Items filtered by date: November 2007

Rising star Jacob Moskovitz ("Elle") has joined the cast of Kowalski as Marlon Brando, alongside previously announced Chicago theater veteran Johnny Galecki ("The Big Bang Theory," "The Little Dog Laughed") as Tennessee Williams. The celebrated new play by Gregg Ostrin, directed by Colin Hanlon, will come to Chicago's Lookingglass Theatre Company at the historic Water Tower Water Works, 163 E Pearson St. at Michigan Ave. in Chicago, playing September 15-October 25, 2026.

Additional casting will be announced soon.

Tickets are available at lookingglasstheatre.org and 312.337.0665. Kowalski is a part of the 26/27 Lookingglass Membership and Subscription Series. Single tickets range from $37 to $97, with a limited number of premium seats also available.

Set over one pivotal evening in 1947 Provincetown, Kowalski imagines the electrifying first meeting between Tennessee Williams and a young Marlon Brando, just as Williams searches for the actor who would forever change the destiny of A Streetcar Named Desire. Blending fact, memory, and theatrical imagination, the play offers a fascinating glimpse into the creative forces behind one of the most influential works in American theater. Kowaslki explores the intersection of ambition, artistry, desire, and the creation of theatrical history.

JACOB MOSKOVITZ (Marlon Brando) is a rising talent delivering versatile and engaging performances across film and television. Most recently, he starred in the highly anticipated Legally Blonde prequel series ELLE from Amazon and Hello Sunshine, which has already been renewed for a second season.

Moskovitz recently completed production on the Fernando Meirelles-directed Netflix feature Here Comes the Flood, appearing alongside Robert Pattinson, Denzel Washington, and Daisy Edgar-Jones. Earlier this year, Jacob also starred in Seth Meyers' produced feature Brian, which premiered to strong reviews at SXSW. He can currently be seen in the independent feature The Floaters, which was released July 10, 2026. Additional film credits include the A24 feature Y2K, directed and written by Kyle Mooney and Evan Winter, as well as Isle Child, directed and written by Thomas Percy Kim. On television, Jacob's credits include "Chicago P.D." (NBC), "The Good Fight" (Paramount+), Magnum P.I.  (NBC), and "FBI: International" (CBS).

JOHNNY GALECKI (Tennessee Williams) is an acclaimed actor best known for his starring role as 'Leonard Hofstadeter' on the award-winning CBS comedy "The Big Bang Theory," for which he earned Emmy, Golden Globe and SAG award nominations. He first gained widespread recognition as 'David Healy' on the groundbreaking sitcom "Roseanne" and has appeared in numerous film and television projects throughout his career including Hancock, Vanilla Sky, I Know What You Did Last Summer, Suicide Kings, In Time and National Lampoon's Christmas Vacation. His stage credits include the Tony Award-nominated Broadway play The Little Dog Laughed for which he received a Theater World Award for Outstanding Broadway Debut, The Drawer Boy, Pot Mom, The Member of the Wedding and Galileo.

GREGG OSTRIN (Playwright) A native of Los Angeles, his most recent plays include A Very Streaming Christmas and The Spy Who Went Into Rehab (Pacific Resident Theatre, Venice, California), The Soul of Motown (Stage West Theater, Calgary), Truffles (Secret Door Theater, New York City) and Rank & File (Hudson Theater, Los Angeles). His play The Beverly Hills Hotel Peace Talks just had its premiere staged reading at The Coachella Valley Rep in Palm Springs, California for its Origins series. It will be opening there in May 2025. He dedicates this play to his former mentor, the late George Furth.

COLIN HANLON (Director) is an actor, writer, director, and producer living in New York City. He most recently directed Broken Snow (with Tony Danza, Tom Cavanagh and Michael Longfellow). He also directed I Love You Because-a queer retelling in NYC, The 25th Annual Putnam County Spelling Bee and co-directed It's Only a Play at George Street Playhouse. He's the co-producer & star of Submissions Only. He's also an adjunct professor at NYU New Studio, LIU, Stella Adler, and Cap 21. He teaches auditioning and self-tape technique at his private studio. Still a working actor as he's been on "Modern Family," "Difficult People," "The Sinner," "The Good Fight" and currently "Uncoupled" on Showtime. Broadway: Falsettos, Rent, Wicked (First National Tour) and In Transit. Off-Broadway: NYC premiere of Dot by Colman Domingo (Vineyard Theater, dir. Susan Stroman), A.R. Gurney's last play Final Follies dir. David Saint (Cherry Lane) and I Love You Because (original cast).

About Lookingglass Theatre Company

Founded in 1988 by graduates of Northwestern University, Lookingglass Theatre Company is a nationwide leader in the creation and presentation of new, cutting-edge theatrical works and in sharing its ensemble-based theatrical techniques with Chicago-area students and teachers through Education and Community Programs. Guided by an artistic vision centered on the core values of collaboration, transformation and invention, Lookingglass seeks to capture audiences' imaginations leaving them changed, charged and empowered. Recipient of the 2011 Tony Award for Outstanding Regional Theatre, Lookingglass has built a national reputation for artistic excellence and ensemble-based theatrical innovation. Notable world premieres include Mary Zimmerman's Tony Award-winning Metamorphoses and The Odyssey, J. Nicole Brooks' Her Honor Jane Byrne, David Schwimmer's adaptation of Upton Sinclair's The Jungle and Studs Terkel's Race: How Blacks and Whites Think and Feel about the American Obsession, Matthew C. Yee's Lucy and Charlie's Honeymoon and David Catlin's circus tribute to Lewis Carroll, Lookingglass Alice, which was captured by HMS Media and reached 1.6 million PBS viewers. Looking Alice is now available to more than four million students worldwide through Digital Theatre+. Work created by Lookingglass artists has been produced in Australia, Europe and dozens of cities throughout the United States.

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

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

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

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

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

The Fun Before the Movie Starts

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

Double Features, Nostalgic Snacks, and Throwback Magic

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

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

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

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

Merchandise and Keepsakes

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

Speakers, Sound, and Film Lineup

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

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

Bring the Dog - They’re Part of the Experience

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

Choose Your Setup - Creativity Encouraged

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

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

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

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

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

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

Scott Dehn’s Vision: Nostalgia with a Modern Touch

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

Enter Joe Cicero: Marketing, Community, and Big Ideas

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

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

Special Events, Themed Nights, and Seasonal Programming

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

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

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

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

A Staff That Makes the Place Feel Like Home

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

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

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

Stay Connected

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

In the End

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

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

See ya at the drive in!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

https://www.oillamptheater.org/

The Joffrey Ballet opens its 2026-27 season with the Chicago Premiere of John Neumeier's landmark narrative ballet Liliom. Inspired by Ferenc Molnár's 1909 play and later the basis for the musical adaptation of Rodgers and Hammerstein's Carousel, Liliom traces a haunting story of love and redemption set against the faded glamour of a Depression-era amusement park. One of the choreographer's most profound artistic endeavors, Neumeier's theatrical tour de force comes to life with an evocative score by multi-Academy Award®-winning composer Michel Legrand. For its Chicago premiere, Liliom features live music performed on stage by the 16-piece Rob Parton's Jazztech Big Band in concert with the Lyric Opera Orchestra, conducted by Nathan Brock. Liliom takes place for ten performances only at the historic Lyric Opera House, 20 North Upper Wacker Drive in downtown Chicago, from September 17–27, 2026.

"The Joffrey was founded on the belief that ballet should evolve, challenge expectations, and reach beyond traditional boundaries. This landmark Chicago premiere demands extraordinary versatility from our artists, blurring the lines between dance, drama, and storytelling in ways few works can. I have long believed that Liliom is John Neumeier's greatest achievement, showcasing the full breadth of his genius as a storyteller and transforming what inspired Rodgers and Hammerstein's beloved Carousel into a cinematic, emotionally stirring, and deeply human theatrical experience," says The Mary B. Galvin Artistic Director Ashley Wheater MBE.

"After celebrating 70 years of artistic excellence last season, The Joffrey Ballet now turns its attention to the future. We are proud to launch the first season of our next 70 years with Liliom, a sweeping theatrical work that showcases the incredible range of our artists. Whether you're a lifelong dance lover or a devoted theatergoer, we invite you to experience the artistry, emotion, and imagination that make Chicago one of the world's great cultural destinations," said Greg Cameron, President and CEO.

Neumeier's adaptation follows Liliom, the charismatic but self-destructive carnival barker whose fierce love for Julie, a young working woman, is unraveled by pride, poverty, and rage. Set amid the dreamlike, faded glamour of an American amusement park during the Great Depression, passion turns toward crime—and ultimately, tragedy.

Granted a chance to return to Earth after death, Liliom confronts the consequences of his choices and attempts one final act of grace. What remains is a stark reckoning with guilt and the fragile possibility of redemption. Rarely presented in the United States, the Joffrey is the first American ballet company to bring Liliom to life. Distinguished by Neumeier's signature emotional depth and theatrical nuance, Liliom takes shape through multi-Academy Award®-winning composer Michel Legrand's evocative score, blending classical and jazz influences that echo a restless America.

One of the most influential artists of our time, Neumeier returns to the Joffrey and the Lyric Opera House following the critically acclaimed run of The Little Mermaid in 2023 and the Lyric Opera's first collaboration with the Joffrey, Orphée et Eurydice, in 2017. Learn more about John Neumeier here.

With gratitude to Liliom Presenting Sponsors Lynda Sue Lane, M.D. and Mr. and Mrs. Joel V. Williamson, Major Sponsors Pamela Crutchfield and Lisbeth Stiffel, and Production Sponsors Holly Palmer Foundation and Max Mara.

Tickets and Schedule

The Joffrey Ballet presents Liliom from Thursday, September 17–Sunday, September 27, 2026.

The full schedule is as follows:

Thursday, September 17 at 7:30PM;

Friday, September 18 at 7:30PM;

Saturday, September 19 at 2:00PM and 7:30PM;

Sunday, September 20 at 2:00PM;

Thursday, September 24 at 7:30PM;

Friday, September 25 at 7:30PM;

Saturday, September 26 at 2:00PM and 7:30PM;

Sunday, September 27 at 2:00PM.

The Joffrey Ballet is the only official seller with the best prices. Be aware of ticket re-sellers offering overpriced or invalid tickets. Tickets are available for purchase at the Lyric Opera Box Office, located at 20 N. Upper Wacker Dr., by telephone at 312.386.8905, or online at joffrey.org.

About The Joffrey Ballet 
The Joffrey Ballet is one of the premier dance companies in the world today, with a reputation for boundary-breaking performances for 71 years. The Joffrey repertoire is an extensive collection of all-time classics, modern masterpieces, and original works. Founded in 1956 by pioneers Robert Joffrey and Gerald Arpino, the Joffrey remains dedicated to artistic expression, innovation, and first-rate education and engagement programming. The Joffrey Ballet continues to thrive under The Mary B. Galvin Artistic Director Ashley Wheater MBE and President and CEO Greg Cameron.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hail Mary/Maria

Presented by Nova Entertainment

Thursday, August 20^th  - 7:30pm

Friday, August 21^st – 7:30pm

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

Sunday, August 23^rd  -  2:30pm

Venue:  Theater Wit in Theater 2

1229 W. Belmont Avenue

Chicago, IL  60657

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

Highly Recommended

Remy Bumppo Theatre Company’s 30th Anniversary Season continues with "Exploring The In Between: A Conversation About Mid-Sized Theatres in Chicago," Monday, Oct. 26 at 7 p.m. in Theater One at Theater Wit, 1229 W. Belmont Ave. This one-night-only event, moderated by Chicago theatre Historian and Author Mark Larson and Associate Director of the Jane Addams Hull-House Museum Matt Randle-Bent bring together Chicago theatre voices from four storied companies: Remy Bumppo Theatre Company, A Red Orchid Theatre, Teatro Vista Productions and About Face Theatre to discuss how midsized theatres have shaped our city’s cultural ecosystem and what role might they play in what is to come. Tickets are on sale now for $35 at TheaterWit.org or by calling the Theater Wit Box Office at 773.975.8150.  

“Exploring The In Between: A Conversation About Mid-Sized Theatres in Chicago” is a night of discovery, conversation and envisioning. “Exploring the In Between” excavates the history, heart and value of midsized theatres in Chicago featuring Remy Bumppo Theatre Company’s Artistic Director Marti Lyons, A Red Orchid Theatre Founding Artistic Director and Board Member of The Red Orchid Theatre Guy Van Swearingen, An Artistic Collective member of Teatro Vista Productions and a Core Ensemble Member of Remy Bumppo Theatre Company Charin Alvarez and About Face Theatre’s Director of Education and Artistic Programing Dionne Addai. 

Ticket sales benefit Remy Bumppo Theatre Company. 

ABOUT REMY BUMPPO THEATRE COMPANY

Remy Bumppo Theatre Company expands and enriches their community’s view of the world, and their own, by producing both the great plays of the past and the important plays of today. As an ensemble-driven theater company, Remy Bumppo authors a more humane culture that listens to, and seeks to understand, the voices, the ideas and the stories of one another. 

Since its inception in 1996, Remy Bumppo has produced a blend of modern classics and complex contemporary works, presented in an intimate setting with clarity, wit and passion. We invite audiences to engage directly with the art through conversation with the artists.

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

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

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

Shattered Globe Theatre's 2026/27 Season includes:

October 2 – November 14, 2026

Vladimir – Midwest Premiere!

By Erika Sheffer

Directed by Ensemble Member Lou Contey

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

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

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

January 22 – February 27, 2027

The Waterfall – Midwest Premiere!

By Phanésia Pharel

Directed by Jasmine B. Gunter

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

April 16 – May 29, 2027

Brace Brace

By Oli Forsyth

Directed by Elizabeth Margolius

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

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

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

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

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

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

About Shattered Globe Theatre

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

M.A.D.D. (Making A Difference Dancing) Rhythms, Chicago’s premier tap collective, is proud to celebrate its 25th Anniversary at the Chicago Tap Summit, October 2 - 4, at the Harold Washington Cultural Center, 4701 S. King Dr. (47th Street entrance). The premier Illinois tap dancing event of the year follows M.A.D.D. Rhythms Day in Chicago, Sunday, Oct. 1. This Anniversary Summit includes three days of dance, discussion and classes while celebrating the tap dance community with tours and panels as well as the premiere of works from company Co-Founder Bril Barrett, who has been named to Newcity’s Players 50 Hall of Fame (2026) and received “The Hoofer Award” from Tap City in 2025, as well as a premiere from Co-Founder Martin “Tré” Dumas III. Additionally, a screening of “Beyond a Shuffle,” a new documentary about M.A.D.D. Rhythms will be shown. For information on the Chicago Tap Summit and the other events go to MADDRhythms.com. 

Chicago Tap Summit

October 2 - 4

Harold Washington Cultural Center, 4701 S. King Dr. (47th Street entrance)

The 2026 Chicago Tap Summit welcomes participants from Chicago and around the world for three days of dance, discussion and classes celebrating the tap dance community with instructors Maud Arnold, Bril Barrett, Ian Berg, Tristan Bruns, Andrew Carr, Ja’bowen Dixon, Star Dixon, Martin “Tré” Dumas III, Izaiah Harris, Caleb Jackson, Donnetta Jackson, Lisa LaTouche, KJ Sheldon and Mr. Taps.

Friday, Oct. 2

Classes on Friday, Oct. 2, the first day of the Summit includes a three-hour residency with Andrew Carr. Carr will teach participants dances from his show “To Love You Always.” Also, available is Caleb Jackson’s three-hour residency sharing with attendees dances from his show “Wonder.” Both performers from these residencies will participate in Sunday night’s closing ceremony and film screening at the Harold Washington Cultural Center. 

In addition, the Cultural Center will include a “Room Full of History,” Reggio’s traveling museum. The day will conclude with a welcome party for all. 

Saturday, Oct. 3

Saturday’s classes include a panel on the history of M.A.D.D. Rhythms from its P.O.V. and an evening of performances beginning at 7:30 p.m. 

The performances include two world premieres from the two founders of M.A.D.D. Rhythms. Bril Barrett’s “Oscar Plays Gershwin,” a vibrant tap production using dancers' feet as percussion to reimagine Oscar Peterson's George Gershwin album and Martin “Tré” Dumas III’’s “My Personal Stash,” a work that honors his father, Martin Dumas Jr., by transforming Rasputin Stash's soul/funk grooves into a vibrant tap percussive experience. 

Tickets and registration available at MADDRhythms.com.    

Sunday, Oct. 4

The Summit concludes with classes and the premiere of the documentary, “Beyond A Shuffle,” by Nora Clark, sharing the history of M.A.D.D. Rhythms and includes live performances from the Friday’s intensive classes. “Alienworx’ VP,”  Nora Clark’s first original work, this documentary is a collaboration with her 501(c)3 non-profit, Tap That Brass and is currently fundraising to complete production of this new piece on the M.A.D.D. Rhythms company. 

“Beyond A Shuffle” is about Bril Barrett, who started M.A.D.D. (Making A Difference Dancing) Rhythms as a way to lead a life of example for his younger siblings, as well as give back to the youth of Chicago. Barrett wanted to create a company whose model was one of respect for the art and history of tap dance and whose permanence would create stability for its members. 

More than two decades later, M.A.D.D. Rhythms has since touched the lives of thousands of dancers and young people, whether they were pursuing the incredible training of being a company member, needed a positive alternative to the streets of Chicago or just as an outlet to express themselves or improve their quality of life. For more information, please visit TapThatBrass.org. 

MORE FROM M.A.D.D RHYTHMS

New Logo

Marking the Company’s 25th Anniversary, a new logo, designed by Steven Bertrand has been created. The new logo celebrates the history and growth of the company by including the variety of performers that make up M.A.D.D. Rhythms’ key mission goals.

Chicago Black Dance Legacy Project 

Friday, Aug. 28 at 7 p.m.

Harris Theater, 205 E. Randolph 

More information: HarrisTheaterChicago.org

Building on last year’s sold-out engagement, Chicago Black Dance Legacy Project (CBDLP) returns to the Harris stage for their annual cohort performance, featuring ten of Chicago’s most exciting companies including M.A.D.D. Rhythms. With diverse artistic genres including African, contemporary, jazz, tap and many more, this performance honors Chicago’s Black cultural, social, political and artistic architects through movement, imagination and lineage.

The program, Dancing the Archive: Embodied Histories, Collective Power, realizes a living, embodied archive — honoring Chicago’s Black cultural, social, political and artistic architects through movement, imagination and lineage rather than literal representation. 

DC Tap Fest

September 4 - 7

The Westin DC City Center, 1400 M St. NW, Washington, DC

More information: DCTapFest.com 

M.A.D.D. Rhythms will travel to DC to participate in the largest tap festival in the world, attending master classes, dance battles and uniting with tap dancers from all over the world.

36th Annual Africa Festival of the Arts

Saturday, Sept. 5 at 6 p.m.

Washington Park Sunken Garden, 55th Street and Cottage Grove Ave.

More information: AIHusa.org

M.A.D.D. Rhythms performs Saturday night of the Africa Festival of the Arts, one of the nation's premier celebrations of African and African Diaspora culture taking place Labor Day weekend.

Chicago Jazz Fest

Sunday, Sept. 6 at 11:30 a.m. - 12:30 p.m.

Von Freeman Pavilion Stage at Millennium Park, 201 N. Randolph St. 

More information: Chicago.gov 

M.A.D.D. Rhythms makes its Chicago Jazz Fest debut at this year’s Annual Jazz Fest in Millennium Park on the final day of the festival, Sunday, Sept. 6 from 11:30 a.m. to 12:30 p.m.

20th Annual Hyde Park Jazz Fest

September 26 - 27

Pickens Stage, Midway Plaisance at S. Ellis Ave.

More information: HydeParkJazzFestival.org 

On the final day of the festival, Sunday, Sept. 27 from 5 to 6 p.m., the Hyde Park Jazz Fest will present “M.A.D.D. Vibes: Thaddeus Tukes Quintet” in collaboration with M.A.D.D Rhythms, performing excerpts of “WONDER.”

Inaugural Gala

Sunday, Sept. 27 at 7 p.m.

Harold Washington Cultural Center, Harold Washington Cultural Center, 4701 S. King Dr. (47th Street entrance)

More information: MADDRhythms.com

M.A.D.D. Rhythms hosts its first gala in the organization's history. The evening event will include dinner, presentations and an auction. 

Chicago Tap Allstar’s Winter Wonderland 

Saturday, Dec. 12 at 12 p.m.

Harold Washington Cultural Center, 4701 S. Martin Luther King Dr.

More information: ChicagoTapAllstars.com 

M.A.D.D Rhythms and Chicago Tap Theatre collaborate as the Chicago Tap Allstars in the annual “Winter Wonderland,” showcasing festive holiday jazz music and performance. This year, in addition to the holiday performances and special guests, M.A.D.D. Rhythms will perform excerpts from Bril Barrett’s “Oscar Plays Gershwin.”

Winter Wonderfest

Saturday, Dec. 19 at 1 p.m. 

Harold Washington Cultural Center, 4701 S. Martin Luther King 

More information TBA

M.A.D.D. Rhythms joins Art Partners-in-Residence of the Harold Washington Cultural Center for a holiday celebration including vendors, events and performances. 

ABOUT M.A.D.D. RHYTHMS

M.A.D.D. (Making A Difference Dancing) Rhythms, now in its 25th year, is a phenomenal tap dance collective whose “SOLE” purpose is to spread the love and joy of tap worldwide. What started as Bril Barrett and Martin Dumas III’s formula for giving back, is a full-fledged 501 (c) 3 performing arts company, quickly gaining a reputation for representing the true essence of tap: RHYTHM! The company is composed of young, versatile tap dancers from all over Chicago. Their ages range from 17 to 48 years old, and their backgrounds are equally diverse. The one thing they all have in common is a love for “the dance.”

M.A.D.D. Rhythms’ mission is to preserve, promote and contribute to this art form called tap. They teach its history, represent its culture and advocate for its future. M.A.D.D. Rhythms use this beautiful dance/music form to make a difference in the under-served communities of this world by connecting and caring for the youth of this world. Believing that having access and options gives a child a greater chance at a positive life, M.A.D.D. Rhythms spread the joy, love, discipline and expression of tap to as many children as they humanly can!

M.A.D.D. Rhythms’ performance opportunities, in short, have included: Dance Africa Chicago, Dance Chicago, The Stars of “Dance Chicago” in Istanbul, Turkey, M.A.D.D. Rhythms Canada’s “Release Yourself” and “Great Feets of Rhythm,” Downbeats Canada’s “Embrace the Rhythm,” Miami’s Art-Deco Festival, An Expo for Today’s Black Woman, Kwanzaa Festival, The African Festival of the Arts, St. Louis Tap Festival, Boys and Girls Clubs National Conference, the Chicago Historical Society’s Summer Performance Series, performances at Auditorium Theatre with Trinity Dance and DuSable Museum’s educational theater series. They have also produced 11 full-length productions, created the annual Chicago Tap Summit and educated more than 200 students via The M.A.D.D. Rhythms Tap Academy.

In an effort to continuously give back to their communities, they have also worked with many public and private schools and volunteered performances for various community affiliated organizations including A.C.E.S. (Athletes Committed to Educating Students), Children Affected by AIDS Foundation, Nikola Tesla Alternative High School for Girls, TCA Health and Nutrition Fair, Sigma Gamma Rho Sorority, Inc. and Rainbow House.