Items filtered by date: November 2007

Kirsten Greenidge’s Morning, Noon & Night, currently receiving its Midwestern premiere at Shattered Globe Theatre, is an ambitious, mind-bending exploration of the “new normal” in post-pandemic America. Greenidge, a playwright unafraid of tonal hybridity, situates her story at the uneasy intersection of middle-class and magical realism. Under AmBer Montgomery’s direction, the production attempts to navigate the landscape of family connection, digital surveillance, and the psychic fragmentation wrought by living life through digital screens.

The play unfolds over the course of a single day in the life of Mia, a work-from-home mother teetering on the edge of burnout. Kristin E. Ellis anchors the production with a performance that captures both the brittle humor and simmering desperation of a woman expected to hold everything together. Her Mia is perpetually toggling—between Zoom meetings and grocery lists, between maternal patience and private panic. Ellis embodies the quiet terror of a generation of women asked to endure the unendurable with a smile.

Opposite her, Emefa Dzodzomenyo gives Dailyn a restless, electric presence. As the hyper-aware Gen Z daughter oscillating between existential dread and a yearning for authentic connection, Dzodzomenyo resists caricature. Her Dailyn is sharp, wounded, and achingly perceptive—someone who has inherited not only climate anxiety and algorithmic pressure but also the emotional residue of her mother’s exhaustion.

The supporting cast deepens the sense of a household under strain. Christina Gorman’s Heather, Mia’s friend and confidant, functions as both comic relief and quiet warning sign—her lingering pandemic anxieties and conspiratorial asides suggest how prolonged fear can harden into identity. Hannah Antman and Soren Jimmie Williams lend a jittery immediacy to Nat and Chloe, capturing the skittish vulnerability of teens shaped by social media’s relentless gaze. That said, both performers read slightly younger than I imagined the characters to be, which subtly shifts the dynamic; their portrayals emphasize innocence and volatility over the more self-aware cynicism often associated with girls of that age.

The production’s most striking presence is Leslie Ann Sheppard as Miss Candice, a “Donna Reed  - Father Knows Best” AI-generated avatar of curated perfection who steps out of the algorithm and into the family’s living room. Sheppard’s performance is chilling in its serenity. With a voice that soothes and a gaze that scans, Miss Candice represents not simply technology but the seductive promise of optimized living—an influencer deity promising order amid chaos. Her presence pushes the play from realism into something more speculative, even dystopian.

Jackie Fox’s set and lighting design effectively ground the story in its post-pandemic malaise. The living room, cluttered yet aspirational, feels very lived-in and slightly unraveling. The use of projections is particularly striking; at times the audience feels as though it is peering through a phone screen. Notifications flicker, curated images intrude, and the boundary between the digital and the tangible dissolves. The design serves as a digital mirror—reflecting how social media refracts reality rather than simply documenting it.

Yet for all its thematic ambition, the production occasionally exposes a disconnect between script and staging. Greenidge clearly has much to say about female rage, consumerism, intergenerational trauma, and the violence of constant connectivity. However, Montgomery’s direction seems to engage these ideas primarily at a surface level, with moments of genuine thematic revelation passing too quickly to fully resonate. The result can feel unintentionally algorithmic—significant insights obscured beneath repetitive beats.

Moreover, despite the performances and the evocative design, the stakes never quite rise to meet the play’s expansive conceptual ambitions. Whether this disconnect stems from the script, or the direction is difficult to determine, but the result is the same: the looming threat of digital colonization and familial fracture hover suggestively rather than landing with decisive impact. The danger feels atmospheric instead of urgent, diffuse rather than devastating.

Morning, Noon & Night offers a portrait of contemporary anxiety, capturing the low-grade dread of a culture caught between the longing for authentic connections and the seductive pull of curated isolation. Like the screens it interrogates, the play pulses and glitches—at times mesmerizing, at times disquieting—but always insistently present, morning, noon & night.

RECOMMENDED

When: through March 28th

Where: Theater Wit, 1229 W Belmont Ave, Chicago, IL 60657

Running Time: 90 minutes no intermission

Tickets:  $20  -  $60

773-770-0333

www.sgtheatre.org/season-35/morning-noon-night

This review is proudly shared with our friends at www.TheatreInChicago.com. 

The Chicago Metropolitan area has a soft spot for a beautiful disaster, and The Play That Goes Wrong delivers the kind of exquisitely engineered chaos that feels tailor‑made for this theater‑loving region. What begins as a straightforward 1920s whodunit quickly mutates into a full‑throttle demolition derby of missed cues, mutinous props, collapsing scenery, and actors clinging to their dignity by the frayed edges of their costumes. Still, this play-within-a-play has the Cornley Drama Society charging through their staging of Murder at Haversham Manor with heroic - if spectacularly misguided - determination, clinging to the illusion of control even as the entire production disintegrates with spectacular enthusiasm.

That staunch commitment - part boldness, part sheer delusion - is exactly where the comedy ignites. Each disaster tops the last, creating a giddy, snowballing momentum that captures the thrill of live theater at its most unpredictable: anything can happen, and in this gloriously unhinged production, absolutely everything does.

Now this wonderful wreckage has landed in the northwest suburbs, with Metropolis Performing Arts Centre in downtown Arlington Heights offering Chicago‑area audiences a prime view of just how fabulously wrong things can go - and how deliriously right it all becomes.

Adeptly directed by Jahanna McKenzie Miller, the production becomes a finely tuned symphony of disarray - each mishap landing with surgical precision, each failing set piece detonating like a perfectly timed punchline. What unfolds is a relentless cascade of comic disaster, the kind that sends laughter rolling through the audience in unstoppable waves and showcases just how artful a well‑executed trainwreck can be.

Ryan Armstrong (left) as Chris Bean / Inspector Carter and Ryan Michael Hamman as Max Bennett in The Play THat Goes Wrong at Metropolis Performing Arts Centre.

To pull off such a bang-bang comedy, it all starts with the cast - and we’ve got a good one here.

Ryan Armstrong leads the beautifully controlled bedlam with a performance steeped in delicious self‑importance, giving Chris Bean - director, actor, and self‑appointed guardian of “proper theatre” - a pompous grandeur that’s as funny as it is precise, while his turn as Inspector Carter unravels in a perfectly paced crescendo of exasperation. Eric Amundson’s Charles Haversham is a riot of physical comedy, playing a corpse who refuses to stay still (hilarious!), and Casey Ross leans into Thomas Colleymoore’s melodrama with booming gusto, turning every line into a wonderfully overwrought declaration.

David Blakeman’s Perkins is a standout of earnest incompetence, mangling lines and props with lovable sincerity, while Ryan Michael Hamman’s Max Bennett steals scenes with wide‑eyed enthusiasm, overacting and shameless audience‑wooing as Cecil Haversham and Arthur the Gardener.

Even the sound and light operator becomes a crucial player in the unfolding disorder. Richaun Stewart turns Trevor Watson into a wonderfully frayed bundle of barely contained madness, playing the chronically overtaxed tech operator whose deadpan, slow‑burn panic becomes one of the evening’s most dependable laugh generators. Teah Kiang Mirabelli dazzles as Florence Colleymoore, embodying Sandra Wilkinson’s diva bravado with such gleeful abandon that each unhinged beat lands bigger than the last.

Rounding out the cast, Natalie Henry turns Annie Twilloil into the production’s unlikely center of gravity in the second act, charting a sharp, hilarious rise from hesitant stagehand to full‑blown spotlight thief.

Together, this ensemble builds a beautifully calibrated disaster - each actor contributing a distinct flavor of chaos that makes the entire production detonate with joy.

And then there’s the set, an impressive spectacle in its own right. Scenic designer Angela Weber Miller, properties designer Gigi Wendt, and technical director David Moreland push the production well beyond a typical farce, each adding a distinct layer of precision and controlled mishaps. The set functions as a full-fledged character, engineered to collapse, misfire, and betray the actors with such precision that its breakdowns become part of the comedy’s rhythm. Each wobbling wall, treacherous platform, and ill-timed malfunction gives the performers a fresh obstacle to hurl themselves against, turning physical comedy into a kind of athletic endurance test. The design doesn’t just support the charade - it actively conspires in it, creating a living, booby‑trapped environment that amplifies every pratfall and heightens the sense that the entire world of the play is gleefully turning against its inhabitants.

Written by Henry Lewis, Henry Shields and Jonathan Sayer, the Olivier Award-winning The Play That Goes Wrong is the kind of theatrical joyride that reminds audiences why live performance is irresistible: it’s unpredictable, it’s explosive, and it’s crafted with such precision that the turmoil becomes its own kind of art. This production delivers laugh after laugh through fearless physical comedy, razor‑sharp timing, and a cast fully committed to the magnificent meltdown unfolding around them. It’s the rare show that guarantees a good time - whether you’re a seasoned theatre goer or someone who just needs a night of pure, cathartic laughter.

For tickets and/or more show information, visit https://www.metropolisarts.com/event/the-play-that-goes-wrong/. Through March 29^th.

Recommended.

Tickets: Regular $49, Preview $35, Students $25
Pay What You Can: February 25, 7:30 pm
Previews: Evenings, February 25 – February 27. Matinee, February 28.
Opening: February 28, 7:30 pm

This review is proudly shared with our friends at www.TheatreInChicago.com.

Hell in a Handbag Productions is excited to continue its 2025/26 season with the world premiere of The Golden Girls: The Cheese Pyramid, a new addition to its acclaimed "Lost Episodes" parody series. Written by Artistic Director David Cerda* and directed by Brigitte Ditmars**, this comedic production will run from May 8 – June 21, 2026 at The Clutch, Handbag's boutique performance space at 4335 N. Western Ave. in Chicago. Tickets are now on sale at handbagproductions.org and buytickets.at/hellinahandbagproductions/2078392. 

The cast includes ensemble members Kelly Bolton*, David Cerda*, Grant Drager*, Scott Sawa* and Danne W. Taylor* with Honey West. Additional casting to be announced.

About the Production:

In this hilarious new adventure, Rose (Ed Jones*) finds herself in need of extra income and stumbles upon a unique business opportunity — the first multi-level marketing company in St. Olaf, introducing local households to the cheeses of her hometown.

Pretty soon Rose has a garage full of cheese, and no idea how to get rid of it.

Enter Blanche (Grant Drager*), Dorothy (David Cerda*) and Sophia (Kelly Bolton*) with their creative ideas to help Rose organize an unforgettable cheese party, with the audience invited as guests. The show asks: Can the girls save Rose from financial disaster using their party-planning expertise?

Chicago's beloved geriatric superstars return in an all-new Golden Girls escapade, promising to deliver their cheesiest episode yet.

The production team includes Marcus Klein* (Scenic Design), Liz Cooper (Lighting Designer), Danny Rockett (Sound Designer), Syd Genco** (Make-Up Design) and Keith Ryan* (Wig Design).

*Denotes Handbag Ensemble Member | **Denotes Handbag Associate Member

PRODUCTION DETAILS:

Title: The Golden Girls: The Cheese Pyramid (A Lost Episodes Parody) – World Premiere!
Playwright: David Cerda*
Director: Brigitte Ditmars**
Cast (in alphabetical order): Kelly Bolton (Sophia), David Cerda* (Dorothy), Grant Drager* (Blanche), Ed Jones* (Rose), Scott Sawa (Stan), Danne W. Taylor* (Madame Zuhara) and Honey West (Ingrid Ostekongen). Additional casting to be announced.

Location: The Clutch, 4335 N. Western Ave., Chicago

Previews: Friday, May 8 at 7:30 pm, Saturday May 9 at 7:30 pm, Sunday, May 10 at 7:30 pm and Friday, May 15 at 7:30 pm
Opening: Saturday, May 16 at 7:30 pm
Regular run: Sunday, May 17 – Sunday, June 21, 2026
Curtain Times: Fridays and Saturday at 7:30 pm; Sundays at 3 pm and 7 pm. Please note: there will be added Industry Night performances on Monday, June 12 at 7:30 pm.

Tickets: $32* previews, $44* advanced general admission, $47* at the door, $59* VIP/reserved seating. Group rates $38 for 10 or more. Tickets are now on sale at handbagproductions.org and buytickets.at/hellinahandbagproductions/2078392. General admission tickets include a refreshment; VIP tickets include a refreshment, reserved premium seating and of course St. Olaf gourmet cheese. *Ticket prices include processing fees.

About the Artists

David Cerda (Playwright) is a founding member and Artistic Director of Hell in a Handbag Productions, now celebrating its 25^th anniversary. As resident playwright, he has written many Handbag productions as well as acted in them. His play, The Drag Seed was recently produced at LaMaMa Experimental Theater and his Golden Girls Lost Episodes parody shows have been produced around the country and featured in Golden Con: Thank you for being a Fan, the world's first fan convention dedicated to all things Golden Girls at Chicago's Navy Pier. Cerda is a proud inductee into the Chicago LGBT Hall of Fame and recipient of a Jeff Award for lifetime achievement for his 27 years (and counting) of work and service to the community. He lives in Chicago with his partner, Christopher.

Brigitte Ditmars (Director) is a Chicago based director/choreographer who has been performing, choreographing and directing with Handbag since their inaugural production of Poseidon! An Upside Down Musical.  Previous Handbag credits include Bewildered, Caged Dames, How Whatever Happened to Baby Jane Happene, Poseidon... (2010), Rip Nelson's Halloween Spooktacular; Lady X and many iterations of Rudolph the Red-Hosed Reindeer. Additional directing credits include Always, Patsy Cline (Jeff Nomination – Firebrand Theatre), The Secret Council (First Folio Theatre), Schoolhouse Rock Live (Birmingham Children's Theatre), Rock of Ages (Timberlake Playhouse), Maybe Baby, It's You and Nunsense (Fox Valley Repertory). She has received two Joseph Jefferson Awards for Outstanding Achievement in Choreography for Reefer Madness (Circle Theatre) and Pinafore! (Bailiwick Repertory), as well as 3 additional nominations.

About Hell in a Handbag Productions

Hell in a Handbag is dedicated to the preservation, exploration, and celebration of works ingrained in the realm of popular culture via theatrical productions through parody, music and homage. Handbag is a 501(c)(3) Not for Profit. For additional information, visit handbagproductions.org.

The Gift Theatre, led by Artistic Directors Brittany Burch and Jennifer Glasse, announces its 25^th Anniversary "Homecoming" Season. The landmark 2026 season features the return of the company's signature short play festival, a major Chicago premiere, and a new work by ensemble member Netta Walker, staged at iconic venues across the city including A Red Orchid Theatre, Steppenwolf's 1700 Theater, and a return to Jefferson Park at the Copernicus Center.

The 25^th Season includes the annual short play festival TEN 25^th, March 25-April 4, 2026, to take place at A Red Orchid Theatre. The Chicago Premiere of Marble by Marina Carr, August 2-30, 2026, will mark a return to the company's home neighborhood. Hayward, a world premiere by new ensemble member Netta Walker, October 14-November 22, will be presented at Steppenwolf's 1700 Theater. The season will close with a one-night event in December, the 25th Anniversary Benefête Performance at Jefferson Park's Copernicus Center.

Artistic Directors Brittany Burch and Jennifer Glasse comment, "As we look ahead, we're recommitting to our origins in Jefferson Park and actively exploring pathways to bring The Gift home again. Our 25th Anniversary 'Homecoming' season reflects that spirit—beginning with a winter gala and continuing this spring with TEN 25th at A Red Orchid Theatre and continuing with Marina Carr's captivating drama Marble, and Hayward, a new play by one of The Gift's newest ensemble members Netta Walker. We celebrate 25 years of intimate, ensemble-driven work by coming home—to our artists, audiences, and the neighborhoods that shaped the company."

Subscription packages are now on sale at thegifttheatre.org or by calling 773-283-7071. The Homecoming Subscription Package, $105, includes TEN 25^th, Marble and Hayward. The Homecoming Subscription Package+ Subscription Package, $170, includes TEN 25^th, Marble, Hayward and the 25th Anniversary Benefête Performance.  Subscribers save up to 15% off regular ticket prices, priority seating, free ticket exchanges and guaranteed seating to limited-run productions.

The 25^th Anniversary Homecoming Season is:

TEN 25^th

The Gift's Ten-Minute Play Festival of New Work

at A Red Orchid Theatre, 1531 N Wells St. in Chicago

March 25 – April 4, 2026

Tickets, $25, thegifttheatre.org and (773) 283-7071

TEN 25th features the work of Gift ensemble members Cyd Blakewell, Erica Weiss, Gregory Fenner, Jennifer Glasse, Jennifer Rumberger, John Gawlik, Kenny Mihlfried, Pat Weber, Paul D'Addario and Shanésia Davis.

TEN 25th features 10-minute world premiere plays from Chicago playwrights John Gawlik, Jennifer Rumberger, Gregory Fenner, Kimberly Dixon-Mays, Dolores Diaz, Stephanie Alison Walker, Emilio Williams, Jermaine Jenkins, and Brett Neveu.

MARBLE
Chicago Premiere by Marina Carr

at Copernicus Center – Kings Hall, 5216 W Lawrence Ave in Chicago

August 2 – August 30, 2026

Tickets, $45-$50, thegifttheatre.org and (773) 283-7071

individual tickets will be on sale this spring

Marble follows two married couples, Ben and Catherine, and their friends Art and Anne, whose comfortable lives begin to splinter after a shared dream triggers suspicion and desire.

A surreal and haunting exploration of two couples whose lives collide through shared dreams, this production anchors the company's homecoming to the neighborhood where it was founded.

HAYWARD

World Premiere by ensemble member Netta Walker

Directed by AmBer Montgomery

featuring ensemble members Shanesia Davis and Gregory Fenner

at Steppenwolf's 1700 Theater, 1700 N. Halsted St in Chicago

October 14 – November 22

Tickets, $45-$50, will be available this summer through the Steppenwolf box office.

A reimagining of the classics Hamlet and Electra. The play follows the main character Luna, who on the day of her father's funeral, confesses to her siblings that she has seen her father's ghost. Staged in Steppenwolf's intimate 1700 Theater, this production continues The Gift's commitment to ensemble talent and bold new narratives.

25th ANNIVERSARY BENEFÊTE PERFORMANCE

at Copernicus Center — Gateway Theatre 5216 W. Lawrence, Chicago, IL

December 7th 2026

Tickets $75, thegifttheatre.org and (773) 283-7071 tickets will be available this spring

The season will close out with a spectacular, one-night-only celebration honoring a quarter century of The Gift Theatre. This 25th Anniversary Benefête Performance, will be a night featuring our favorite scenes from over the years performed by ensemble members —the artists who have shaped this theatre across generations.

About The Gift Theatre
The Gift Theatre is a storefront nonprofit founded in Chicago's Jefferson Park neighborhood, committed to creating accessible, inclusive, and impactful theatrical experiences. Our identity is defined by intimacy, collaboration, and a belief that live storytelling can inspire and transform both artist and audience. Our programming isn't bound by genre but guided by character-driven, emotionally rich storytelling rooted in truth. Whether surreal or starkly naturalistic, each play we share reflects our commitment to creating spaces of deep connection—among artists, between artist and audience, and within our community.

The Gift Theatre ensemble includes its newest members Jennifer Aparicio, Shanésia Davis, Angela Morris, Jennifer Rumberger, Netta Walker and Patrick Weber. They join fellow ensemble members Daniel Ahlfeld, Cyd Blakewell, Brittany Burch, Hillary Clemens Harbor, Jenny Connell Davis, John Kelly Connolly (in memoriam), Paul D'Addario, Brendan Donaldson, Will Eno,

James D. Farruggio, Gregory Fenner, Ed Flynn, Gabriel Franken, John Gawlik, Maggie Andersen Gawlik, Emjoy Gavino, Jennifer Glasse, Andrew Hinderaker, Chika Ike, Evan Michael Lee, Sarah Luse, Marti Lyons, Alexandra Main, Martel Manning, Laura Marks,Kenny Mihlfried, Benjamin Montague, William Nedved, Darci Nalepa, Keith Neagle, Lynda Newton, Sheldon Patinkin (in memoriam), Maureen Payne-Hahner, David Preis, David  Rabe, Mary Ann Thebus (in memoriam), Michael Patrick Thornton, Hannah Toriumi, Erica Weiss, Jay Worthington, and Kyle Zornes.

Fleetwood-Jourdain Theatre, the Evanston theatre company that has been thrilling audiences with stories of the Black American and African diaspora experience since 1979, today announced its programming for the 2026 season. Tim Rhoze, the company's Producing Artistic Director since 2010, unveiled the slate of three plays, all of which were written by women and premiered in the 21^st Century. 
 
The season will open in May with GEE'S BEND, the 2008 play by Elyzabeth Gregory Wilder, which follows a family —Alice, her daughters Sadie and Nella, and Sadie's husband, Macon — from 1939 to 2000 as they experience segregation, family strife, and the Civil Rights movement. The play is set in the real-life community of Gee's Bend – an isolated community in central Alabama which has become known for the hand-stitched quilts made by generations of its women. DC Theater Arts said, "GEE'S BEND weaves the essence of the quilt into a theatrical experience that exalts universal themes of family, faith, and overcoming adversity in a deeply moving way. " GEE'S BEND was commissioned and produced by the Alabama Shakespeare Festival and has been performed at Denver Center, Cleveland Playhouse, Kansas City Rep, Northlight Theatre, Philadelphia's Arden Theatre, and Hartford Stage, among others. The FJT production will play from May 23 through June 7. 
 
The season will continue in July with the Pulitzer Prize-nominated IN THE CONTINUUM —  a play that tells the parallel stories of two Black women, one in Los Angeles and one in Zimbabwe, who discover they are pregnant and HIV positive. It was written by the playwright and actress Danai Gurira (author of Broadway's ECLIPSED and cast member of HBO's THE WALKING DEAD) and the OBIE Award-winning actress and writer Nikkole Salter. It premiered at New York's Primary Stages in 2005 and was later produced at Chicago's Goodman Theatre, Washington D.C.'s Woolly Mammoth Theatre, and in Zimbabwe and South Africa. THE NEW YORK TIMES called it "A moving, smart, spirited and powerfully funny production."  It will be performed by Fleetwood-Jourdain Theatre from July 25 through August 9. 
 
The season closer will be THE NICETIES, by Eleanor Burgess. This two-character play follows a 20-year-old Black college student meeting with her white professor to discuss the student's term paper about slavery's effect on the American Revolution. The paper's thesis is that the revolution would not have succeeded without the contributions of black slaves. The professor disagrees, and what begins as a polite clash in perspectives explodes into an urgent debate about race, history, and power. The world premiere of THE NICETIES, directed by Chicago's Kimberly Senior, was co-produced during the 2018-2019 season by the Huntington Theatre Company in Boston, Massachusetts; Manhattan Theatre Club in New York, New York; and McCarter Theatre Center in Princeton, New Jersey. THE NEW YORK TIMES said it was "a bristling, provocative debate play about race and privilege in the United States, and it begs to be argued with." DC THEATER ARTS called it "a brilliant and important play." It will be performed by Fleetwood-Jourdain Theatre from October 31 through November 15. 
 
Fleetwood–Jourdain Theatre will also produce the third annual Gloria Bond Clunie Playwright's Festival on July 18 and 19. The festival, named for the founder of Fleetwood-Jourdain Theatre and acclaimed playwright Gloria Bond Clunie, will present professional staged readings of three new plays. Titles and playwrights to be announced.
 
Premium Gold Membership cards, priced at $90.00 and including four reserved seats that can be used in any combination throughout the season, are on sale now at https://app.amilia.com/store/en/cityofevanston/shop/memberships/70643 . The card also includes the added benefit of an automatic bonus seat, along with access to other exclusive specials during the season. Tickets to individual plays will be offered later in the year.
 
LISTING INFORMATION
 
GEE'S BEND
by Elyzabeth Gregory Wilder
Directed by Tim Rhoze
May 23 – June 7, 2026
Saturdays at 7 pm, Sundays at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $32.00, Students $10.00. On sale later this year at www.fjtheatre.com
Phone 847-866-5914
 
GEE'S BEND is the story of the Pettway women, quilters from the isolated community of Gee's Bend, Alabama. Beginning in 1939, the play follows Alice, her daughters Sadie and Nella, and Sadie's husband, Macon, through segregation, family strife, and the Civil Rights movement. Throughout their lives, the women's extraordinary quilts provide a respite from the turmoil around them. In the last act of the play, it is the year 2000; the quilts have been discovered as folk art and have become very valuable. Sadie is pleased with the recognition, but despite the lure of the big city, she returns to Gee's Bend and continues to quilt. Wilder's play explores the resilience of the human spirit, especially as it is expressed in art. 
 
IN THE CONTINUUM 
by Danai Gurira & Nikkole Salter
Directed by Tim Rhoze
July 25 – August 9, 2026
Saturdays at 7 pm, Sundays at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $32.00, Students $10.00. On sale later this year at www.fjtheatre.com
Phone 847-866-5914
 
IN THE CONTINUUM puts a human face on the devastating impact of AIDS in Africa and America through the lives of two unforgettably courageous women. Living worlds apart, one in South Central LA and the other in Zimbabwe, each experiences a kaleidoscopic weekend of life-changing revelations in this story of parallel denials and self-discoveries.
 
THE NICETIES
by Eleanor Burgess 
Directed by Tim Rhoze
October 31 – November 15, 2026
Saturdays at 7 pm, Sundays at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $32.00, Students $10.00. On sale later this year at www.fjtheatre.com
Phone 847-866-5914
 
Zoe, a Black student at a liberal arts college, is called into her white professor's office to discuss her paper about slavery's effect on the American Revolution. What begins as a polite clash in perspectives explodes into an urgent debate about race, history and power.
 
BIOS

Elyzabeth Gregory Wilder (Writer, GEE'S BEND) has written THE FURNITURE OF HOME, which deals with the Gulf Coast recovery in the aftermath of Hurricane Katrina and premiered at the Alabama Shakespeare Festival in 2009. Her play THE FLAG MAKER OF MARKET STREET followed at ASF in 2011. THE BONE ORCHARD was commissioned by the Denver Center Theatre and workshopped at the Perry Mansfield New Works Festival. Other plays include FRESH KILLS (Royal Court/London), THE FIRST DAY OF HUNTING SEASON (EST), and THE SPIRIT OF ECSTASY. 
 
Danai Gurira (Co-playwright, IN THE CONTINUUM) Is an award-winning playwright and actress. As a playwright, her works include Broadway's ECLIPSED (NAACP Award; Helen Hayes Award: Best New Play; Connecticut Critics Circle Award: Outstanding Production of a Play), IN THE CONTINUUM (OBIE Award, Outer Critics Award, Helen Hayes Award), and THE CONVERT (six Ovation Awards, Los Angeles Outer Critics Award). Danai's play FAMILIAR received its world premiere at Yale Rep in 2015. She is a recipient of the Whiting Award, a Hodder Fellow, and has been commissioned by Yale Rep, Center Theatre Group, Playwrights Horizons, and the Royal Court. She is currently developing a pilot for HBO. As an actor, she has appeared in the films THE VISITOR, and MOTHER OF GEORGE. She also played Isabella in NYSF's MEASURE FOR MEASURE (Equity Callaway Award) and currently plays Michonne on AMC's THE WALKING DEAD. She holds an MFA from Tisch, NYU. She was born in the US to Zimbabwean parents and raised in Zimbabwe. She is the co-founder of Almasi Arts, which works to give access and opportunity to the African Dramatic Artist.
 
Nikkole Salter (co-playwright, IN THE CONTINUUM). This Los Angeles-born, OBIE Award-winning actress and writer arrived on the professional scene with her co-authorship and co-performance (with Danai Gurira) of the Pulitzer Prize-nominated play, IN THE CONTINUUM. As a dramatist, Ms. Salter has written eight full-length plays, been commissioned for full-length work by six institutions, been produced on three continents in five countries, and has been published in 12 international publications. Her work has appeared in over 20 Off-Broadway, regional, and international theatres. Ms. Salter is also the co-librettist with composer/lyricist Nolan Williams Jr. of the musical GRACE and made her directorial debut opening the 2023/24 season of Baltimore Center Stage with a production of LADY DAY AT EMERSON'S BAR AND GRILL. 
 
Eleanor Burgess (playwright, THE NICETIES). In addition to THE NICETIES, Eleanor Burgess's plays include WIFE OF A SALESMAN, START DOWN, CHILL, SPARKS FLY UPWARD, and GALILEE, 34.  Her work has been produced at theaters across the United States, including Manhattan Theatre Club, South Coast Rep, Geffen Playhouse, McCarter Theatre Center, Huntington Theatre Company, Writers Theatre, Milwaukee Rep, Merrimack Repertory Theatre, Geva Theatre Center, InterAct Theatre, Portland Stage, the Alliance Theatre and the Contemporary American Theatre Festival, as well as the Finborough Theatre in London. She has also written for film and television, including work on PERRY MASON for HBO, WE CRASHED for Apple TV+, INTERVIEW WITH THE VAMPIRE for AMC, and screenplays for Bad Robot, Amblin, and Anonymous Content. Originally from Massachusetts, she studied history at Yale College and Dramatic Writing at NYU/Tisch.
  
Tim Rhoze (Director, Producing Artistic Director) Tim Rhoze has been the Producing Artistic Director of Fleetwood-Jourdain Theatre since 2010. His directing credits include: THE BALDWIN | GIOVANNI EXPERIENCE, PASS OVER, HONEYPOT: BLACK WOMEN WHO LOVE WOMEN, UNTIL THE FLOOD, FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE/ WHEN THE RAINBOW IS ENUF, 1619: THE JOURNEY OF A PEOPLE, THIS BITTER EARTH, THE LIGHT, AMERICAN SON, HOME, TWILIGHT: LOS ANGELES 1992, THE MEETING, FIRES IN THE MIRROR, BLACK BALLERINA (co-writer),  NUTCRACKER(ISH), CROWNS, HAVING OUR SAY, FROM THE MISSISSIPPI DELTA, WOZA ALBERT!, GOING TO ST. IVES, SINGLE BLACK FEMALE, A SONG FOR CORETTA, YELLOWMAN, SWEET, LADY DAY AT EMERSON BAR & GRILL, BEAR COUNTRY, NOBODY, FENCES, PIANO LESSON, AIN'T MISBEHAVIN, K2, THE GLASS MENAGERIE, and others. Tim is also the writer/director of WHY NOT ME? A SAMMY DAVIS JR. STORY, and MAYA'S LAST POEM, both produced at FJT; and BLACK BALLERINA, produced at FJT and Pittsburgh Public Theatre. He was also co-writer and director of THE BALDWIN | GIOVANNI EXPERIENCE and A HOME ON THE LAKE. His performances in August Wilson's PIANO LESSON (1997) and JOE TURNER'S COME AND GONE (2024) at the Goodman Theatre were nominated for Jeff Awards.
 
ABOUT FLEETWOOD-JOURDAIN THEATRE 

Founded in 1979, Fleetwood-Jourdain Theatre is a professional, award-winning theatre company that has been thrilling audiences with over four decades of unique, inspirational, and invigorating Black American and African Diaspora-centered storytelling. The company has been honored by the Black Theatre Alliance/Ira Aldridge Awards and is frequently listed as a top-rated Chicago theatre company. From original plays to the best of Broadway, Fleetwood-Jourdain Theatre has remained committed to supplying the very best in theatre. "Umoja!! ....Working Together in Unity" is the foundation from which FJT began and continues to thrive!
 
It is our mission to present powerful, thought-provoking, Theater Arts programming with a commitment to diversity and creative excellence. We are dedicated to providing a nurturing and creative environment for directors, playwrights, actors, designers, and stage managers. In this positive environment, they can further develop their creative skills and share their artistic expressions. The Fleetwood-Jourdain Theatre is funded by the City of Evanston and in part by the Illinois Arts Council, A State Agency.

Broadway In Chicago and Kokandy Productions announced that the critically acclaimed revival of the 10-time 2025 Jeff Award–nominated musical JEKYLL & HYDE will make its Broadway In Chicago debut at the Broadway Playhouse at Water Tower Place (175 E. Chestnut St.), September 8—October 25. The engagement follows last year’s completely sold-out and extended Chicago run — which marked the musical’s first staging in the city in more than 15 years. Directed by Producing Artistic Director Derek Van Barham with music direction by Nick Sula and choreography by Brenda Didier.

JEKYLL & HYDE will be included in the next Broadway In Chicago season package, on sale this April. Groups of 10 or more may purchase tickets now by emailing This email address is being protected from spambots. You need JavaScript enabled to view it. or calling 312-977-1710. See below for additional ticket and performance schedule information.

The entire original cast will return for the Broadway Playhouse run, including Jeff Award nominees David Moreland (Dr. Jekyll/Mr. Hyde), Ava Lane Stovall (Lucy Harris), and Emily McCormick (Emma Carew).

The full design team and orchestra are expected to return with all the specific elements for the Broadway Playhouse production to be announced at a later date.

Murder and chaos are pitted against love and virtue in this sweeping gothic musical.

The epic struggle between good and evil comes to life on stage in the musical phenomenon, Jekyll & Hyde. Based on the classic story by Robert Louis Stevenson and featuring a thrilling score of pop rock hits from multi-Grammy- and Tony-nominated Frank Wildhorn and double-Oscar and Grammy-winning Leslie Bricusse, Jekyll & Hyde has mesmerized audiences the world over.

Lou Raizin, President and CEO of Broadway In Chicago, said, “This collaboration with Kokandy Productions reflects what makes Chicago’s theatre community so powerful — artists and institutions working together to elevate bold storytelling and expand access to exceptional live performance. JEKYLL & HYDE is a thrilling example of the depth of talent in our city, and we are proud to bring this acclaimed production to the Broadway Playhouse for a broader audience.”

Scot Kokandy, Executive Producer of Kokandy Productions, added, “To say we are excited is an understatement. Last year’s production of JEKYLL & HYDE was the most ambitious production we have attempted to present, and we are ecstatic and honored to partner with Broadway In Chicago to bring it back this fall.”

Derek Van Barham, Producing Artistic Director of Kokandy Productions and Jeff Award-nominated Director of JEKYLL & HYDE, noted, “We were overwhelmed by the initial response to our JEKYLL & HYDE.  Clapping, cheering, standing ovations in the middle of the show — it was like being at a rock concert for everyone's favorite band. Directing this amazing cast at the Broadway Playhouse and seeing our production grow on this stage means the world to me. And that it’s returning during the Halloween season makes it a wickedly delicious treat for Chicago.”

JEKYLL & HYDE JEFF NOMINATED CREATIVE TEAM
Derek Van Barham (Director) is the Producing Artistic Director of Kokandy Productions. Directing credits include Children of Eden in Concert (Broadway In Chicago), Amélie, Into the Woods, Alice by Heart, Sweeney Todd, American Psycho, Head Over Heels (3 Jeff Awards and 2 Jeff nominations, Kokandy); Spring Awakening (Flint Rep); Rock of Ages (Metropolis); The View Upstairs (Circle Theatre); Miracle by Dan Savage, Poseidon (Hell in a Handbag); Carrie, Bat Boy, Merrily We Roll Along (CCPA/Roosevelt University). Choreography credits include Evil Dead (Jeff nomination), Coraline the Musical, Ghost Quartet and Shockheaded Peter (Black Button Eyes). He was previously named one of Windy City Times’ 30 Under 30, and one of Newcity Magazine’s 50 Players 2024. MFA: CCPA/Roosevelt University. IG: @dvbarham

Nick Sula (Music Director) is an award-winning pianist and music director, proud to return to Kokandy Productions where he served as music director for the Jeff Award-winning productions of Sweeney Todd (Jeff Award for Outstanding Music Direction), Into the Woods (Jeff Awards for Outstanding Music Direction and Orchestrations), as well as the Chicago Musical Theatre Festival. Other Chicago theatre music direction credits include: Anything Goes (Jeff nomination) with Porchlight Music Theatre; Ghost Quartet (Jeff nomination), Mary Rose, Nevermore, Amour and Coraline with Black Button Eyes Productions; Myths & Hymns, The Glorious Ones (Jeff nomination), Hello Again, La Cage aux Folles and Pippin with BoHo Theatre. As a professor of musical theatre he serves as a music director, instructor and vocal coach at the Chicago College of Performing Arts at Roosevelt University.

Brenda Didier (Choreographer) is thrilled to collaborate with Derek (DVB) for the first time and to return to Kokandy after choreographing Grand Hotel in 2018 (Jeff nomination). Direction and/or Choreography credits include work with: Chicago Shakespeare Theater, The Goodman, Marriott, Paramount, Porchlight Music Theatre, Mercury Theater, Theo and many others. Tour: Kenny Rogers Christmas Tour, Cirque Shanghai: Navy Pier Skyline Stage and productions in Atlantic City, Las Vegas and the New Victory Theatre in New York. Ms. Didier made her TV Choreography debut with T-Mobile's national holiday commercial "Home for the Holidays." She is a multiple Jeff Award recipient in both Direction and Choreography (Equity and Non-Equity wings) and Artistic Director/Founder of The Lincolnshire Academy of Dance, now in its 28th Season. "Thank you to Derek, Nick, Shane, Scot and our incredible cast, design team, band and crew! Thank you for supporting live theatre! Love to Mike, Mom, family and friends!”

TICKET INFORMATION & PERFORMANCE SCHEDULE
JEKYLL & HYDE will be included in the next season package, on sale this April. Current subscribers can add tickets to their season package when renewing by visiting BroadwayInChicago.com or calling 312-977-1717. Groups of 10 or more may be purchased now by emailing This email address is being protected from spambots. You need JavaScript enabled to view it. or calling 312-977-1710. Individual on-sale dates and performance schedules to be announced this spring.

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, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at The Auditorium.

For more information, visit www.BroadwayInChicago.com .
Follow @BroadwayInChicago on Facebook , Instagram , TikTok , Bluesky #BroadwayInChicago

ABOUT KOKANDY PRODUCTIONS
Founded in 2010, Kokandy Productions seeks to leverage the heightened reality of musical theatre to tell complex and challenging stories, with a focus on contributing to the development of Chicago-based musical theatre artists, and raising the profile of Chicago's non-Equity musical theatre community.

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot Kokandy (Executive Producer), Nicholas Reinhart (Associate Producer), and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot Kokandy, Danielle Sparklin and Katie Svaicer. 

For additional information, visit www.kokandyproductions.com . 

When Raven Theatre’s artistic staff decided to include Caryl Churchill’s Top Girls in their current season, they could not have predicted that the opening would coincide with major eruptions in the Jeffrey Epstein scandal. Now, with the former Prince Andrew in jail and the President of the United States bloviating his innocence, this 1982 British play stings harder than ever.

Lucky Stiff’s smooth handling of a fine cast for Raven’s mainstage makes it clear why the play deserves its status as a feminist classic. From an informal angle, the reaction of a mostly youthful audience watching mostly youthful actors confirms that the stage is still the right place to comment mercilessly on societal injustice.

Nonlinear, nontraditional Top Girls premiered in the first years of Margaret Thatcher’s leadership – an imaginative treatment of the complexities of gender roles. How do you become a “top girl” in a man’s world without losing your soul? Depending on your politics, Thatcher either ran a country with necessary tough love and cooked dinner for her husband too; or she hacked away at Britian’s safety net while using taxpayer-funded help to maintain her Superwoman household.

In Act I, Marlene, the dynamic central character played by Claire Kaplan, hosts a dinner to celebrate her recent promotion at an employment agency. She gathers five historical women at a posh restaurant, sparely and elegantly designed by Joonhee Park, where they pour out their pain along with copious amounts of wine.

As Waitress (Colin Quinn Rice) serves with dispassionate efficiency, the women – explorer Isabella Bird (Susaan Jamshidi), Flemish folklore’s Dull Gret (Yourtana Sulaiman), Japanese courtesan Lady Nijo (Hannah Kato), 9^th Century’s Pope Joan (Morgan Lavenstein), and Chaucer’s Patient Griselda (Luke Halpern) – recount episodes of shocking male cruelty. Multiple accents and overlapping dialogue make the individual stories a little hard to follow. But each cast member creates such a distinct personality that a strong vibe emerges even if some details are lost.

In Act II, Churchill leaves fantasy behind and enters the very real working-class home of single mom Joyce (Jamshidi) and her 16-year-old daughter Angie (Sulaiman) who literally wants to kill her bitter mother. Spoiler alert, Angie flees to her Aunt Marlene’s office in London without doing the deed. There, female staffers interview other females for job placement. As one frustrated woman laments to Marlene, who now leads the department, “I have had to justify my existence every minute.” Centuries may have passed but talented women still fight for recognition.

When Angie shows up unannounced, she gets pushback instead of a warm welcome from Marlene. The teen desperately wants to acquire her role model’s independence, resources and, above all, confidence that mom-figure Joyce so obviously lacks. Marlene can’t hold back the sharp elbows and judges Angie accordingly, a girl who may not have what it takes to survive.

Act III moves even farther away from the play’s stylized opening with an extended scene that’s straight from the kitchen sink realism of post-World War II drama. Occurring a year prior to Act II, Marlene pays an unexpected visit to Joyce’s humble home and presents Angie with a dress that’s straight out of the traditional girlie playbook.

When it comes to success, “I’m not clever,” Marlene insists, “just pushy.” How Marlene has pushed herself to the top is clear by now. What she has pushed aside in the process tumbles out as the three women open their hearts in ways that leave them vulnerable. It is almost frightening. Four decades after Churchill penned Top Girls, news reports of Jeffrey Epstein’s atrocities only seem to confirm her point that womanhood is neither safe nor easy.

Top Girls runs through March 21^st at Raven Theatre. For tickets and information, go to www.raventheatre.com/stage/topgirls.

Recommended.

This review is proudly shared with our friends at www.TheatreInChicago.com.

For some, an evening of Chekhov may sound like pure misery, but Red Theater’s “The Seagull” running at The Edge Off Broadway soars. The original adaptation by Red Theater cohort Ian Mayfield imagines Anton Chekhov’s emotionally searing dramady as a chamber play. Under his direction, this faithful version is a hidden gem of this winter’s storefront theatre scene.

Though known for depressing family melodramas, Chekhov did have a sense of humor, and perhaps in no other play is his cynical wit more on display than “The Seagull”. Any production is only as good as its neurotic, self-involved Arkadina. Anne Sheridan Smith is a captivating presence in the role of the celebrated actress. She brings an amusing larger-than-life performance that’s devilish to watch. Lovelorn and constantly drinking Masha played by Magdalena Dalzell delivers cutting physicality that’s also quite thrilling.

Jamie Herb is one of the production’s strongest assets in the role of Nina. Her performance takes full advantage of the closely drawn staging. She tells entire stories with haunting gazes. Her eventual breakdown feels more disturbing than the play’s actual tragic conclusion. However, perhaps no character is as pitiful as Medvedenko the schoolteacher. Ben Murphy plays the role with a subdued quietness that’s like whatever the opposite of “golden retriever boyfriend” energy is.

Original scoring by Jonathan Hannau lends to the chamber play atmosphere and elevates the ambiance. Maggie McGlenn’s sumptuous costumes combined with Hunter Cole’s minimal staging keep the focus on the action. As the actors move in and around the space, audiences will feel personally drawn in, as if they’re a silent guest at a party.

Red Theater’s “The Seagull” is a great example of what makes Chicago’s fringe and storefront scene so exciting. While many may look to the bigger institutions like Goodman or Steppenwolf to tackle major works by important playwrights, with the right talent in place a small theater can be just as impactful, if not more in some cases. Ian Mayfield’s version spends a lot of time dissecting Chekhov’s musings on artistic forms, and that curiosity about the craft of theatre feels evident in this cast. The result is a labor of love, and exactly what you want from a good night of theatre–that you lived through something. 

Through March 15 at Red Theater at The Edge Off Broadway. 1133 W Catalpa Ave. Tickets via www.redtheater.org

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Beloved children’s author Roald Dahl’s timeless story of the quirky and mysterious candy-maker looking for his heir apparent comes to life in an energetic and magical performance in the Theatre for Young Audiences’ musical adaptation of Charlie and the Chocolate Factory now on stage at the Marriott Theatre in Lincolnshire.

The 70-minute-long performance is a wonderful mix of old and new. Older members of the audience appreciated the familiar tunes from the 1971 film starring Gene Wilder, such as the iconic “The Candy Man,” “I’ve Got a Golden Ticket,” and “Pure Imagination” while the younger audience was captivated with the “Queen of Pop” (and next “It Girl”), Violet Beauregarde, Mike Teavee’s all-things techno obsession, and the very spoiled and demanding antics of Veruca Salt.

Upon entering the theatre, with the centerstage bathed in cool purple lighting and musical tributes featuring candy playing in the background, the audience is immediately transported to another place and time, where “pure imagination” reigns. The magic continues as the show opens with a flash news report from “Cherry Sunday” (Megan Long) about the famed candy-maker’s search for a suitable replacement to take over his workshop.

A delightful chorus of Oompa-Loompas, bedecked in colorful multi-patterned coats, jaunty bowler hats, and oversized sunglasses, appear in every aisle, allowing the young audience to feel part of the show, as they introduce us to the main man himself. Willy Wonka, wonderfully played by George Keating, brings just the right amount of quirkiness, charm, and empathy to his character.

The story continues as Mr. Wonka announces a worldwide contest, hiding five golden tickets in his chocolate bars. The lucky “finders” will be invited to visit his famed factory and be eligible for the grand prize. We meet young Charlie Bucket, played by the very talented Kai Edgar, who lives for Willy Wonka chocolate bars and dreams about winning a ticket. But his family is so poor that they can only afford to buy Charlie one candy bar on his birthday.

Charlie shares his dreams for helping his family and writes a letter to Mr. Wonka, telling him about the many wonderful candy confections he would invent for each family member, then sends it sailing out into the world, knowing there is little chance that he would ever win.

And, as the four golden tickets are quickly won by an assortment of spoiled, ill-mannered kids from around the world – the sausage-consuming Augustus Gloop (Elias Totleben), the foot-stomping demanding Veruca Salt (Elin Joy Seiler), the gum-chewing social-media queen Violet Beauregarde (Avelyn Lena Choi), and the techno-obsessed Mike Teavee (Gordon Henry Heisler) -- Charlie’s hopes dim. And when he, at last, does receive a Wonka bar, alas, no golden ticket. Charlie is distraught.

Yet, the kindly candy-story shopkeeper, who is unbeknownst to Charlie is Mr. Wonka himself, drops a dollar bill, and with it, Charlie buys the very last Wonka bar in the world. To his amazement, Charlie wins the last golden ticket. The audience broke into delighted applause as Charlie and his grandfather cavort around the stage in celebration.

Under the skillful direction of Amber Mak, who also choreographed the show, the magical world of Willy Wonka’s mysterious chocolate factory comes to life through a combination of artful staging, colorful costumes, and confectionary props that looks almost good enough to eat. Throw in some bubbles and the clever use of large lighting panels that surround the stage and enhance the action on stage, and voilà – your imagination takes you right into the very heart of Wonka’s enchanted workshop.

The audience squealed in part dismay, part approval, as one by one the obnoxious cadre of children, brilliantly played by Totleben, Seiler, Choi, and Heisler, were eliminated from the competition because they crossed the line and broke the rules. And yes, thanks to an ingenious costume design, the gum-chomping Violet Beauregarde, does turn into a blueberry to the wonder of the crowd.

Finally, Charlie and his grandfather are the only ones left, and Mr. Wonka invites them into his sacred workshop where all the delicious designs are born. Leaving his book of creations behind, with a warning not to look inside it, Mr. Wonka and the grandfather go off to sign some papers for awarding the grand prize. As Charlie walks toward the forbidden book, the audience yelled at him to stop, but of course, he cannot help himself and opens the book.

When he discovered there were empty pages in the notebook, Charlie begins to sing again of his own dreams and visions for confectionary creations. When Mr. Wonka returns, rather than banishing Charlie from the factory as he did the other children for disobeying his rules, he tells Charlie that he indeed has won the grand prize because of his good heart and his pure imagination. Charlie is now the next “Candy Man” and inherits the factory.

As the young crowd applauded its approval and left the theatre thoroughly satisfied and entertained, the words to “The Candy Man” came back to me, “Who can take tomorrow and dip it in a dream?” The Candy Man can, and for one magical hour, the accomplished cast of the Marriott’s Charlie and the Chocolate Factory did as well.

Charlie and the Chocolate Factory Theatre for Young Audiences is running through March 28 at the Marriott Theatre, located at 10 Marriott Drive in Lincolnshire. Performances take place on most Wednesdays through Sundays at 10 am with select 12:30 pm performances. Visit www.marriotttheatre.com or call 847.634.0200 for the exact schedule, as show times and dates may vary.

This review is proudly shared with our friends at www.TheatreInChicago.com.

“The story of these characters has already begun.”

When you enter the Factory Theater space for Kubrickian, you will notice that the actors are already on stage. Lights are fully up, and the three actors are moving about the stage. One is stretching, another is pacing, and another is doing a mix of the two - even throwing in some light jogging. It’s clear that the three actors are in their own world, and we are simply here to observe.

Director AJ Schwartz warns us of this soft start in the program, and so it should not be a surprise. You might find that the choice is clever for a few reasons. On one level, Zack Peercy’s play takes place in a world that is meant to feel unfamiliar. Watching the actors move about for unclear reasons and without words appropriately sets us up for what we are about to see.

On another level, perhaps Schwartz’s choice gets at the root of what Kubrickian is about. Peercy’s play is about a lot of things. There is isolation and fear. Grief and loss. Even passion and hope. However, at its core, one might argue that this story is about the relationships between the men on stage.  Schwartz sets up a window into who these characters are to each other. As Schwartz notes in the program, their story begins before we arrive. We may not necessarily understand how they got there, but perhaps that’s not the point. We as an audience receive the gift of witnessing their relationships in the present – a brief window into who they are and how they grow before they continue on well after we have left.

Peercy’s world premiere takes place in an unknown white space in which three men find themselves trapped – Chris (Taylor Mercado Owen), Danny (Rio Soliz Ragazzone), and Howard (Ben Auxier). Scenic Designer Josh Philoon appropriately creates a world that feels ambiguous and unknown. Without any clear escape from their situation, Danny and Chris have no choice but to turn to conversation for entertainment. Over the course of the story, the discussions become more intimate, and Danny and Chris realize they may have more in common than they had originally thought.

Schwartz’s ensemble is strong. Peercy’s play is quite the undertaking for all involved. Auxier as Howard moves through the play without sound or motion – simply sitting in the back as the action happens around him. Considering the chaos that ensues around him, that is no small thing, and you might find that Auxier continues to catch your eye as you wonder when there might be a shift and he finally reacts.

Because Howard does not speak, most of this play exists as a two-hander between Danny and Chris – a challenge that Ragazzone and Owen tackle with grace. We quickly learn that Chris has a deep love for Stanley Kubrick films – a genre with which Danny unfortunately has little experience. While this creates an obstacle for much of the beginning, we hit a key moment where Danny encourages Chris to share the details of The Shining. As Chris begins to open up, something shifts in their dynamic. Peercy cleverly unlocks a very specific moment in a relationship where we witness the other’s passion for the first time. As Chris shares what he finds so inspiring about Kubrick’s work, Danny starts to see him in a whole new way. Ragazzone and Owen bring a beautiful authenticity to the scene. In this pressure-cooker of a world, they create a relationship that you want to see succeed. Something to offer a small semblance of hope when it’s unclear what their fate might bring.

The stellar performances and thought-provoking script alone make Kubrickian a play worth seeing. If you are one for a puzzle, then Peercy’s story is certainly a fit for you.

RECOMMENDED

Run Time: 90 minutes without intermission

Kubrickian runs through March 15, 2026 at the Factory Theater – 1623 W. Howard Street. For tickets and information, see the Factory Theater website.

This review is proudly shared with our friends at www.TheatreInChicago.com.