

Friday, August 21^st – 7:30pm

Saturday, August 22^nd  -  2:30pm & 7:30pm

Sunday, August 23^rd  -  2:30pm

Venue:  Theater Wit in Theater 2

1229 W. Belmont Avenue

Chicago, IL  60657

For more information and tickets:  https://www.theaterwit.org/tickets/productions/602/performances

Highly Recommended

Shattered Globe Theatre (SGT), now under the artistic leadership of Ian Frank, is pleased to announce its 36^th Season, featuring three plays that explore the distortions that shape our lives and the courage it takes to break through them. The season kicks off this fall with the Midwest premiere of Erika Sheffer's Vladimir, an unflinching drama of resistance directed by Ensemble Member Lou Contey. SGT's 2026/27 season continues next winter with the Midwest premiere of Phanésia Pharel's emotionally rich two-hander The Waterfall, directed by Jasmine B. Gunter. The 36^th Season concludes next spring with Oli Forsyth's intimate psychological thriller Brace Brace, directed by Elizabeth Margolius. Whether political, personal or inherited, each of these stories follows characters searching for truth, connection and the freedom to define their own reality.

Shattered Globe Producing Artistic Director Ian Frank comments, "I'm honored to steward Shattered Globe's legacy of bold, intimate storytelling into this exciting new chapter. Our upcoming season tells stories about parents, partners and politics. But at its core is a fight to break free and find something honest, authentic and redemptive. These are stories about what happens when the narratives we've inherited begin to crack, and we're forced to decide what truths are worth holding onto. We promise you'll leave the theatre talking. That's exactly what live theater is supposed to do."

The full 2026/27 Season will be presented at Shattered Globe's resident home, Theater Wit, 1229 W. Belmont Ave. in Chicago's Lakeview neighborhood. Single tickets ($20 – $60) are now on sale at SGTheatre.org, by calling (773) 975-8150 or in person at the Theater Wit Box Office. Season Traveler memberships starting at $55 are also available. For information on group discounts, e-mail This email address is being protected from spambots. You need JavaScript enabled to view it. or call (773) 770-0333.

Shattered Globe Theatre's 2026/27 Season includes:

October 2 – November 14, 2026

Vladimir – Midwest Premiere!

By Erika Sheffer

Directed by Ensemble Member Lou Contey

Featuring Ensemble Members Rebecca Jordan, Adam Schulmerich and Drew Schad with Associate Artist Steve Peebles. Additional casting to be announced.

In a world where facts are manipulated and fear is currency, the truth becomes dangerous.

As a new authoritarian government tightens its grip on Russia, Erika Sheffer's Vladimir follows an independent journalist who uncovers a story that could expose the truth behind a nation in transition. But when every headline comes with consequences and every source becomes a target, she must decide how much she's willing to sacrifice for the story. Vladimir is a gripping political thriller about what happens when silence becomes complicity.

January 22 – February 27, 2027

The Waterfall – Midwest Premiere!

By Phanésia Pharel

Directed by Jasmine B. Gunter

What do we owe the people who raised us? After her mother's hospitalization, Bean returns home expecting to help her recover. Instead, she's forced to confront the dreams, expectations and traditions that have quietly shaped her entire life. As old tensions ripple to the surface, both women must confront the love and sacrifices that bind them together. The Waterfall is an intimate powerful exploration of family, identity and the ties that shape us.

April 16 – May 29, 2027

Brace Brace

By Oli Forsyth

Directed by Elizabeth Margolius

You survive the unimaginable. Now what? When a shocking event leaves Ray and Sylvia alive but forever altered after their honeymoon, they find themselves trapped in competing memories of the same event. As their relationship begins to unravel, Brace Brace explores how trauma reshapes perception, distorts truth, and leaves us questioning not just what happened, but who we've become because of it.About the ArtistsErika Sheffer (Playwright, Vladimir) is a playwright and screenwriter based in Los Angeles. Her first play, Russian Transport, premiered at The New Group and went on to productions at Steppenwolf as well as other regional and international theaters. The Fundamentals was commissioned and produced by Steppenwolf. Her latest play, Vladimir was commissioned by The Geffen Playhouse and received its world premiere at Manhattan Theatre Club. Honors include the Paula Vogel Playwriting Award, multiple TCG Edgerton Grants and an Outer Critics Circle Award nomination. She is an alum of Ars Nova Playgroup and a member of Center Theatre Group's LA Writer's Workshop. Erika has held commissions from Steppenwolf, The Geffen Playhouse, Center Theatre Group and Manhattan Theatre Club. Screen credits include Apple TV's Little America and Netflix's The Beast in Me (Writers Guild nomination). as well as multiple development rooms for Apple TV, Starz and Sony.

Lou Contey (Director, Vladimir) is a long-time Ensemble Member with Shattered Globe Theatre. He recently directed the multiple award-winning production of A View from the Bridge. Shattered Globe credits include The Manchurian Candidate, A Streetcar Named Desire, All My Sons, Who's Afraid of Virginia Woolf?, Peter Pan, Les Liaisons Dangereuse, Warhawks and Lindberghs, Holy Ghosts, Judgement at Nuremberg, Requiem for a Heavyweight, The Whaleship Essex, In the Heat of the Night, The Tall Girls, The Heavens are Hung in Black, and many others. Among his more than eighty directing credits are The Price, Awake and Sing!, It's All True, Copenhagen. Pravda, Paradise Lost, The General from America, A House with No Walls, Lillian, Frost/Nixon, The Guys and The Apple Family Plays, all at TimeLine where he is an Associate Artist. Other Chicago credits include The Master and Margarita (Strawdog Theatre); In a Garden (A Red Orchid Theatre); Marriage Play, Duck Variations (The Goodman Theatre) and Haymarket Eight (Steppenwolf). He has also worked at Theatre at the Center, Buffalo Theatre Ensemble, Provision Theatre, Eclipse Theatre and American Theatre Company. He has taught acting and directing for the theatre programs at UIC, The Acting Studio, Act One Studio and The Theatre School/DePaul University.

Phanésia Pharel (Playwright, The Waterfall) is a Haitian-American playwright from a dragon fruit farm in Miami. The daughter of an immigrant teacher and farmer, she writes to honor people. Her full-length plays include Dead Girl's Quinceañera, The Waterfall, R&B, Lucky and Black Girl Joy. She is the incoming playwriting fellow at Emory University where she will teach and have a new play produced through their repertory company. She has received commissions from the Atlantic Theater, Lucille Lortel (Alcove), La Jolla Playhouse, Miranda Family Fund, Hero Theatre, City Theatre Miami and the Latinx Playwrights Circle. Her honors include Kilroys List, five awards from the Kennedy Center, two-time Bay Area Playwrights Festival Finalist/Honorable Mention, Jane Chambers Finalist, A is For Playwriting award recipient and the Frank Moffett Mosier Fellowship for Works in Heightened Finalist Prize. Phanésia is a member of the Obie-winning EST/Youngblood group and The Wish Collective. Her work has been developed by the Playwrights' Center, New York Stage and Film, SolFest, Thrown Stone, Shattered Globe and Echo Theater Company. B.A, Urban Studies, Barnard College of Columbia University. MFA, Playwriting, UCSD '25.

Jasmine B. Gunter (Director, The Waterfall, she/her) works as an active director, producer and casting director around the U.S. She was the 2021 recipient of the Hangar Directing Drama League fellowship, the 2020 recipient of the Leighton M. Ballew Directing Scholarship and a proud graduate of the Northwestern MFA Directing program and SDC member. Recent directing credits includes Furlough's Paradise (Geva Theatre), The Love Object (Story Theatre), Dracula: A Feminist Revenge Fantasy, Really (Northwestern University), The Revolutionists (Northwestern University), jump (Northwestern University) Lost Girl (Hangar Theatre), The Wonderful Wizard of Oz (Hangar Theatre), Hedda Gabler (Northwestern University), Wine in the Wilderness (Northwestern University), Intimate Apparel (SUNY Brockport), Ghost Story (Kane Repertory Theatre), Lines in the Dust (Geva Theatre Center), Reroute (24 Hour Plays: Nationals). Associate/Assistant Credit: Blues for an Alabama Sky (Remy Bumppo), Nina Simone: Four Women (Arena Stage), In the Heights (Seattle Rep), Quixote Nuevo (Hartford Stage/Huntington Theatre Company) and The Luckiest People (Actors Theatre of Charlotte/NNPN). Jasmine has also taught at the Berkshire Theatre Group and the Redhouse Arts Center in Syracuse, NY.

Oli Forsyth's (Playwright, Brace Brace) play Brace Brace premiered at the Royal Court Theatre in 2024. He was the recipient of the Jerwood New Playwright award in the same year and is currently under commission to the Royal Court for a new play. In 2021, he was invited to join Mike Bartlett's writing group at Hampstead Theatre and was commissioned to write The Pox, for the main stage. In 2019 Cash Cow was produced at Hampstead Theatre Downstairs, quickly followed by a run in Edinburgh. Also in 2019, Such Filthy F*cks, a Smoke & Oakum/Pleasance co-production ran at the Vaults Festival in London.Oli's earlier work includes: Tinderbox (2014) which was nominated for an Amnesty International Award; Cornermen (2015) at The Old Red Lion and The Pleasance, then transferring to VAULT Festival and touring in co-production with Red Ladder Company/New Diorama Theatre (2018).New Diorama Theatre/Smoke & Oakum co-produced Happy Dave (2016) and Kings (2017).

Elizabeth Margolius (Director, Brace Brace) is a Jeff Award-winning stage and movement director, who most recently received the award for Director of a Musical for Shattered Globe Theatre's London Road. A five-time Joseph Jefferson Award nominee, Elizabeth's selected directorial credits also include: The Da Vinci Code for Drury Lane Theatre, The Flying Lovers of Vitebsk for Northlight Theatre, Fiddler on the Roof for Drury Lane Theatre, Tidy and Rose for Renaissance Theaterworks, Crimes of the Heart for American Stage, Le Loup-garou for Opera Southwest, I and You, Silent Sky, Miss Holmes and The Bridges of Madison County for Peninsula Players, Queen of the Mist for Firebrand Theatre, The Scarlet Ibis for Chicago Opera Theater, Machinal (Movement Director) and Uncle Philip's Coat for Greenhouse Theater, Haymarket: The Anarchist's Songbook for Underscore Theatre, The Girl in the Train for Chicago Folks Operetta, Goldstar, Ohio for American Theater Company, The Merry Wives of Windsor for Chicago Shakespeare Theater (Assistant Director), Opus 1861 for City Lit Theater, Violet for Bailiwick Chicago and Bernarda Alba and Songs for a New World for Bohemian Theatre Ensemble.  

About Shattered Globe Theatre

Shattered Globe Theatre seeks to redefine what it means to be an ensemble theatre, discover new connections between story, artist and audience, and explore drama from bold, challenging perspectives.Shattered Globe Theatre was born in a storefront space on Halsted Street in 1991. Since then, SGT has produced more than 80 plays, including nine American and world premieres, and garnered an impressive 53 Jeff Awards and 134 Jeff Award nominations, as well as the acclaim of critics and audiences alike. Guided by Producing Artistic Director Sandy Shinner, Shattered Globe's values are rooted in a commitment to racial equity, respect for all artists and support for the ensemble, while creating new opportunities to amplify traditionally marginalized voices and collaborate in all aspects of its work. Through initiatives such as the Protégé Program, Shattered Globe creates a space which allows emerging artists to grow and share in the ensemble experience.Shattered Globe Theatre's Ensemble includes Judy Anderson, Louis Contey, David Dastmalchian, Demetra Dee, Joe Forbrich, Ellie Fey, Christina Gorman, Daria Harper, Kotryna Hilko, Tina M. Jach, Rebecca Jordan, Steve Kleinedler, Vivian Knouse, AmBer Montgomery, Tina Muñoz Pandya, Eileen Niccolai, Jazzma Pryor, Deanna Reed-Foster, Linda Reiter, Jeff Rodriguez, Drew Schad, Adam Schulmerich, Leslie Ann Sheppard, Sandy Shinner, Joe Sikora, Shelley Strasser, Devonte E. Washington, Sarah Jo White, Joseph Wiens and Brad Woodard.SGT's Artistic Associates includes Daniela Colucci, Elliot Esquivel, Mikey Gray, Lawrence Grimm, Ronald Hale, Darren Jones, Christopher Kriz, Jason Lynch, Lydia Moss, Tim Newell, Jane Nix, Aila Peck, Steve Peebles, Cage Sebastian Pierre, David Antonio Reed, Angie Shriner, Abbey Smith, Hershey Suri, Michael Trudeau and Ayanna Wimberley.SGT is supported in part by generous grants from the Shulman-Rochambeau Charitable Foundation, Brenda and James Grusecki, The Paul M. Angell Family Foundation, Carol P. Eastin, The Shubert Foundation, Judith and David Sensibar, the Illinois Arts Council, The Gaylord and Dorothy Donnelley Foundation and Americans for the Arts.Visit SGTheatre.org for subscriptions, tickets and information, and follow the company @shatteredglobe on Facebook and Instagram.

Broadway In Chicago is pleased to announce Blue Man Group will bring its first-ever holiday production, "A NEW HOLIDAY SURPRISE," on the road this season. Chicago audiences will be among the first in the country to experience the all-new production. Tickets go on sale this Friday, August 21. BLUE MAN GROUP’S A NEW HOLIDAY SURPRISE will play Broadway In Chicago’s CIBC Theatre (18 W. Monroe St.) for a limited three-week engagement, November 24 – December 13.

“Bringing Blue Man Group's first-ever holiday production to Chicago is an exciting milestone and a natural evolution of the iconic Blue Man experience,” said Marie-Josée Adam, President and CEO of Blue Man Group. “The holidays are about creating unforgettable memories, and we're thrilled to offer audiences a fresh, immersive celebration that blends the music, humor, creativity and joyful unpredictability that have defined Blue Man Group for decades.”

The brand-new production will feature classic holiday music performed on Blue Man Group's iconic custom instruments, while following the Blue Men as they discover the traditions, rituals and joyful absurdities of the holidays while exploring timeless themes of generosity, presence, creativity and human connection. Equal parts hilarious, heartwarming and visually unforgettable, “A NEW HOLIDAY SURPRISE,” offers audiences a unique holiday tradition that celebrates what brings us together.

Blue Man Group is a vibrant, interactive experience that has captivated audiences from all around the world. The non-verbal group communicates through music, art, and comedy, creating powerful connections without saying a word. As the Blue Men navigate our world with curiosity, audiences are invited into a captivating, communal experience that sparks creativity and ignites the imagination.

ABOUT BLUE MAN GROUP
Blue Man Group is a global entertainment phenomenon, known for its award-winning theatrical productions, iconic characters and multiple creative explorations. Blue Man Group performances are euphoric celebrations of human connection through art, music, comedy and non-verbal communication. Since debuting at New York’s Astor Place Theatre in 1991, the live show has expanded to additional domestic residencies playing in Las Vegas, Orlando and multiple tours, reaching more than 50 million people worldwide. Blue Man Group is universally appealing to a broad range of age groups and cultural backgrounds, and continually injected with new music, fresh stories, custom instruments and sensory stimulating graphics. Blue Man Group is owned and operated by Cirque du Soleil Entertainment Group.
 

For more information, please visit BLUEMAN.com.
Follow @BlueManGroup on
Facebook ● Instagram ● TikTok ● YouTube

PERFORMANCE SCHEDULE
Tuesday, November 24 – 7:00 p.m.
Wednesday, November 25 – 1:00 p.m. & 7:00 p.m.
Thursday, November 26 – No Shows (Thanksgiving)
Friday, November 27 – 1:00 p.m. & 4:00 p.m.
Saturday, November 28 – 1:00 p.m., 4:00 p.m., and 7:00 p.m.
Sunday, November 29 – 1:00 p.m. & 4:00 p.m.

Tuesday, December 1 – 7:00 p.m.
Wednesday, December 2 – 1:00 p.m. & 7:00 p.m.
Thursday, December 3 – 7:00 p.m.
Friday, December 4 – 7:00 p.m.
Saturday, December 5 – 1:00 p.m. & 7:00 p.m.
Sunday, December 6 – 1:00 p.m.

Tuesday, December 8 – 7:00 p.m.
Wednesday, December 9 – 1:00 p.m. & 7:00 p.m.
Thursday, December 10 – 7:00 p.m.
Friday, December 11 – 7:00 p.m.
Saturday, December 12 – 1:00 p.m. & 7:00 p.m.
Sunday, December 13 – 1:00 p.m.

TICKET INFORMATION (As of August 17, based on availability and subject to change)
Individual tickets for BLUE MAN GROUP’S A NEW HOLIDAY SURPRISE go on sale Friday, August 21 and range from $39.00 - $120.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. 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 BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 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.
Follow @BroadwayInChicago on
Facebook ● Instagram ● TikTok ● Bluesky ● YouTube
#broadwayinchicago

Otherworld Theatre blasts back into the cosmos with Season 4 of Starship Edsel: An Improvised Star Trek Parody, the latest chapter in its long-running improvised Star Trek satire. Now in its fourth outing, the misfit crew of the USS Edsel once again shows why the production remains a reliably funny fixture in Chicago’s sci-fi comedy landscape: sharp improvisers, affectionate genre parody, and the kind of starship energy you’d never find in the Federation’s official logs.

This season sends the Edsel crew tumbling through new temporal and interstellar absurdities, driven by the fast-paced, character-focused humor that has defined the show from the start. The ensemble dives into the joyful dysfunction of a starship seemingly held together by duct tape and questionable decisions, mixing Trek lore nods with gleeful irreverence and the lived-in chemistry that makes every malfunction and misunderstanding feel inevitable. That energy takes shape in an entirely new crisis: after stumbling through the early Star Trek timeline, the Edsel is abruptly flung centuries forward into the 32nd century, a future shaped by Star Trek: Discovery. Suddenly the galaxy looks unfamiliar, the rules have changed, and the crew finds themselves surrounded by Starfleet Academy cadets who seem barely old enough to pilot a shuttle, let alone judge the Edsel’s competence. I’m not sure whether the mission changes from performance to performance, but in this “episode” their assignment was deceptively simple – secure a peace‑extension treaty with the Blavakians (I hope I got that right) – and what should have been a straightforward diplomatic task stretched into an endlessly delayed ordeal, derailed by hilarious temporal hiccups, cultural misunderstandings, and the Edsel’s trademark ability to complicate even the calmest negotiations.

Directed by Second City alum Anthony LeBlanc, Chicago’s premier sci-fi theatre company brings its hit improvised Star Trek parody to Second City’s De Maat Theatre for its fourth season. Running from August 9 through September 13, the show lands every Sunday at 6 p.m., continuing Otherworld Theatre’s tradition of blending sharp improv, affectionate Trek satire, and the unpredictable charm of the galaxy’s most questionable starship.

The cultural whiplash is immediate: advanced tech they have never seen, protocols they do not understand, and a timeline that expects far more professionalism than the Edsel has ever demonstrated. With a brand-new captain stepping aboard, their six-week mission quickly spirals into new complications, leadership challenges, and the unscripted deep space mayhem that has carried the show through all four seasons.

One of the strongest comedic through lines comes from Wanjiku Kairu Oliver, who steps in as Captain Reitanna Troi and delivers a sharply tuned, consistently funny performance. She begins as an overly supportive, everyone-is-my-friend, besties-with-everyone captain desperate to be liked, then after a well-intentioned nudge from Admiral Jean Pierre Baptiste (played with dry precision and understated comic bite by Edward Neequaye) swings far too hard into stern, over-the-top authority, hilariously misreading his call for a middle ground he clearly thought was obvious.

Season 4’s comic energy is driven by a nimble ensemble that thrives on the Edsel’s brand of barely functional spacefaring misadventure. While the lineup can shift from week to week, in the performance I saw many of the standout laughs came from Matt Kawa as Lt. T’Pang Gah (what's better than a delightfully anachronistic Vulcan?); Carlos Rivera as Chief Counselor J’Errrs’Q, a Klingon with impeccable comedic timing; and Mike Mazzella’s Lt. Cmdr. James Buchanan. Together with the rest of the performers, the crew embraces bold physical comedy and sharp genre parody, making the Edsel’s catastrophes feel both inevitable and irresistible.

What makes the show genuinely entertaining is the cast’s ability to improvise on the spot with razor-precise timing. The performers take every unexpected turn, audience suggestion, and self-inflicted disaster and heighten it with quick pivots, smart character choices, and a shared instinct for building jokes together. The comedy never feels forced or manufactured; it grows organically from the crew’s chemistry and their collective willingness to commit fully to whatever absurdity the Edsel throws at them. The improvisation feels both effortless and impressively precise.

Starship Edsel makes clever use of multimedia to introduce and deepen its characters, with video briefings, ship diagnostics, and on-screen prompts that instantly ground the audience in its improvised sci-fi universe. The set, though minimal, somehow conjures the impression of a functioning starship interior – just enough structure to suggest the Edsel’s corridors and consoles while leaving the performers room to build the world through play. Before the episode begins, Admiral Jean Pierre Baptiste invites the audience to help repair the ship’s failing systems by answering a pair of questions; in this performance, the strangest gift ever received (a skunk) and the oddest motivational tactic from a boss (a magic trick) became key inputs. This talented ensemble wove both suggestions into the narrative with seamless, absurd precision, turning offhand audience answers into some of the night’s funniest running gags.

Created from a live-action role-playing framework written by Brandon Brylawski, the show uses that narrative backbone to fuel an ever-shifting roster of characters and cosmic complications. Each week’s cast builds on that structure with their own improvised twists, expanding the Edsel’s universe in ways that feel both unpredictable and perfectly in tune with the ship’s legacy. The result is a mission that always feels alive, flexible, and primed for fresh absurdity.

You do not need to be a die-hard Trekkie to enjoy Starship Edsel – far from it. While longtime fans will catch the deeper nods to Trek lore, the show’s comedy lands just as well for anyone walking in cold. I say that as someone who grew up religiously watching the original series (TOS) and The Next Generation, and who never fully made the jump to the sprawling lineup of later shows beyond the films. Even with my old-school Trek background, the Edsel’s improvised storytelling, character-driven humor, and affectionate parody make the experience completely accessible and endlessly entertaining.

If you are looking for a night of comedy that goes boldly where no starship should ever go, the Edsel is absolutely the disaster you want to beam aboard.

Run Dates: Opening – Sunday August 9 at 6 p.m., Closing towards the end of October - check site for updated info.

Location: Second City’s De Maat Theatre, 1608 N Wells, Chicago, IL 60614

Running Time: 60-75 minutes with no intermission

Tickets: $25 general admission

Direct Ticket Link: https://www.secondcity.com/shows/chicago/starship-edsel-an-improvised-star-trek-satire-chi

Theatre Company Link: https://www.otherworldtheatre.org/starshipedsel