Items filtered by date: November 2007

Award-winning Porchlight Music Theatre is proud to announce the cast for Porchlight in Concert production Follies, starring (in alphabetical order) Michelle Duffy (Broadway's Leap of Faith, Drury Lane's Sister Act) as "Phyllis Rogers Stone," Alexander Gemignani (Broadway's Assassins and Sweeney Todd) as "Buddy Plummer," Angela Ingersoll (Jeff Award winner for Porchlight's End of the Rainbow) as "Sally Plummer" and Anthony Rapp (Broadway's Rent and If/Then) as "Benjamin Stone," Saturday, April 25 at 7:30 p.m. and Sunday, April 26 at 2 p.m. at the Studebaker Theater, 410 S. Michigan Ave. This staged concert performance features music and lyrics by Stephen Sondheim and a book by James Goldman and is directed by Artistic Director Michael Weber and music directed by Linda Madonia. Single tickets are reserved seating and are on sale for $24 - $110 at PorchlightMusicTheatre.org or by phone with the Studebaker Theater box office at 312-753-3210. Tickets may also be purchased in-person at the Studebaker Theater, 410 S. Michigan Ave., 11 a.m. - 4 p.m. Tuesday - Sunday. 

Additional Porchlight in Concert production of Follies cast members include Anastasia Arnold (Young Sally); Dale Benson (Dmitri Weismann); John Cardone (Max Deems); John Concepcion (Roscoe); Teagan Earley (Young Phyllis);  Felicia P. Fields (Hattie Walker); James Harms (Theodore Whitman); Beck Hokanson (Kevin); Cecilia Iole (Young Heidi); Will Koski (Young Buddy); John Marshall Jr. (Young Ben); Susie McMonagle (Carlotta Campion); Lauren Miller (Heidi Schiller); Mary Robin Roth (Emily Whitman); Genevieve Thiers (Christine Donovan); Sybyl Walker (Solange LaFitte) and Honey West (Stella Deems). 

The full creative team and additional artists will be announced soon.

Porchlight in Concert debuted in 2024 with sold out performances of Sunday in the Park with George. In spring 2026, Porchlight returns to the Studebaker for a limited engagement of another Stephen Sondheim classic, Follies. 

Winner of seven Tony Awards, including Best Score, Follies is a dazzling and bittersweet exploration of love, loss and the passage of time. Set at the reunion of the legendary "Weismann Follies" company on the eve of their crumbling theater's demolition, former showgirls reunite one last time, reliving their heyday and confronting the choices that shaped their lives. With iconic songs like "Broadway Baby" "I'm Still Here" and "Losing My Mind," this Sondheim gem blends haunting nostalgia with a show-stopping score in a moving celebration of dreams and regrets.

PORCHLIGHT IN CONCERT FOLLIES SPECIAL EVENT

The Creation and History of Follies with Chris Pazdernik

March 28 -  April 18, 2026

Classes offered virtually

Fee: $200

Register at PorchlightMusicTheatre.org

As part of Porchlight's Hobbyist programming, Jeff Award-winner Christopher Pazdernik, with their "near encyclopedic knowledge of musicals" (NewCity), takes participants on a guided tour behind-the-scenes of all things Follies. This four-week class covers the creation of the show and its original production along with major revivals and concerts, including changes made for the London production, which have never again been authorized for use. Guaranteed to be a one-of-a-kind opportunity to do a deep dive into one of the most revered works in the music theatre canon.

ABOUT MICHELLE DUFFY, PHYLLIS ROGERS STONE

Michelle Duffy is delighted beyond words to have returned to her beloved Chicago (after a 30+ year hiatus!) and deeply thrilled to be a part of this concert singing one of her all-time favorite Sondheim scores. Other recent Chicagoland appearances: "Mother Superior" in Sister Act at Drury Lane Oakbrook and "Bonnie" and others in Come From Away at Paramount. Broadway: OBC of Leap of Faith (OBCast album); OQ-Broadway: Originated "Ms. Fleming/Veronica's Mom" in Heathers the Musical (Original Cast Album). Other recent regional: "Irene Adler" and others in Ms. Holmes and Ms. Watson, Apt. 2B at Arizona Theatre Company and "Mrs. Dashwood/Anne" in Sense and Sensibility at Northern Stage. She has appeared in principal roles in theatres across the country and around the world such as The Guthrie, ACT, The Old Globe, The Goodman, Milwaukee Rep, La Jolla Playhouse, Pittsburgh Public and The Barbican in London to name a few, and as a guest star in many television shows; most recently "Dark Matter," "Law and Order," "Chicago PD" and "Succession." 

ABOUT ALEXANDER GEMIGNANI, BUDDY PLUMMER

Alexander Gemignani is an actor, artistic director, music supervisor/music director, orchestrator, arranger, conductor, composer/lyricist and educator. 

As an actor on Broadway: My Fair Lady ("Doolittle"), Carousel ("Enoch Snow" - Tony, Drama Desk, Outer Critics Circle and Grammy nominations), Violet ("Father"), Chicago ("Billy"), Les Misérables ("Valjean" - Drama League nomination), Sweeney Todd (Beadle - Drama Desk nomination), Assassins ("Hinckley" - Theatre World Award), The People In The Picture ("Moishe") and Sunday in the Park With George ("Boatman/Dennis"). 

Off- Broadway: Road Show at the Public ("Addison Mizner" - Drama League nomination), Headstrong at EST ("Nick"), and Avenue Q at the Vineyard Theatre ("Brian"). Favorite Regional: Inherit the Wind ("Brady") at the Goodman,  Hamilton in Chicago ("King George III," original cast), Big Fish ("Edward Bloom") at The Marriott Lincolnshire, The Three Sisters ("Andrei") at Cincinnati Playhouse, The Boys From Syracuse ("Sergeant") at The Shakespeare Theatre of D.C. and the title character in the world premiere musical Saint-Ex at The Weston Playhouse. T.V./Film: "Étoile" (AMAZON), "Servant" (APPLE TV), "Empire" (FOX - Recurring), "Chicago Fire" (NBC), "Homeland" (SHOWTIME - Recurring), "The Good Wife" (CBS), "Empire State" (ABC pilot), the film "The Producers" (UNIVERSAL), three appearances on "The Tony Awards" (CBS) and season 5 of "The Marvelous Mrs. Maisel" as "Janusz" (AMAZON - recurring). 

Concerts: The N.Y. Philharmonic at Avery Fisher Hall, The N.Y. Pops at Carnegie Hall, The L.A. Philharmonic at The Hollywood Bowl and the American Songbook Series at Lincoln Center. His solo show, All At Once, premiered at the Kennedy Center as a part of Barbara Cook's Spotlight Series. He served as music supervisor, arranger and conductor for Here We Are, Sondheim's final musical (book by David Ives, directed by Joe Mantello). 

As a music supervisor, he was represented Off-Broadway with Fiasco Theatre's production of Merrily We Roll Along at the Roundabout (also penned new orchestrations) and also served as music supervisor/music director and conductor for the 2019/2020 revival of West Side Story. Additionally, he conducted the New York Philharmonic on New Year's Eve 2019 with the concert, Celebrating Sondheim, featuring symphonic suites, which aired on Live From Lincoln Center. 

Other projects include an upcoming new production of john & jen (music supervision and arrangements), Whiskeyland (orchestrations and arrangements) and My Ántonia (orchestrations and co-arrangements), premiering at Theatre Latté Da, spring 2026. 

As a composer/lyricist, he is developing three new musicals, Diamond Alice (music/lyrics) swingset/moon (music and co-lyrics) and Broken Eggs (lyrics) and has composed the incidental music for several plays. 

He is an associate professor of Instruction at Northwestern University and has also served on the faculty of the National Theatre Institute at The O'Neill, NYU Steinhardt and CAP21. He has been guest faculty for the University Of Michigan, Texas State University, Syracuse University (Tepper) and NYU Tisch School Of The Arts. 

He is a member of the BMI Lehman Engel Musical Theatre Writing Workshop, holds a certificate in Orchestration for Film and TV from Berklee College of Music and holds a BFA in musical theatre from The University of Michigan. 

He is a member of Actor's Equity, SAG/AFTRA and Local 802 AFM. 2018 marked the beginning of his tenure as artistic director for the National Music Theater Conference at The Eugene O'Neill Theatre Center, where he has helped shepherd over 30 new musicals. He is also the artistic director of the National Music Theater Institute at the O'Neill, a semester-long intensive Music Theatre performance training program. 

His greatest joys are his incredible wife, Erin Ortman, and their beautiful daughter.

ABOUT ANGELA INGERSOLL, SALLY DURANT PLUMMER 

Angela Ingersoll is an Emmy-nominated and multi-award-winning actress, singer, producer, director and writer. She received an Emmy Award nomination for the PBS broadcast of her national concert tour "Get Happy: Angela Ingersoll Sings Judy Garland." She also won acclaim starring as Judy Garland in several productions of "End of the Rainbow," receiving Chicago's Jeff Award, a BroadwayWorld Award and Los Angeles Times Woman of the Year in Theatre. Also: How to Succeed in Business ... ("Hedy," Jeff nomination), The Mistress Cycle ("Anais Nin," Jeff nomination), The Secret Garden ("Martha," Jeff nomination), South Pacific ("Nellie"), Carousel ("Julie"), Jekyll and Hyde ("Lucy," Ostrander Award), Disney's Beauty and the Beast ("Belle," Ostrander Award), Man of La Mancha ("Aldonza," Ostrander nomination), Ragtime ("Evelyn Nesbit," Ostrander nomination), Macbeth ("Lady Macbeth," Ostrander Award), Much Ado About Nothing ("Beatrice"), Richard III ("Lady Anne"), The Wizard of Oz ("Dorothy") and The Second City (Chicago and Hollywood). Other television: "Chicago PD." Other concerts include her one-woman show "The 12 Dames of Christmas" and appearances alongside her husband, entertainer and producer Michael Ingersoll. Ingersoll is the artistic director of Artists Lounge Live, a Chicago-based production company presenting concerts nationwide.  She writes and directs many of their offerings.

ABOUT ANTHONY RAPP, BENJAMIN STONE

Anthony Rapp is thrilled to return to live and work in the city of his birth. Chicago is also where he earned his Equity card 45 years ago, when he was nine years old. He has since appeared on Broadway, Off-Broadway, in National Tours, at Regional Theatres and in films and on television. But his proudest work these days is as the father, with his husband Ken, of their two sons, Rai (aged 3) and Keony (aged 2).

ABOUT MICHAEL WEBER, director 

Michael Weber is a nationally recognized, award-winning director, producer, actor and educator. Previous Porchlight productions include Sunday in the Park with George, Anything Goes, Cabaret, Sunset Boulevard, Gypsy and Merrily We Roll Along. He recently directed the Off-Broadway and European premieres of both Shake it Away: The Ann Miller Story and Call Me Elizabeth, written by and starring Kayla Boye. Under his artistic leadership, Porchlight Music Theatre was awarded Chicago's Jeff Award for "Best Production" six times. He previously served as artistic director for the inaugural season of Chicago's Drury Lane Theatre Water Tower Place (now Broadway in Chicago's Broadway Playhouse) and at Theatre at the Center in Munster, Indiana. The recipient of two Joseph Jefferson Awards, he has been nominated for nine awards and he wrote and directed 14 Joseph Jefferson Awards ceremonies (2006-2018). Weber's regional acting credits include The Merry Widow (starring Renée Fleming) at Lyric Opera, Annie Get Your Gun and Gypsy (both starring Patti LuPone) at Ravinia Festival, The Winter's Tale and Henry V at Chicago Shakespeare Theatre and more. A board member of The League of Chicago Theatres, he is author of the play WAR of the WELLeS (about Orson Welles' infamous radio broadcast) and he is a longtime pledge host for PBS station WTTW channel 11.

ABOUT LINDA MADONIA, music director

Linda Madonia is thrilled to be back at Porchlight where she recently music directed the ICONS Gala Celebrating Leslie Uggams and previously worked on Titanique, Broadway in your Backyard, Anything Goes, Cabaret and A Chorus Line. Other recent projects include Legally Blonde: The Musical, Shrek the Musical, Mamma Mia! and Camelot at Music Theater Works and Jersey Boys, Rock of Ages and Sister Act at Mercury Theater Chicago. Linda also serves as the contractor for the Chicago Federation of Musicians for Porchlight Music Theatre, Music Theater Works and Teatro Zinzanni. She is the vocal coach for the master's degree program in music theatre pedagogy at Carthage College and owns American Eagle Productions, which has been at the forefront of theatre education in the Chicago area for the past 35 years.

ABOUT PORCHLIGHT MUSIC THEATRE

Porchlight Music Theatre, now in its 31st season, is the award-winning center for music theatre in Chicago. Through live performance, youth education and community outreach, we impact thousands of lives each season, bringing the magic of musicals to our theatre home at the Ruth Page Center for the Arts in the Gold Coast and to neighborhoods across the city. Porchlight has built a national reputation for boldly reimagining classic musicals, supporting new works and young performers, and showcasing Chicago's most notable music theatre artists, all through the intimate and powerful theatrical lens of the "Chicago Style." 

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

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

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

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

At Theater Wit, a Jeff Award–winning solo performance reimagines Charles Dickens with both comic absurdity and aching humanity. The great author, improbably alive more than two centuries after his birth, finds himself trapped in a ritual that has long outlived him: the annual retelling of A Christmas Carol. Since 1853, every December has brought another booking, another stage bathed in candlelight, another weary summoning of Scrooge, Marley, and Tiny Tim from memory.

What begins as a familiar recital becomes something stranger and more profound - a meditation on endurance, tradition, and the peculiar perpetuity of a single story. Dickens wrestles with the paradox of being eternally tethered to the story that won him immortality, even as time has turned him into a monument of his own making. What emerges is a portrait both tender and askew - an unexpectedly poignant glimpse of an artist suspended between legacy and fatigue, reverence and ridicule, comedy and elegy.

Under the deft direction of Jonathan Berry and brought to life by the inventive artistry of Blake Montgomery - who both conceived and performs the piece - we are treated to a holiday experience unlike any other. Charles Dickens Begrudgingly Performs “A Christmas Carol” Again transforms the familiar into the fantastically strange, as the enduring author himself returns to the stage with equal parts reluctance and wit. What might have been a simple seasonal retelling becomes a singular theatrical event: a blend of satire, intimacy, and absurdity that reimagines Dickens not as a distant literary figure, but as a weary performer bound to his own timeless creation.

Montgomery’s embodiment of Charles Dickens is nothing short of spellbinding. With remarkable nuance, he breathes new life into the familiar literary icon, reshaping Dickens into a figure at once startlingly fresh and profoundly compelling. What might have been a mere impersonation becomes instead a vivid act of re‑creation - an imaginative dialogue between past and present. Alone on stage, Montgomery commands the space with unyielding energy and precision, shifting seamlessly between wit, gravitas, and emotional depth. His performance is not simply a portrayal, but a tour de force that redefines what a one‑person show can achieve: intimate yet grand, inventive yet faithful, and utterly captivating from start to finish. With its inventive premise and captivating performance, Charles Dickens Begrudgingly Performs “A Christmas Carol” Again stands out as one of the season’s most unique and rewarding theatrical offerings.

Stepping into the role of Dickens, Montgomery slyly nods to Goodman’s grand-scale A Christmas Carol - though he never names the theatre outright, instead referring to it as “that large production downtown with all the smoke, flying spirits, and special effects.” By invoking this spectacle without directly tethering himself to it, he cleverly sets the stage for contrast. His aim is clear: to remind the audience that imagination, not machinery, is the true engine of storytelling.

What follows is a masterclass in restraint and invention. Against the backdrop of a spare set, Montgomery’s performance brims with detail and nuance. His voice, gestures, and timing conjure entire worlds, allowing the audience to paint the scenes in their own minds. The absence of technical wizardry becomes a strength, sharpening our focus on the craft itself. I found myself swept into vivid mental landscapes - fog curling through London streets, spirits shimmering in the dark - summoned not by stage trickery but by the sheer force of Montgomery’s storytelling.

The result is a kind of theatrical alchemy: a performance that proves simplicity can be just as transporting as spectacle, and that Dickens’s timeless tale thrives as much in the imagination as it does under the glow of stage lights.

Dickens Again (for short) is truly a magical experience.

Arrive early! The festivities begin before the curtain rises, as Dickens himself roams the aisles, playfully engaging with audience members and filling the theater with holiday cheer to set the perfect Christmas mood.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again has firmly established itself as a beloved Chicago holiday tradition. Since 2011, Blake Montgomery has stepped into the role of Dickens, delighting audiences year after year with a performance that blends humor, heart, and timeless storytelling—warming spirits and cementing the show’s place in the city’s festive season.

This production comes from Clownshow, a boldly imaginative company dedicated to crafting live theatrical events from concept through performance. At the helm is Producing Artistic Director Blake Montgomery, whose vision drives the company’s inventive approach to storytelling.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again is being performed at Theater With through December 28^th. For tickets and/or more show information, visit https://www.dickensagain.com/.

Now in its eighth year, global drag icons and RuPaul’s Drag Race stars BenDeLaCreme and Jinkx Monsoon are back on tour with The Jinkx & DeLa Holiday Show – a hilarious, unhinged, and queer production that pushes the boundaries of the holiday spectacle. The Jinkx & DeLa Holiday Show has touched down in Chicago once again for a limited engagement this time at the storied Chicago Theatre. For one glittering night, the marquee lights up with the names of drag royalty Jinkx Monsoon and BenDeLaCreme, transforming the historic venue into a festive playground of camp, comedy, and holiday magic.

This year’s show – directed, produced, and written by BenDeLaCreme – is structured as a holiday anthology. Each segment spirals into its own brand of festive absurdity: an homage to Freaky Friday, immaculate conception, and hilarious twists on holiday horror a la The Simpsons’ “Treehouse of Horror.” Every story is bigger than the last and more delightfully deranged, featuring Broadway-style musical numbers, both beautiful and creepily extravagant costumes, and innuendo galore. The pace of the night is relentless in the best way possible: each scene seems determined to outdo the last.

While the show returns each year, it’s reborn anew every season. Jinkx Monsoon and BenDeLaCreme craft a completely fresh production - new themes, script, music, choreography, costumes - supported by months of writing and rehearsal. It takes a village of brilliant, authentic artists to pull off such a one-of-a-kind performance that feels both polished and chaotic. The end result is a show that feels handcrafted with love, humor, and both endless glitter and weed.

Fear not - though the production is reinvented from the ground up each year, one beloved constant remains: Hunky the Elf, played with irresistible charm by Gus Lanza. Far from being sidelined, he’s front and center, anchoring the show with his mischievous energy and magnetic stage presence. And he’s not alone. Joining him is a powerhouse dance ensemble—Chloe Albin, Isaiah Brooks, Jace Gonzalez, Jim Kent, Ruby Mimosa, and Derrick Paris—whose precision, athleticism, and sheer joy transform the evening into something far beyond a two-queen comedy showcase. Together, they expand the world of Jinkx and DeLa into a glittering holiday spectacular, complete with dazzling choreography, ensemble-driven spectacle, and the kind of theatrical grandeur that makes the show feel less like a cabaret and more like a full-scale seasonal event. Over the course of the evening, the ensemble shifted seamlessly from jolly to eerie to sultry - and back again - never breaking a sweat. What makes it truly captivating is that each performer brings their own unique flavor to every vignette, ensuring the group’s cohesion never overshadows their individuality.

Of course, at the heart of the chaos is the dynamic duo of Jinkx and DeLa. Their banter is razor sharp, but even in the craziest of moments and wildest twists of plot, the two maintain a warmth and camaraderie that invites their audience into the joke with them.

Even at their most outrageous - and believe me, the outrageousness is abundant - Jinkx and DeLa never lose sight of the heart. They understand that a true holiday show needs more than glitter and gags; it requires a touch of deeper meaning to resonate.

“How do we keep singing and dancing when the horrors persist?” Jinkx asks.

“The horrors are precisely why we must keep singing and dancing,” DeLa answers.

Amid all the silliness and the spectacle, their show is a reminder that queer joy matters. That communal joy matters. That holiday joy matters, and that everyone can find joy in the holidays.

The Jinkx & DeLa Holiday Show is making the yuletide gay with their queer, communal holiday joy across 30 cities throughout the U.S. and Canada until December 30th, offering the perfect blend of camp, chaos, and heart in what is sure to become your new favorite holiday tradition.

For tickets and more information, visit jinkxanddela.com

“Is this what it’s like to have sisters?”

I know I personally fall into the category of Jane Austen fans who have been following adaptations and spinoffs of Pride and Prejudice for eons. What happened to the Bennett sisters after the famous events of the classic tale? Did Elizabeth and Mr. Darcy find happiness? How are Jane and Mr. Bingley finding their marriage, and did the younger sisters ever discover their own paths to true love? Playwright Lauren Gunderson provides her own take through her trilogy Christmas at Pemberly plays, and in collaboration with Margot Melcon, the third installment offers a window into how the lives of Kitty and Georgiana progress post the original story.

In Act 1, As Georgiana sinks into the couch and takes in the Bennetts with the quote above, you might find yourself smiling alongside her. If you’re like me, you may think back to Pride and Prejudice and remember how alone she once was. Now she too finds herself with the unconditional love of sisters, and for better or for worse, she is going to discover what it’s like when they meddle without a second thought.

Directed by Connie Canaday Howard, Georgiana and Kitty: Christmas at Pemberley takes place two years after Pride and Prejudice. We find ourselves at the Darcy residence on Christmas Eve as Georgiana Darcy (Olivia Finkelstein) prepares to welcome her suitor, Henry Gray (Peter Alfano), to the home. The catch? She isn’t alone. Not only are Mr. Darcy (Keenan Odenkirk) and Elizabeth (Paige Klopfenstein) home for the holidays, but so are each of the Bennett sisters – Lydia (Leela Watts), Jane (Charlotte Foster), Mary (Elexis Selmon), and of course, her best friend, Kitty (Ksa Curry). To top it off, Henry’s friend, Thomas O’Brien (Daniel Millhouse) is joining the festivities, and he is just as ready as the Bennetts to meddle in the couple’s affairs. As might be expected, nothing quite goes according to plan, and as much as Kitty tries to support her friend, Georgiana might just find that nothing is ever simple on the path to love.

Howard’s production is full of joy and charm. Costume Designer Aly Greaves Amidei immediately transports the audience back into 1815 through her designs. The Bennett sisters’ dresses are stunning and add bright color to the Darcy home that is fully decked out for Christmas. Scenic Designers Jacqueline and Richard Penrod, in collaboration with Original Music and Sound Designer Christopher Kriz, fully immerse the audience into the holiday story for the eyes and ears.

As to be expected with a Jane Austen adaptation, the play certainly has its plot points involving true love. Not only does Georgiana find her soul mate in Henry, but Kitty also finds her own happiness with Thomas.  Finkelstein and Alfano bring a sweet, shy energy to the courtship – creating a relationship that you are sure to find yourself rooting for and hoping will succeed. Kitty and Thomas have a different approach, but one that is just as fun to watch unfold. The couple find their way to each other through the choice to meddle on behalf of their friends, and Curry and Millhouse infuse the relationship with high-energy and a mischievous humor. If you are a Jane Austen fan who loves watching the classic relationships grow despite their obstacles, you will find that the play certainly offers that access point.

However, something that you might also find to be special about this story is that it does not solely focus on the couples. The central relationship is actually the friendship between Georgiana and Kitty – two characters who have very little development in the original Austen story.  Curry and Finkelstein bring these characters to life with such creativity and delight. Much of the story explores these two younger sisters finding their voices amongst the noise of their elder siblings, and seeing Georgiana and Kitty support each other over the course of that journey adds to the holiday spirit.

Full of charm and holiday delight, Georgiana and Kitty: Christmas at Pemberley is a joy from start to finish. If you are a long-time Jane Austen fan, this play certainly scratches the itch of those wanting to see the Bennett stories continue. If this is your first taste of the Austen world, there are still plenty of access points to make this a holiday story to remember.

HIGHLY RECOMMENDED

Run Time: 2 hours and 15 minutes, with intermission

Georgiana and Kitty: Christmas at Pemberley runs through December 21, 2025 at the McAninch Arts Center – 425 Fawell Blvd. For tickets and information, see the Buffalo Theatre Ensemble website.

At this time of year, when Christmas lights begin to twinkle and colors of green and red illuminate throughout the city, I am nostalgically drawn to the ballet. To me, there is nothing so quintessentially magical as The Nutcracker ballet at Christmas time. I can hum, and chair compose the entirety of Tchaikovsky’s masterpiece. I can mark every step to every number of the two-act ballet (shout out to Inland Pacific Ballet). I can picture my grandmother sewing the principal dancers into their tutus, and my mother managing ticket sales and donning the mother-ginger costume. For me, the holiday and the ballet are indivisibly interconnected. And now that I’ve lived in Chicagoland for longer than my childhood in Southern California, there is something nostalgically familiar and magical about Christopher Wheeldon's kaleidoscopic reimagining of The Nutcracker, now playing at The Lyric Opera House.

On a magical Christmas Eve, after awakening to an epic battle between Toy Soldiers and the Rat King, a flurry of snowflakes sweeps Marie away on a whirlwind journey to the dreamlike fairgrounds of the World's Columbian Exposition. Set to Tchaikovsky's classic score, experience sprawling attractions representing countries from around the globe: the dazzling Golden Statue, the mystique of an Arabian enchantress, vibrant Venetian masked dancers, Chinese dragons, and Buffalo Bill's Wild West Show. This holiday season, enter the spellbinding world where history and dreams intertwine.

The Nutcracker Amanda Assucena and Hyuma Kiyosawa in Joffrey Ballet's The Nutcracker at Lyric Opera House.

Wheeldon’s The Nutcracker is set against the majesty of the 1893 World’s Fair of Chicago. Though remnants of the fair can still be found in buildings like The Museum of Science and Industry, the true grandeur and spectacle is lost to photographs, sketches, and our imaginations. The magic and marvel of the fair’s White City is rumored to be the inspiration for the Emerald City in his best-selling children’s book of 1900, The Wonderful Wizard of Oz. While there is no solid evidence to support this claim, it would make sense that the fair, where Cracker Jacks, the Ferris wheel, and electricity itself were debuted and displayed, could inspire a magical city of Oz. It’s that same magic that Wheeldon captures in the Joffrey’s production of The Nutcracker. The uniquely Chicago-centric production of the ballet features the familiar storyline of Marie and her family, though it focuses on the love story between The Great Impresario of the Fair, performed by Stefan Gonçalvez, and Marie’s mother, the sculptress for the Fair and The Queen of the Fair, performed by Gayeon Jung. It shows the humble working-class families that built the city itself in the first act, juxtaposed against the vibrant and colorful world of the White City in the second act. The humility and simplicity of one act contrasted with the majesty of the second, coupled with journeys across Lake Michigan, make this production equally familiar and relatable. To date, it’s still one of my favorite productions of the ballet, quintessentially Chicago and absolutely magical.

What I wouldn’t give to be a snowflake in the core, a worker at the fair dancing beneath the first Ferris Wheel, or simply a watcher from the wings of this beautiful ballet. At this point, I have seen and reviewed the play more years than I performed in the ballet, and I still get goosebumps when the tree rises, and the snow falls. Whether you are seeing it for the hundredth time, the tenth time, or the first, every Chicagoan should experience the Nutcracker. Experience the magic for yourself. The Nutcracker is playing now through December 28^th at The Lyric Opera House (20 N. Wacker Drive, Chicago). Do not overpay for Joffrey tickets! Beware of ticket resellers offering overpriced or invalid tickets. The Joffrey is the only official seller with the best prices, available at www.joffrey.org.

When the sun plays peek-a-boo and a pre-winter chill settles over Chicagoland, locals inevitably look for ways to warm their hearts as well as their fingers and toes. It’s during this time of year that locals venture indoors and when the Chicago theatre scene offers respite from the bitter cold. Like a favorite holiday treat, there are dozens of choices available to seekers of light and warmth, from recurring favorites and classic retellings to original plays and immersive theatre. There is no better way to celebrate the season and to lighten spirits than a good hearty laugh, or two, or three, or so many your sides hurt the next day. You’ll find no better way of warming up this December than seeing the deliciously dirty fairytale that is Rapornzel now playing at the Hoover-Leppen Theatre.

Rapornzel (yes, you read that right, it is not a typo) is a panto-style reimagining of the classic fairytale of Rapunzel. Many years ago, the King and Queen of a far-off kingdom were blessed with a baby girl with long, magical, downstairs hair. One day, the jealous witch Mother F**ker kidnapped the child and locked her in a tower, selfishly squandering her merkin magic for herself. With the help of local hairdresser Dame Fanny Follicle, her thick-as-s**t son Pascal, the dashing Prince Ride-her, and the Hairy Fairy, will Rapornzel ever come out?

If you couldn’t glean it from the title, Rapornzel is a serious-unserious play. Serious in the fact that the cast and crew put on a spellbinding, side-splitting comedic performance, but unserious to ensure the audience was able to escape the bitter cold reality for a few short hours and simply enjoy a hilarious performance. The story is written in the pantomime style or “panto.” Panto is a theatrical performance style dating back to the 1700s, traditionally performed around Christmas time. The popular form incorporates song and dance, exaggeration, and fourth wall breaks to tell a story. It often interchanges slapstick puns heavy with innuendos and groan-worthy dad-jokes to break the monotony of traditional theatre. Critical to the success of these comedic shows is audience participation. It’s highly encouraged to react and respond to the actors on stage, think “booing” the villain, “cheering” the hero, and responsive questioning from the actors such as: “Chicago is so cold…” to which the audience responds: “How cold is it?” wherein the actors then deliver a witty or punny joke in the tale that may or may not make you laugh, guffaw, or simply groan at how bad it is (in a good way). Panto is not for everyone, nor are puns or dad jokes, but in the Vonnegut style approach of moving the story along, it’s difficult not to enjoy, and even an ostrich chuckle at least once.

But when it comes to Rapornzel, I guarantee you’ll laugh more than once. Rapornzel is what you get if you take a fairytale and remix it with a book of dad-jokes, throw in a general use of 1980s musical bangers, and finish it with the dry wit of 2025. Rapornzel is one of the many bawdy, silly, and immensely entertaining pantomime scripts written by professional performer-writer Tom Whalley. The writer’s works have become a popular holiday season tradition at PrideArts, joining the ranks of Whalley’s other works like Jack Off The Beanstalk, Sleeping with Beauty, and Throbbin Wood. With unimaginable R-rated puns, pop songs, and audience participation, Rapornzel follows a growing holiday tradition within PrideArts. This year’s production is exceptionally acted by Chicago talent like Jeremy Cox, who plays Hairy Fairy Dandruff, Peter Moeller as the local hairdresser Dame Fanny Follicle, and the sexy and incomparable Gina Cioffi as the evil Mother F**ker who kidnaps Rapornzel. For those still tepid about the play or the panto style, don’t worry, the skilled actors utilize their quick wits, improvisation skills, and comedic timing to make this production enjoyable for all, never overstepping where they sense timidity. They read and respond to the audience to both give and get energy to move the story along and draw out a smile from even the most austere theatre goer.

Therein lies the beauty of this type of theatrical play. Whalley’s style of Panto grants permission to the audience to simply lighten up, be silly, and share some laughs. In short, in its seriousness to stage a good production, it masterfully creates a space to be supremely unserious. There aren’t many theatrical stylings that can pull that off these days. 2025 has been wrought with ill humor, tired remakes, and uninspired sequels. It’s refreshing and welcome to see a production that doesn’t take itself too seriously while still representing Chicago theatre, PrideArts, and the theatrical community well. The actors, panto, and Rapornzel itself, beg the attendees to lighten up. It reminds us that we don’t always need to seek hidden meaning between the witty one-liners, and we don’t need to laugh at every joke we’ve heard at countless Thanksgiving tables by distant relatives. We should endeavor to seek out light and warmth as the days grow shorter and the darker nights descend. Rapornzel beckons Chicagoans inside and endeavors to thaw critical hearts this holiday season. It’s a healthy reminder that it’s okay to shout, especially when asked or directed to do so. It’s fine to laugh or simply smile. And it’s encouraged, and I daresay desperately needed, to remember that nothing, including fairy-hairy-overly-share-y-tales, is really that serious. Funny, yes. Serious, no. That in and of itself is a gift.

 Rapornzel is playing for a short while longer through December 14^th at the Hoover-Leppen Theatre in Center on Halsted (3656 N. Halsted, Chicago). Grab your winter jacket and your tickets today, available at www.pridearts.org, and warm up with a few hearty belly laughs guaranteed to shake away your winter blues.

Christmas cheer is here. Or rather... CHRISTMAS CHEER IS HERE!!!

Based on the 2003 blockbuster hit movie Elf with Will Ferrell and Zooey Deschanel, Elf the Musical is a glittering holiday stage confection that mixes slapstick comedy, heartfelt family drama, and a score full of catchy tunes like “Nobody Cares About Santa,” and “Never Fall in Love with an Elf” (one of the musical’s best song and dance numbers). It’s a show designed to leave audiences laughing, humming, and perhaps even believing in Christmas magic again. The stage adaptation of Elf transforms the beloved film into a glittering Broadway spectacle, guided by the comic touch of Bob Martin and Thomas Meehan’s book.

Buddy the Elf is anything but ordinary - mainly because he isn’t an elf at all. Accidentally tucked into Santa’s sack as a baby and raised among the North Pole’s toy-making crew, Buddy grows up brimming with candy-cane energy and a grin as bright as the Rockefeller Center tree (after all, smiling is his favorite). When the truth of his human identity comes to light, he heads to New York City in search of his real father, Walter Hobbs - a cranky children’s book publisher whose name sits squarely on Santa’s naughty list. What follows is a merry storm of comic misadventures, from Buddy’s chaotic debut at Walter’s office to his glitter-drenched takeover of Macy’s, capped by the showstopping ensemble number “Sparklejollytwinklejingley.”

Buddy’s relentless cheer doesn’t always hit its mark - especially with Jovie, the world-weary Macy’s employee who slowly softens to his quirky charm. At home, Walter’s wife Emily and son Michael yearn for connection, their longing beautifully voiced in the ballad “I’ll Believe in You.” As Buddy’s antics spiral from comic chaos to heartfelt desperation, Walter’s patience frays, setting the stage for a holiday crisis that peaks when Santa’s sleigh sputters to a halt in Central Park.

In true Christmas fashion, it’s Buddy’s infectious joy - and the collective power of a crowd singing together - that rekindles belief in magic. By the final curtain, Walter has embraced Buddy as his son, Jovie has discovered love, and the city itself has been swept up in a wave of rediscovered holiday spirit. The message is simple yet enduring: sometimes it only takes one elf to remind us of the wonder we’ve forgotten.

Currently lighting up Auditorium Theatre in a limited engagement through December 14^th, this zany holiday romp delivers a burst of festive cheer guaranteed to lift spirits high enough to send Santa’s sleigh soaring once more.

Jack Ducat slips seamlessly into Buddy the Elf’s candy-cane-striped shoes, radiating a charm that feels tailor-made for the role. His wide-eyed innocence glows like twinkle lights across the stage, a pure embodiment of childlike wonder that never dims. With boundless energy and an infectious grin, Ducat magnifies Buddy’s relentless optimism until it fills the entire theatre, wrapping the audience in holiday warmth. His comedic instincts are razor-sharp, turning even the smallest quip or physical gag into a laugh-out-loud moment, while his musical bursts sparkle with joy. In every scene, Ducat channels the essence of Christmas spirit - reminding us that Buddy isn’t just a character, but a cultural touchstone of holiday cheer, beloved for the way he makes us believe in magic all over again.

The production’s heart is amplified by its supporting cast, each bringing dimension and warmth to Buddy’s journey. Felicia Martis crafts a Jovie with delightful complexity - her initial cynicism and guarded demeanor provide a sharp contrast to Buddy’s boundless optimism, making her eventual embrace of Christmas cheer all the more rewarding. As Walter Hobbs, Buddy’s beleaguered father, Jeff Brooks anchors the story with a commanding presence, capturing both the stern pragmatism of a businessman and the gradual softening of a man rediscovering family and faith. Yara Martin, as stepmother Emily Hobbs, is nothing short of luminous; her nurturing spirit radiates throughout, and she truly dazzles in her duet with son Michael. Camden Kwok, in turn, delivers a wonderfully earnest Michael, whose youthful sincerity makes “There is a Santa Claus” a standout moment along with Martin - an anthem of belief that sparkles with joy and reminds audiences of the magic at the core of the season. (*Ryan Duck alternates performances with Camden Kwok as Michael).

Darius J. Manuel proves to be a dynamic force onstage, stealing scenes with not one but two memorable turns. As the exuberant hotdog vendor, he serves up laughs alongside “The World’s Greatest Hotdog,” infusing the moment with infectious energy. Later, he reappears as the genial store manager whose good intentions lead to comic gold when he assumes Buddy’s elf costume marks him as a holiday department employee. Manuel’s sharp comedic instincts shine in both roles, blending physical humor with a warmth that keeps audiences leaning in. The highlight comes when Buddy nudges him into song, unlocking Manuel’s impressive vocal range.

Katelyn Lauria lights up the stage as Hobb’s office assistant Deb, delivering a performance brimming with comic zest. Her sharp timing and playful wit turn every moment into a laugh, while her buoyant presence injects a spark into the office scenes, ensuring Deb stands out as one of the production’s most memorable delights. Equally compelling is Andrew Kendrick, who demonstrates remarkable versatility in two sharply contrasting roles. As Santa Claus, he radiates warmth and joviality, embodying the very essence of holiday cheer with a twinkle in his eye and a booming laugh that instantly charms the audience. Then, in a striking shift, Kendrick inhabits the stern, impatient Mr. Greenway - Walter Hobbs’ demanding boss - capturing the character’s rigid authority with crisp precision. The contrast between these extremes not only highlights Kendick’s impressive range but also deepens the production’s narrative, balancing the magic of Christmas spirit against the hard edges of corporate life.

Director Philip Wm. McKinley orchestrates this holiday jewel with remarkable finesse, shaping each moment to shimmer with the warmth and sparkle of Christmas spirit. His vision transforms the stage into a living snow globe, where sweeping scenic designs unfold into breathtaking tableaux and glittering special effects ignite a sense of wonder that keeps audiences spellbound. The humor is delivered with impeccable timing, sending waves of laughter through the theatre, while the dance numbers dazzle with precision and exuberance, bursting forth like fireworks of festive joy. At the center of it all is a radiant ensemble whose collective energy and talent elevate the production beyond mere entertainment, crafting instead a jubilant celebration of the season - one that leaves audiences glowing with holiday cheer long after the curtain falls.

Overflowing with laughter and festive cheer, Elf the Musical is the perfect gift to unwrap this season. A joyous addition to any holiday wish list, the production delivers sure-fire fun for audiences of all ages, blending heartwarming spirit with playful humor that keeps the Christmas magic alive from start to finish.

Highly recommended.

Elf the Musical is being preformed at Auditorium Theatre through December 14^th. For tickets and/or more show information, visit https://elfmusicaltour.com/.  

I’ll admit it—I’ve never watched an episode of The Real Housewives. So, heading into Hell in a Handbag’s latest holiday production inspired by the series, I braced myself for a barrage of references that might slip past me. Turns out, I caught the vibe almost instantly—and once I did, the jokes flew fast and furious.

So, after a bit of research - for anyone else walking in blind - The Real Housewives is a reality TV juggernaut that blends glamour, intrigue, and high-stakes drama into a cultural phenomenon - and yes, the claws can come out. For nearly twenty years, the franchise has captivated audiences with its blend of luxury lifestyles, fiery confrontations, and unforgettable personalities - cementing its place as one of the most influential and enduring phenomena in modern pop culture. What began in Orange County soon spread to New York City, Atlanta, New Jersey, and beyond. But thanks to Hell in a Handbag, it was only a matter of time before The Real Housewives set up shop at the North Pole. That’s right - The Real Housewives of the North Pole is here.

The North Pole has never looked frostier. When Santa and his circle of high-powered holiday elites find themselves slapped with indictments for fraud, sending shockwaves through the snowy kingdom, the glittering facade of candy-cane wealth begins to crack. Now it falls to the women to rescue their families from looming financial ruin. Though practical survival skills are in short supply, the burden falls squarely on the housewives to rebuild an empire. Years of privilege have left them with closets overflowing in luxurious clothing and jewels, but little else to shield them when their glittering world is suddenly under threat.

In quintessential Handbag camp style, we’re introduced to the housewives who truly matter the most when the holidays roll around. At the heart of the series is Santa’s wife, Ruth Claus (Honey West), freshly embracing sobriety while wrestling with the family finances. Her anchor in the storm is the irresistibly suave Carlos (Taylor Mercado Owen), a sobriety coach whose steady charm keeps her grounded amid the glitter, chaos, and sappy drama of the North Pole. Always on the hunt for drama and the makings of a hit, BRAVO network producer Andy Cohen (David Lipschutz) wastes no time assembling a roster of North Pole divas. Enter Mrs. Samantha Frosty (Robert Williams), Mrs. Gladys Dasher (David Cerda), Clarice, the long-suffering wife of Rudolph (Anna Rose Steinmeyer), and Suzy Snowflake, Jack Frost’s icy better half (Britain Shutters). Once these housewives collide, the antics escalate at lightning speed - each outrageous clash topping the last, turning the show into a blizzard of hilarity and brawls.

As petty catfighting and ditziness reach new heights, make-up artist Cookie (Terry McCarthy) goes to heroic lengths to keep the housewives looking fabulous - even if it requires the occasional power tool. Meanwhile, the poor Production Assistant (Kelly Opalko) can’t catch a break, as no one seems able to remember her name… Petra, maybe?

(front, center) Anna Rose Steinmeyer with (back, l to r) Robert Williams, Taylor Mercado Owen, David Cerda and Britain Shutters in Hell in a Handbag Productions’ world premiere of The Real Housewives of the North Pole.

While visually filling to watch the chaos and absurdity unfold on stage, The Real Housewives of the North Pole also makes clever use of multimedia, employing dual screens to showcase interviews not only with the housewives themselves but also with a parade of special guests - including Santa (Michael Hampton) and Bernice (Ed Jones), the typical “average housewife.”

Amid the whirlwind of onstage action, there’s still another performance that deserves recognition. Stage Manager/Board Operator Conor Frank delivers one of the production’s most quietly dazzling performances, orchestrating an entire symphony of effects from the wings. With remarkable precision, he juggles live foley work and layered audio cues, transforming everyday objects into bursts of comic timing or atmospheric texture. Watching him at the side of the stage is its own kind of theater - an intricate dance of concentration and creativity that underscores the madness onstage.

A genuinely one-of-kind theatre company, Handbag’s comedic talent never fails to impress as their entire ensemble was outstanding, and their uncanny knack for casting ensures each role feels tailor-made. And just in time for the holidays, Hell in a Handbag has pulled it off yet again - another dazzling feather tucked neatly into their fabulously overstuffed cap. With David Cerda’s sharp pen and Tommy Bullington’s spirited direction, The Real Housewives of the North Pole serves up a frosty feast of holiday hilarity that should not be missed.

Recommended for lots of laughs and Handbag-style holiday cheer!

The Real Housewives of the North Pole is being performed at The Clutch Chicago (4335 N. Western Ave) through January 4^th. For tickets and/or more show information, visit www.handbagproductions.org.

*Special note - FOLLIES the Annual Hell in a Handbag 2025 Benefit will be taking place at Ebenezer Lutheran Church in Chicago’s Andersonville neighborhood this Sunday, December 7^th at 5:30pm-9pm. Per Handbag’s site, the evening will include dinner, drinks, entertainment, a raffle and silent auction.

Tickets ($104 general admission, $129.75*) are available (click HERE for tickets). *Prices include processing fees.

Handbag celebrates its 24th year with a very abbreviated production of Follies – performed Hell in a Handbag style! Watch as aging showgirls, draped in sequined desperation, reunite to belt out twisted parodies of Stephen Sondheim's most iconic numbers including “I'm Still Here,” “Losing My Mind,” “Broadway Baby,” “Beautiful Girls” and other favorites It'll be the hits you love and a show you'll desperately try to forget (with apologies in advance to the spirit of Mr. Sondheim).

The entertainment line-up features ensemble members David Cerda, Sydney Genco, Caitlin Jackson, Ed Jones, Lori Lee, David Lipschutz, Stevie Love, T.J. O'Brien, Michael Rashid, Danne W. Taylor and Robert Williams, along with some surprise guests.

Under the deft direction of American Blues Theater’s Executive Artistic Director Gwendolyn Whiteside, Frank Capra’s beloved holiday classic It’s a Wonderful Life is reborn as a charming 1940s radio broadcast. With vintage microphones, live foley effects, and a versatile ensemble shifting seamlessly between characters, the production becomes more than a retelling - it’s a joyous homage to the art of storytelling itself. Audiences are invited to step back into the golden age of radio, where imagination takes center stage and George Bailey’s timeless journey resonates anew.

In Bedford Falls, George Bailey devotes his life to helping others, setting aside his own dreams for the good of his community. But when financial disaster strikes on Christmas Eve, he begins to doubt his worth. Enter Clarence, a guardian angel, who reveals a chilling vision of a world without George - a town consumed by Mr. Potter’s greed and stripped of hope. Confronted with the profound impact of his generosity, George rediscovers the value of his life. As his neighbors rally to support him, he learns that true wealth lies not in money, but in friendship, love, and the lives he’s touched.

By casting the audience as “studio listeners,” the production erases the boundary between stage and spectator. Foley effects—the slam of doors, the crunch of snow—lend a tactile realism that cinema rarely achieves. The ensemble’s deft shifts in voice and character populate Bedford Falls with remarkable clarity, their energy carrying the narrative even through George’s darkest moments. The touchstones are all here: George’s sacrifices, Potter’s greed, Clarence’s intervention, and the jubilant finale of community over isolation. In radio-play form, these familiar beats gain fresh resonance, reminding us that sound and imagination can be more powerful than spectacle.

The ensemble of It’s a Wonderful Life: Live in Chicago! shines with warmth, artistry, and undeniable chemistry, breathing vibrant new life into this holiday treasure. At the heart of the production, Brandon Dahlquist embodies George Bailey with a sincerity that feels both timeless and immediate. His performance is layered with emotional depth - capturing the optimism of youthful dreams, the weight of sacrifice, and the aching vulnerability of despair. Dahlquist’s portrayal is not only heartfelt but profoundly inspiring, reminding us why George Bailey remains one of the most enduring figures in American storytelling. With every gesture and inflection, he draws the audience into Bailey’s journey, making the character’s triumphs and struggles resonate as if they were our own. It is a performance that anchors the show with humanity and elevates it with grace.

Equally compelling is Ian Paul Custer, who delivers a masterful dual turn that showcases both his range and precision. As Clarence, he radiates warmth and gentle humor, embodying the guardian angel with a tender humanity that uplifts the story and offers moments of levity. In stark contrast, his portrayal of Mr. Potter is steeped in chilling authority - a ruthless presence whose greed and menace cast a long shadow over Bedford Falls. The seamless transition between these two extremes underscores not only Custer’s remarkable skill but also the production’s emotional contrasts, reminding us that the heart of It’s a Wonderful Life lies in the tension between compassion and cruelty, hope and despair.

Justin Banks infuses Harry with an effortless charm, while Audrey Billings embodies Mary Bailey with a luminous blend of grace, resilience, and radiant warmth. Her presence anchors every scene, offering both steadiness and emotional depth as she navigates the joys and hardships of George’s journey. Manny Buckley lends Joseph a dignified gravitas, and Dara Cameron sparkles as Violet, bringing wit, vivacity, and a touch of glamour to Bedford Falls. Michael Mahler elevates the atmosphere as the charismatic Announcer, while his live piano accompaniment bathes the production in nostalgic glow, perfectly evoking the golden age of radio.

Rounding out the ensemble, J.G. Smith delivers a dazzling performance as the Foley artist, transforming everyday objects into extraordinary tools of imagination. With impeccable timing and inventive flair, Smith crafts the soundscape that breathes life into Bedford Falls - snow crunching underfoot, doors creaking open, coins clinking, and bells ringing with holiday cheer. Each effect is not merely background noise but a vital layer of storytelling, immersing audiences so completely that George Bailey’s world feels tangible and immediate. Smith’s artistry underscores the magic of live radio theater, reminding us that sound alone can transport us across time, space, and emotion. It’s a masterclass in creativity and precision, and his contribution ensures the production resonates with authenticity and wonder.

Together, this gifted ensemble weaves storytelling, music, and imagination into a seamless tapestry - proving that collaboration, heart, and craft are what make this production truly wonderful.

The magic begins even before the curtain rises. Arrive early and you’ll be treated to a lively pre-show experience, where the stage comes alive with playful antics, warm laughter, and spirited music. Cast members set the tone with a burst of energy that instantly draws the audience into the festive spirit. It’s more than a warm-up - it’s an invitation to step into the world of Bedford Falls with joy already in the air. By the time the official performance begins, you’ll feel like part of the celebration, swept up in the camaraderie and holiday cheer.

For close to 25 years, American Blues Theater has brought Frank Capra’s classic to life in the form of a 1940s radio broadcast. It’s a Wonderful Life: Live in Chicago! has earned its place as the second longest-running holiday production in the city.

American Blues Theater has discovered a beautiful new permanent home just west of Andersonville. The venue strikes the perfect balance - intimate yet expansive - with seating that is both comfortable and generously spaced. Fully ADA accessible and thoughtfully designed, the theater even offers the convenience of its own dedicated parking lot right beside the building. The parking is easy and the theater offers free spots for disabled patrons.

Recommended!

It’s a Wonderful Life: Live in Chicago! is being performed at American Blues Theater through December 28^th. For tickets and/or more show information, visit https://americanbluestheater.com/2025-its-a-wonderful-life-live-in-chicago/.

Paramount Theatre’s White Christmas unfolds like a living snow globe - bursting with holiday sparkle, sweeping dance numbers, and the timeless melodies of Irving Berlin. From the first notes to the final snowfall, the production wraps audiences in a nostalgic embrace, blending old-fashioned charm with Broadway-sized spectacle. Each scene glitters with warmth and wit, inviting theatergoers to laugh, swoon, and hum along as romance blossoms and friendships deepen against a backdrop of wintry wonder. By curtain call, the joy is infectious - sending audiences out into the night with hearts lightened, spirits lifted and smiles as bright as the marquee.

Paramount Theatre’s White Christmas sparkles like a holiday jewel box - both warmly intimate and magnificently grand. The theater’s historic stage transforms into a canvas of sweeping spectacle with majestic sets, while the lush resonance of a full orchestra directed by Korey Danielson gives Berlin’s timeless score a cinematic glow.

White Christmas tells the story of army buddies Bob Wallace and Phil Davis, who, after serving in World War II, reinvent themselves as a wildly successful song-and-dance duo. Their path crosses with the enchanting Haynes sisters, Betty and Judy, sparking a mix of romance, comedy, and showbiz sparkle. The foursome’s journey leads them to a cozy Vermont inn, only to discover it’s owned by their former commanding officer, General Waverly, now facing financial hardship. With loyalty and holiday spirit driving them, Bob and Phil rally their entertainment world connections to mount a spectacular Christmas show - one that not only saves the inn but restores the General’s faith in community and camaraderie. The tale blends laughter, love, and nostalgia, culminating in a finale where snow drifts from above and Irving Berlin’s “White Christmas” envelops the theater in timeless magic.

Phil Davis (Evan C. Dolan, left) and Judy Haynes (Jessie J. Potter, right) tap dance atop a piano, surrounded by fellow talented ensemble hoofers, in the popular tap number “I Love a Piano” in Irving Berlin’s White Christmas. Nostalgia, pageantry and spectacle come to life in Paramount Theatre’s 14th Broadway Series holiday season blockbuster. Stephen Schellhardt directs.

At the heart of the production, Alex Syiek embodies Bob Wallace with a commanding gravitas that instantly draws every eye to him. His stage presence is nothing short of magnetic - effortlessly blending charm, authority, and vulnerability in a way that makes the character pulse with life. When he launches into “How Deep is the Ocean,” the moment transcends performance and becomes pure artistry: his voice, rich and resonant, soars across the theater, wrapping the audience in waves of emotion. Each note seems to shimmer with sincerity, sending goosebumps rippling through the crowd and holding them in rapt silence. Syiek crafts an experience, a breathtaking highlight that lingers long after the curtain falls.

Evan C. Dolan and Jessie J. Potter electrify the evening as Phil Davis and Judy Haynes with tap-driven brilliance in “I Love a Piano,” their infectious energy matched by glowing precision. Sophie Grimm as Betty Haynes weaves glamour and wit into every scene, balancing romance with sharp comedic sparkle. Grimm’s voice flows with velvety smoothness, matched by a striking blend of power and precision. And grounding the story with gravitas is David Girolmo’s General Waverly, whose gruff exterior masks a deep well of tenderness, reminding us that the season’s true gifts are selflessness, community, and enduring bonds. Together, this ensemble stitches a holiday tapestry that flashes with spectacle yet pulses with heart - an experience as joyous as it is unforgettable.

Abby C. Smith also shines brilliantly as Martha Watson, the inn’s warm-hearted concierge, infusing the role with wit, vitality, and irresistible charm. She commands the stage with a natural ease, and when given the chance to unleash her powerhouse vocals in “Let Me Sing and Be Happy,” the theater practically vibrates with joy. Her voice radiates strength and exuberance, turning the number into a jubilant showstopper that leaves the audience grinning and applauding with unrestrained delight.

Beyond its iconic title tune, White Christmas offers a treasure trove of Irving Berlin gems that keep audiences humming long after the curtain falls. “Blue Skies” bursts with optimism and ensemble flair, while “Sisters” delights with playful charm and comic timing. “Count Your Blessings Instead of Sheep” slows the pace with tender intimacy, reminding us of the quiet joys of gratitude, and Alex Syiek’s soaring “How Deep is the Ocean” delivers a moment of pure vocal power that ripples through the house. The show’s choreography shines brightest in its showstoppers: “Snow” sparkles with ensemble energy and frosty whimsy, while “I Love a Piano” erupts into tap-driven brilliance, its infectious rhythm impossible to resist. And of course, the finale - Berlin’s timeless “White Christmas” - arrives like a gift, wrapping the evening in nostalgia and emotional payoff as snow drifts from above. More than a holiday musical, Paramount’s White Christmas is a glittering celebration of romance, comedy, and community spirit, stitched together with dazzling choreography and songs that linger like cherished memories of the season.

(Center L-R) Evan C. Dolan, Jessie J. Potter, Alex Syiek and Sophie Grimm with cast in White Christmas at Paramount Theatre through January 11th.

Tiffany Krause’s choreography in this production of White Christmas is simply breathtaking. This ensemble doesn’t just sing - they ignite the stage with dance that radiates brilliance and energy. From sharp, exhilarating tap sequences to sweeping partner and swing routines, the performers elevate the show to dazzling new heights. The number “Everything Good Happens When You’re Dancing” embodies the very spirit of the production, showing how romance flourishes and multiplies through the cast’s sheer joy, elegance, and remarkable artistry.

A timeless holiday favorite, White Christmas weaves together romance, comedy, and twinkling song-and-dance spectacle as two veterans-turned-entertainers join forces with a captivating sister act. Their journey to a snow-dusted Vermont inn blossoms into a story of love, laughter, and loyalty, culminating in a heartfelt mission to save their former general’s struggling lodge. Along the way, Irving Berlin’s melodies and dazzling choreography transform the stage into a celebration of community, generosity, and the enduring magic of the season.

Recommended for big holiday fun!

White Christmas is being performed at Paramount Theatre through January 11^th. For tickets and/or more information, visit https://paramountaurora.com/events/irving-berlins-white-christmas/.