Items filtered by date: November 2007

CPA Theatricals and Theo Ubique Cabaret Theatre today announced a co-production of the play with music SENTINELS, which imagines a secret society of women that supports and promotes each other's talents in the same way secret societies have provided powerful networks for men. The piece authored by Writers Theatre co-founder Marilyn Campbell-Lowe, with music by Kim D. Sherman and lyrics by Campbell-Lowe and Sherman, was commissioned by CPA Theatricals, the non-profit corporation founded by Larry Little in 2002 that is dedicated to the development of new plays and musicals. Little today announced the special limited engagement, which will open Theo's 2025-26 season in a two-weekend run from August 1 -10, 2025.  Theo will announce the remainder of its upcoming season on April 23. Press is invited to review SENTINELS at any of the three performances opening weekend:  Friday August 1 and Saturday, August 2 at 7:30 pm, or Sunday, August 3 at 3 pm.
 
In this play with music, the Sentinels are an all-women secret society of five graduate students at the fictional "Joan of Arc University" in Milwaukee. They have been meeting clandestinely in an abandoned university room since 1945. Over the years, the Sentinels have been secretly assisting Sentinel alumni who are key contributors to such monumental achievements as the NASA moon launch and the development of a polio vaccine. As the play begins, the present-day Sentinels are facing the dissolution of their society due to the impending razing of the building in which they've been meeting. Reviewing documents in their archives on what they fear will be their final evening together, they reflect on their society's history, looking back on events from 1945, 1952, 1967 and 1973. These were years in which women made lasting contributions to scientific advancement but were also turning points in progress for women – moments when they gained greater agency and autonomy and moved closer to full equality with men. In flashbacks to those five years, we see the developing sisterhood among the Sentinels of each era as they experience the societal sea changes of those periods.
 
The inspirational story of SENTINELS will be enhanced by original musical underscoring. Sherman's music will evoke the spirit of "ordinary women doing extraordinary things" and will also include an uplifting closing anthem with lyrics co-written by Sherman and Campbell-Lowe. Casting and production team will be announced later.
 
Performances for the two-weekend run from August 1 -10 will be Fridays and Saturdays at 7:30 pm and Sundays at 3 pm. Tickets are  $30.00 and will be on sale beginning April 23 at www.theo-u.com.
 
LISTING INFORMATION
 
SENTINELS
A new play with music
A co-production of CPA Theatricals (Larry Little, lead producer and Nicholas Reinhart, Assistant Producer) and Theo Ubique Cabaret Theatre
Written by Marilyn Campbell-Lowe, Music by Kim D. Sherman, Lyrics by Marilyn Campbell-Lowe and Kim D. Sherman
Story created for the stage by CPA Theatricals
Directed by Christopher Pazdernik
WORLD PREMIERE
August 1 -10, 2025
Performances Fridays and Saturdays at 7:30 pm, Sundays at 3 pm
Performances at Howard Street Theatre, 721 Howard Street, Evanston
Tickets $30.00, on sale beginning April 23 at www.theo-u.com
 
We've all heard about the all-male "secret society" at Yale.  But, what if there was an all-female secret society that makes its home out of an abandoned dome room at a university in Milwaukee?  Since 1945, this group of brilliant, courageous college women have made it their goal to ensure women are at every table where important stuff happens. From their refuge overlooking the campus, they've been involved with such monumental events such as the first Black woman to star at the Met Opera, the election of the first female leader of a Muslim country, and the discovery of polio vaccine. This is their story. The Sentinels.

Broadway In Chicago is thrilled to announce individual tickets for KIMBERLY AKIMBO, winner of five 2023 Tony Awards including BEST MUSICAL and the most critically acclaimed musical of its season, will go on sale starting Tuesday, April 8. KIMBERLY AKIMBO will play Broadway In Chicago’s CIBC Theatre (18 W. Monroe St.) for a limited two-week engagement, June 10-22.

Three-time Tony Award nominee Carolee Carmello is playing Kimberly in the National Tour. Joining Carmello will be Miguel Gil (Original Broadway Company of KIMBERLY AKIMBO), Jim Hogan (Original Broadway Company of KIMBERLY AKIMBO), Emily Koch (Wicked, Waitress), Laura Woyasz (Wicked, For the Girls), Grace Capeless (Disney’s The Lion King), Skye Alyssa Friedman (Original Broadway Company of KIMBERLY AKIMBO), Darron Hayes (Original Broadway Company of KIMBERLY AKIMBO) and Pierce Wheeler (Dear Evan Hansen National Tour). Sarah Lynn Marion, Regene Seven Odon, Marcus Phillips, Bailey Ryon and Brandon Springman will be the understudies, and Valerie Wright will be the Kimberly standby.

Kimberly is about to turn 16 and recently moved with her family to a new town in suburban New Jersey. In this “howlingly funny heartbreaker of a show” (The New Yorker), Kim is forced to navigate family dysfunction, a rare genetic condition, her first crush…and possible felony charges. Ever the optimist, she is determined to find happiness against all odds and embark on a great adventure.

Named BEST MUSICAL by the Tony Awards, New York Drama Critics Circle, The Drama Desk Awards, The Lucille Lortel Awards, and The Outer Critics Circle Awards, KIMBERLY AKIMBO is also the winner of four additional Tony Awards: Best Performance by a Leading Actress in a Musical, Best Performance by a Featured Actress in a Musical, Best Score (David Lindsay-Abaire and Jeanine Tesori), and Best Book (David Lindsay-Abaire). With her win for KIMBERLY AKIMBO, Jeanine Tesori made history as the first female composer to win two Tony Awards for Best Score.

KIMBERLY AKIMBO features scenic design by David Zinn, costume design by Sarah Laux, lighting design by Jeanette Oi-Suk Yew, sound design by Kai Harada, projection design by Lucy MacKinnon, and wig, hair, and make-up design by J. Jared Janas. The production’s Music Supervisor is Chris Fenwick and the Music Director is Leigh Delano. KIMBERLY AKIMBO features orchestrations by Tony Award nominee John Clancy, with additional orchestrations by Macy Schmidt. The Production Supervisor is Arabella Powell, the Production Stage Manager is Shawn Pennington, and casting is by The Telsey Office, Craig Burns, CSA.

The North American Tour of KIMBERLY AKIMBO is produced by David Stone, The Atlantic Theater Company, James L. Nederlander, LaChanze, John Gore, Patrick Catullo, and Aaron Glick.

KIMBERLY AKIMBO opened on Broadway to unanimous rave reviews on November 10, 2022, following its world premiere at the Atlantic Theater Company in November 2021. Upon closing on Broadway, KIMBERLY AKIMBO played 32 previews and 612 performances.

For more information, please visit KimberlyAkimboTheMusical.com

Please follow: @akimbomusical

PERFORMANCE SCHEDULE
Tuesday, June 10 at 7:00 p.m.
Wednesday, June 11 at 7:00 p.m.
Thursday, June 12 at 7:00 p.m.
Friday, June 13 at 7:30 p.m.
Saturday, June 14 at 2:00 p.m. & 7:30 p.m.
Sunday, June 15 at 1:00 p.m. & 6:30 p.m.

Tuesday, June 17 at 7:00 p.m.
Wednesday, June 18 at 1:00 p.m. and 7:00 p.m.
Thursday, June 19 at 7:00 p.m.
Friday, June 20 at 7:30 p.m.
Saturday, June 21 at 2:00 p.m. & 7:30 p.m.
Sunday, June 22 at 1:00 p.m.

TICKET INFORMATION
Individual tickets for KIMBERLY AKIMBO will go on sale to the public on Tuesday, April 8 and range from $35.00 - $125.00 with a select number of premium tickets available. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more  information, visit www.BroadwayInChicago.com.

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

For more information and tickets, visit www.BroadwayInChicago.com.
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Dance performances can often be moving events but rarely do they hold the density, breadth and depth of emotions Giordano Dance Chicago’s (GDC) Spring engagement encompassed Friday night at the Harris Theater.  Part tribute, part commemoration of a milestone, and a total celebration of life, Soaring: Life, Light and Legacy spanned the gamut of all the things that can be interpreted more eloquently through the beauty of the arts.

Nan Giordano, celebrating her 40^th year at the helm of the dance company her father, Gus, created 62 years ago, lost her son and only child Keenan Giordano Casey suddenly and unexpectedly last year.  Each of the six dances performed in the Spring lineup touched on, either directly or tangentially, an aspect relating to these two events.  The skill in which GDC accomplished this feat makes the title given to the program a quiet touch of genius.

Opening with the first public performance of Sana, a work created from the verdant and sometimes ground shifting imagination of Al Blackstone, the dance centers on the notion of healing by striking notes reverberating with lightness and possibility.  Strains of calypso could be detected in percussionist’s Stahv Danker’s animated original score.  That same airiness and sense of optimism could also be found in the expectancy shining through the dancers’ movements and in the understated vibrancy of Devert Monet Hickman’s costume designs. They all coalesced to telegraph a message of hope.  It’s not unusual for a work’s newness to expose areas that could benefit from a bit more honing.  And it’s clear that once that sharpening occurs with Sana, its palliative message will ring with even greater resonance.

Some brand-new works though arrive in the world perfectly and 333 certainly counts as one of them.  A solo piece designed specifically for GDC principal dancer Erina Ueda by Ms. Giordano and GDC Associate Artistic Director, Cesar G. Salinas, it is quite simply a mesmerizing tour de force.  Dance can often be summed up as a combination of three parts.  Music, choreographic design, and execution. Here they are in a ravishingly flawless balance.

The rawness of life is something we often prefer to deny, despite its centrality to our very being and existence. Representing angel numbers that connect Ms. Giordano, her son Keenan and her father together, 333 embraces it, glorifies it and opens itself to its power.  Danced to the timeless and near magical appeal of Otis Redding’s signature rendition of Try a Little Tenderness, 333 simmers, explodes and stews in the vicissitudes of life.  I can’t imagine anyone being a better vessel for translating the impact of its mysteries than Ueda, whose expressive range seems boundless and appears to expand with the arrival of each new season.

It also proved the ideal prelude to Soaring, the dance tribute created for her son by Giordano, Salinas and the GDC dancers themselves.

A film introducing the audience to who and the type of person Keenan Casey was, and exposing the respect and love mother and son shared, preceded the dance itself, creating an atmosphere of compassionate awe.  Dancers in Nina G.’s costumes of wispy white then swept from both wings of the stage; ethereal and yet still grounded in the gravity of earthly cares.  Solemnity and exaltation danced in harmony as the entire company was later joined by 25 Keebirds, friends of Giordano’s son, Keenan.  Keebird was the sobriquet they used when referring to their fallen comrade.  Also dressed in white, feet bare and carrying lighted symbols of renewal they walked through the aisles and up to the stage in stoic silence while Antonio Pinto’s music filled the hall.  Striking, poignant and deeply touching, it symbolizes how wrenching great loss can be and how it can be willed into the spiritually restorative.

After a brief pause to absorb Soaring’s impact, lightning struck in the form of, what looked like to these eyes, a totally revamped version of Red and Black.  Created last year by Ray Leeper, the sultry jazz-soaked wonder, already sizzling with energy in its original format, seemed even more kinetic, electrified and polished to a blinding gleam. Opening to an extended version of an obscure Eartha Kitt jewel, female dancers in clinging gowns with long slits let it be known it’s a woman’s world.  One misstep and you’re likely to get scorched, bringing a whole new dimension to the term “deliciously provocative”.  In a program that covered a range of dance styles, this was vintage Giordano in peak form.  Confident, irrepressible, dazzling, athletic, brash. Bonji Duma’s musical expertise helped pump up the adrenalin to power it all.  Along with Ms. Kitt’s vocal brilliance, the music of Moloko, Scott Bradlee’s Postmodern Jukebox, Michael Bublé and Club De Belugas kept this rocket zooming.

Respite came with the visually enchanting Taal, an East Indian concept piece choreographed by Ms. Giordano in 2001.  The name derives from the traditional rhythmic pattern found in classical Indian music, brought to life here with works from Anuradha, Suno A.R. Rahman and S. Jhaia.   Asifa Imran’s graceful and culturally reflective costumes did their part to transport us to another place and time.  An important part of classical Indian dance, hand gestures are used to express a wide range of emotions and were incorporated extensively within Taal.  The effect was to fuse the identities of two dance cultures to create a unique artistic hybrid and something refreshingly new.

Following another short film shedding invaluable insight into what it takes to make a successful dance company thrive and the passion, talent and grit required to be a dancer within it; the program closed with Pyrokinesis. Living up to everything its name implies, this little stick of dynamite in the company’s repertoire, developed by Christopher Huggins in 2007, was a delight to see again. Dressed once again in red and black, this time sleekly styled by Branimira Ivanova, dancers showed what it means to be members of the most elite jazz dance company in the country, if not the world.  The dynamism found in Ray Leeper’s earlier piece simply takes a different form here, but the infectiousness of its joy, verve and vitality were just as powerful, energizing and uplifting.  A fitting close to a night commemorating life, light and transformational legacy.

Soaring: Life, Light and Legacy

Giordano Dance Chicago

April 4-5, 2025

Harris Theater for Music and Dance

205 E. Randolph Street

Chicago, IL   60601

*This review can also be found at Theater in Chicago.

“It’s not us… all this mucking about with our sound.”  

Sunny Afternoon is about many things. This is in so many ways a rock concert – with a score that makes it impossible not to dance and clap along in your seat. It’s vibrant – with a talented design team that simply does not hold back as they bring this musical to life, especially with Costume Designer Miriam Buether’s 60s looks. It’s also joy, with Adam Cooper’s choreography that fills the stage, complete with favorite moves of the decade.

However, at its root, this is the origin story of a rock band. Like so many true stories in this genre, you witness the highs and lows – particularly when the men realize that fame doesn’t quite feel as any of them may have anticipated. As Ray Davies (Danny Horn) frustratingly admits the above on a phone call with his band manager, Larry Page (Sean Fortunato), you may find yourself leaning in, wondering if the group can salvage the heart of their music before it’s too late.

With book by Joe Penhall and music, lyrics, and original story by Ray Davies himself, Sunny Afternoon features the origin story of The Kinks – a British rock band in the 60s. We meet the musicians when they are in essence teenagers – Ray Davies (Danny Horn), Dave Davies (Oliver Hoare), Peter Quaife (Michael Lepore), and Mick Avory (Kieran McCabe). Once they are discovered, their fame skyrockets – with hordes of fans only wanting more with every tour and drop of a new album. Like what many might expect, fame isn’t always easy, and audiences have a front-row seat to the many nuances that can come with that as the story unfolds.

Directed by Artistic Director Edward Hall, Sunny Afternoon is a jukebox musical featuring a number of hits from The Kinks including “You Still Want Me,” “Lola,” “A Rock’n’roll Fantasy,” and “Waterloo Sunset.”  The production showcases a strong ensemble – particularly in the four actors embodying the members of The Kinks. It is not easy to find performers who can not only act the roles, but also play their instruments with a high level of expertise and sing in a way that resembles the original members. To say that the casting was spot-on is an understatement, and from the cheers and applause surrounding me at this performance, it seems fair to say that the audience agreed.

The music alone is a blast, and fans of The Kinks or any rock concert are sure to have a fun night. However, especially for the dedicated theater-goers in the audience, you might find that what really sells the show is the chemistry between the performers at the center.

“Dedicated Follower of Fashion” is a prime example appearing early in Act One. The young band members find themselves in a department store confronting one of the first shifts that they would have to endure on the way to stardom – finding their new look. Their new management tries to force them down a specific path of a classy, formal appearance. However, the men cannot help but turn the experience into something else entirely. Throughout the song, we see them having fun with different looks – joking around with different accessories and making it clear to all involved that they are here for the joy. The audience at this performance was clearly along for the ride – laughing alongside the actors and cheering as they made the number increasingly over-the-top.

The Kinks did not have it easy – and Sunny Afternoon certainly makes that clear. Particularly as the pressures become too much for some of the band members, the story can be hard to swallow. However, much of that is due to the genuine friendship we witness unfold on stage. Hall’s ensemble brings an authenticity that you might just find is impossible not to love.

Stellar casting and a rocking score make Sunny Afternoon a theatrical event that you simply do not want to miss. Whether you are a die-hard Kinks fan or this is your first time experiencing the material, the music alone will leave you wanting more.

HIGHLY RECOMMENDED

Run Time: 2 hours and 30 minutes, with intermission

Sunny Afternoon runs at Chicago Shakespeare Theater (800 E Grand Avenue) through April 27, 2025. See the Chicago Shakespeare Theater website for more information regarding tickets.

Walking into the Harris Theater for the “Trial of Themistocles,” I was expecting something translated from ancient Greek, togas, masks, maybe a chorus, and a scholarly script that would take some work to wade through.

Instead I found the latest installment of a delightful Trials Series produced since 2013 by the Chicago-based National Hellenic Museum on Halsted St. This program is part of the museum’s mission to advance awareness of the foundational contributions Greece has made to world civilization, in architecture, philosophy, mathematics, and—particularly timely—democracy. The Museum’s “Trial” series is actually mock-trials of historic Greek figures conducted by actual Chicago judges and argued by prominent local barristers. The annual event was qualified by the Illinois Attorney Registration & Disciplinary Commission (IARDC) for continuing legal education (CLE) credit. Attorneys attending the event can register for CLE credit on site.

Though scripted in a somewhat light-hearted tone, the “Trial of Themistocles” evokes weighty matters—touchstone societal issues that underpin our mode of government, and our means to maintain a civil society. It was reassuring, even moving, to be among those hundreds in the audience interested in rational thought and with a cosmopolitan, worldly view of history. While we extol the Renaissance and the Age of Enlightenment that followed, these periods were essentially a rediscovery of the wisdom of Greece.

Themistocles was an Athenian citizen, the city where trial by jury originated. He was the military chief who planned Athens’ creation of a large fleet of warships, multi-oared triremes, and led them to victory against the mighty Persian empire at the naval battle of Salamis. As a result, Themistocles’ star rose and he was elected Archon of Athens, the head of the city-state. He was a peoples’ candidate, with more common roots in his family tree, but was not welcomed by the aristocracy.

After he left office, history tells us that political rivals besmirched Themistocles’ reputation, accusing him of collusion with the Persians while leading Athens—even though he had defeated the Persons for Athens’ benefit. His enemies were animated to take him down, and Themistocles was ostracized—another Athenian invention —where he was voted out of town. Themistocles then left for an administrative post in Persia. The Athenians summoned him back to be tried for treason, but in real life he died before the trial took place.

Katerina Alexopoulos (U.S. Department of Homeland Security) questions Themistocles, played by Jonathan Shaboo, as the judges, jury and other attorneys look on in the National Hellenic Museum's Trial of Themistocles

In the “Trial of Themistocles,” hosted by former TV news anchor Andrea Darlas, only two professional actors were on stage: in the roles of Athenian politician and naval leader Themistocles (who died in 460 B.C.E.) played by Jonathan Shaboo; and the witness for the prosecution, Arsenia, played by comedian Megan Goldish. In her day job, she happens to be the Honorable Megan Goldish, a Cook County Circuit Court Judge.

All this was presided over by a panel of real-life area judges, and with a 12-person jury of scholars, lawyers and media personalities from NBC, Axios, WVON, and including Georgia Tasiopoulou, Consul General at the Greek Consulate in Chicago. Though the Trial series is a one-night-only performance, it was filmed by WTTW for later broadcast. The 2016 broadcast of the “Trial of Antigone” won an Emmy for the local National Public Television affiliate.

Our streaming world is filled with police procedurals and legal shows with actors playing lawyers. In the “Trial of Themistocles,” we got a chance to see how the real deal compares with actors, and in their opening arguments, cross examination, and summations delivered by actual lawyers, it turns out they’re as good as the actors imitating them, maybe even better. In the “Trial of Themistocles,” they acquitted themselves very well, as did the judges.

Leading the defense were Patrick M. Collins, a partner at King & Spaulding law firm; Tinos Diamantatos, a seasoned Katerina Alexopoulos, Assistant Chief Counsel for the U.S. Department of Homeland Security. And for the prosecution, Sarah King, president of the Women’s Bar Association of Illinois; and Patrick Salvi II, managing partner of Chicago law firm Salvi, Schostok & Pritchard. For the record, I felt Diamantos gave the best oratorical delivery.

All four judges found Themistocles not guilty, including Justice Joy V. Cunningham (Illinois Supreme Court), Hon. Georgia N. Alexakis (U.S. District Court for the Northern District of Illinois), Hon. Anthony C. Kyriakopoulos (Circuit Court of Cook County) and Hon. Jeffery Chrones (Circuit Court of Cook County). Listening to the judges’ reasoned findings dismissing the charges against Themistocles, it was apparent that their opinions were infused with the master principles enshrined in U.S. law. The 12-member panel of esteemed jurors on stage—composed of civic leaders, academics and media personalities—found Themistocles not guilty by a margin of 11-1. Likewise the audience voted, overwhelmingly for acquittal.

The Museum says its NHM Trial Series “highlights the enduring relevance and value of Greek thought and history.” I couldn’t agree more.

The National Hellenic Museum Has a mission to share Greek history, art, culture and the Greek American story, it also displays its extensive collection of more than 10,000 physical artifacts. Located in Chicago’s historic Greektown neighborhood since 2011, Museum hours are Thursday through Sunday from 10 a.m.-4 p.m. nationalhellenicmuseum.org

*This review can also be found at Theater in Chicago.

All hands on deck Titanic fans! Get ready for a lavishly produced musical that boldly reimagines the Titanic story, navigating it into fresh and unforeseen waters.

The story of the "unsinkable" Titanic is one most of us know well—the ship’s ill-fated maiden voyage on April 14, 1912, ending in tragedy as it struck an iceberg and sank to the ocean's depths. Many are also familiar with the iconic film Titanic, starring Leonardo DiCaprio and Kate Winslet, which, while rooted in historical accuracy, introduced audiences to the poignant love story of Jack and Rose—two young hearts entangled in a passionate romance before disaster struck. But were the events exactly as we’ve been told? According to Celine Dion, who claims to have been there, the story might be quite different.

Alas, Broadway in Chicago and Porchlight Theatre proudly bring you Titanique—a one-of-a-kind musical comedy that's guaranteed to leave you in stitches and thoroughly entertained. Directed by Tye Blue, Titanique is an uproariously funny and gloriously campy musical parody that breathes new, unexpected life into James Cameron's beloved cinematic masterpiece, Titanic. At the helm of this delightfully absurd reimagining is none other than global superstar Celine Dion—or, at least, a larger-than-life version of her. Yes, that Celine Dion! In an inspired twist, Celine barrels her way into the heart of the story, unapologetically seizing control of Jack and Rose's ill-fated romance and retelling it as only she can. Her perspective transforms the tragic tale into a flamboyant celebration of love, loss, and diva-level drama.

But don’t expect a straight retelling! With book by Maria Mindelle, Constantine Rousoull and Tye Blue, Titanique is dripping with outrageous humor, zany antics, and more self-aware silliness than you can shake a life preserver at. This hilarious musical is powered by Celine's legendary hits—including the anthem of all anthems, "My Heart Will Go On"—woven cleverly into the narrative to deliver laugh-out-loud musical moments. Every note and every lyric is infused with heart, hilarity, and that unmistakable Celine flair. Other standout songs include the heartfelt "All By Myself," the captivating "To Love You More," and “River Deep, Mountain High.”

Part parody, part homage, Titanique is a buoyant blend of romance, comedy, and theatrical absurdity that captures the essence of '90s nostalgia while winking affectionately at its audience. It’s a showcase of over-the-top diva brilliance, a love letter to a bygone era, and an experience that is uproariously entertaining with the ridiculous factor cranked up all the way.

Titanique’s Broadway Playhouse run showcases an exceptional all-Chicago cast—and their performances are outstanding.

Let’s talk about show-stopping performances! Clare Kennedy McLaughlin sparkles as Céline Dion, delivering a perfect blend of powerhouse vocals and side-splitting humor. With a flawless mix of diva attitude and quirky charm, she captures Céline's essence in a way that makes her a true standout in this riotous spoof. From her spot-on comedic timing to her ability to belt out those iconic ballads, McLaughlin has the audience roaring with laughter - and cheering for more. Her performance is the heart and soul of Titanique—bold, delightfully campy, and unforgettable.

Adam Fane and Maya Rowe star as Jack and Rose in Titanique at Broadway Playhouse.

Adam Fane shines as Jack, captivating audiences with his charm and comic mastery. Fane’s performance effortlessly enhances the show's playful lampoon of the iconic Titanic tale. With impeccable timing and genuine emotional depth, he brings a delightful balance to his role. As Jack’s love interest, Maya Rowe infuses the role of Rose with vibrant energy, delivering a performance that is both engaging and hilariously on-point. Her portrayal seamlessly complements the show's whimsical and irreverent spirit, showcasing her knack for humor while preserving the heart of her character. Rowe's charm and comedic brilliance make her a standout in this unsinkable production.

The ensemble cast of Titanique is an absolute joy, bursting with energy, humor, and incredible talent in this gut-busting musical comedy. Each performer adds their own unique touch, coming together as a dynamic force that fuels the show’s hilarity and charm. Abbey C. Smith delivers a triumphant vocal performance as Molly Brown, while Lorenzo Shawn Parnell dazzles with his remarkable voice as both The Seaman and the Iceberg. Rob Lindley, as Rose’s mother Ruth, earned some of the loudest laughs of the night, with Adrian Aguilar as Cal and Jackson Evans portraying both Luigi and Victor Garber adding to the show’s irresistible humor.

The scenic and costume design of Titanique is truly remarkable. The neon-lit iconic Titanic staircase draws audiences into a fantastical world that beautifully aligns with the show’s cheeky and whimsical vibe. The costumes are just as outstanding, showcasing a perfect mix of creativity and humor that bring the characters to life in a visually striking way. Together, the scenic and costume design craft an immersive atmosphere that amplifies the charm and playful extravagance of this remarkable production.

Completing the checklist, the Broadway Playhouse in Downtown Chicago offers an ideal venue to immerse yourself in the magic of Titanique. Warm and intimate, the theater offers exceptional sightlines from every seat, allowing audiences to immerse themselves in the performance and feel fully connected to the on-stage magic. 

For a musical comedy, Titanique checks all the right boxes, offering a delightful experience that's worth enjoying again and again. Take the plunge with Titanique!

*Don't bring the little kiddos! There's a good reason the musical's website suggests a 13+ audience. Titanique contains sexual innuendo and adult language.

Performed at Broadway Playhouse through July 13th. For more tickets and/or show information, click here.

*This review can also be found at Theater in Chicago.

Welcome back to the Moulin Rouge! Broadway In Chicago is thrilled to announce the Tony Award® winning production, MOULIN ROUGE! THE MUSICAL is now playing at the Cadillac Palace Theatre (151 W. Randolph St.). MOULIN ROUGE! THE MUSICAL is playing for a limited three-week engagement through April 20 only. MOULIN ROUGE! THE MUSICAL is the winner of ten 2021 Tony Awards® including Best Musical, two Drama League Awards including Outstanding Production of a Musical, five Drama Desk Awards and ten Outer Critics Circle Award Honor citations including New Broadway Musical. The current North American tour cast is led by Arianna Rosario as “Satine” and Jay Armstrong Johnson as “Christian”; and features Robert Petkoff as “Harold Zidler,” Andrew Brewer as “The Duke of Monroth,” Jahi Kearse as “Toulouse-Lautrec,” Danny Burgos as “Santiago,” Kaitlin Mesh as “Nini,” and Jerica Exum in the role of the “Satine Alternate.” In addition the company includes Amara Berhan, Rodney Thompson, Renee Marie Titus , Carina R. Avila, Mateus Barbosa da Silva, Rhys Carr, Darius Crenshaw, Nicolas De La Vega, Nathan Fister, Jeremy Gaston, Collin Heyward, Nathaniel Hunt, Michał Kołaczowski, Charizma Lawrence, Katie Lombardo, Meghan Manning, Amanda Mitchell, Luke Monday, Tanisha Moore, Kenneth Michael Murray, Elyse Niederee, Omar Nieves, Luke Rands, Logan Gray Saad, Maia Schechter, Adéa Michelle Sessoms, Jeff Sullivan, Carmella Taitt, Jordan Vasquez, and Jerald Vincent.MOULIN ROUGE! THE MUSICAL opened to critical acclaim at the Al Hirschfeld Theatre in the Summer of 2019 and reopened in September 2021 following the shutdown of Broadway due to the pandemic.“Spectacular! Euphoric! In MOULIN ROUGE! THE MUSICAL, life is beautiful,” raves The New York Times. “MOULIN ROUGE! THE MUSICAL is a fabulous new musical. The high begins the instant you walk into the theatre,” said the New York Post. Entertainment Weekly concludes that “it’s easy to believe that MOULIN ROUGE! THE MUSICAL could run for 50 years.”MOULIN ROUGE! THE MUSICAL is directed by Tony Award® winner Alex Timbers and with a book by Tony Award® winner John Logan, choreography by Tony Award® winner Sonya Tayeh and music supervision, orchestrations and arrangements by Tony Award® winner Justin Levine.The design team for MOULIN ROUGE! THE MUSICAL includes Tony Award® winner Derek McLane (sets), Tony Award® winner Catherine Zuber (costumes), Tony Award® winner Justin Townsend (lighting), Tony Award® winner Peter Hylenski (sound), Drama Desk Award winner David Brian Brown (wig and hair design), Sarah Cimino (Make-up design) and Tony Award® winner Matt Stine (Music Producer). Casting is by Jim Carnahan and Stephen Kopel.Enter a world of splendor and romance, of eye-popping excess, of glitz, grandeur and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Pop the champagne and prepare for the spectacular spectacular … Welcome to MOULIN ROUGE! THE MUSICAL.Baz Luhrmann’s iconic film comes to life onstage, remixed in a new musical mash-up extravaganza. MOULIN ROUGE! THE MUSICAL is a theatrical celebration of Truth, Beauty, Freedom, and - above all - Love. MOULIN ROUGE! THE MUSICAL is more than a musical; it is a state of mind.As in the film, MOULIN ROUGE! THE MUSICAL celebrates over 160 years of music – from Offenbach to Lady Gaga. The stage musical features many of the iconic songs from the movie, and also includes recent hits released since the movie premiered 21 years ago.MOULIN ROUGE! THE MUSICAL is produced by Carmen Pavlovic and Gerry Ryan OAM for Global Creatures and Bill Damaschke. General management is by Foresight Theatrical.Co-producers of the touring production include Aaron Lustbader, Hunter Arnold, Darren Bagert,  Erica Lynn Schwartz/Matt Picheny/Stephanie Rosenberg, Adam Blanshay Productions/Nicolas & Charles Talar, Iris Smith, Aleri Entertainment, Sophie Qi/Harmonia Holdings, CJ ENM,  Len Blavatnik, Ambassador Theatre Group, Endeavor Content, John Gore Organization, Spencer Ross, Gilad-Rogowsky/InStone Productions, AF Creative Media/International Theatre Fund, Nederlander Presentations/IPN, Cody Renard Richard, Jujamcyn Theaters, Eric Falkenstein/Suzanne Grant, Peter May/Sandy Robertson, Tom & Pam Faludy, Triptyk Studio,  Carl Daikeler/Sandi Moran, Desantis-Baugh Productions, Red Mountain Theatre Company/ 42ND.CLUB, Candy Spelling/Tulchin Bartner, Roy Furman, Andrew & Ruby Ryan, Brent & Sarah Deboer and Michael Ryan.Released by 20^th Century Studios, Baz Luhrmann’s MOULIN ROUGE! premiered at the 2001 Cannes Film Festival. At the 74th Academy Awards, the film was nominated for eight Oscars, including Best Picture, and won two.The Moulin Rouge of Paris, managed by Jean-Jacques Clerico (CEO), is a dazzling and spectacular universe, the symbol of the Parisian way of celebrating since 1889. Starting life as a popular cabaret and dance hall, the venue became an iconic music hall in the Roaring Twenties, and then a theatre where numerous famous French and international artists stepped out into the limelight. Today, the Moulin Rouge and its 60 artists present the Féerie revue show: two hours of amazement between cabaret and music hall styles where dance scenes and surprise acts intersperse – without forgetting the Moulin Rouge’s most emblematic dance, the French Cancan! Since its creation, the Moulin Rouge of Paris has always been an invitation to live and share all the emotions and effervescence of a unique party extravaganza. http://www.moulinrouge.fr/The Grammy-nominated MOULIN ROUGE! THE MUSICAL Original Broadway Cast Recording, produced by Baz Luhrmann, Justin Levine, Matt Stine & Alex Timbers, is now available by Baz Luhrmann’s label, House of Iona, and RCA Records. The album debuted at #1 on Billboard’s Cast Album chart.The book Moulin Rouge! The Musical: The Story of the Broadway Spectacular, a glittering backstage pass to MOULIN ROUGE! THE MUSICAL and its journey to Broadway, is now available from Rizzoli.Follow MOULIN ROUGE! THE MUSICAL on X, Instagram, Facebook and TikTok
MoulinRougeMusical.com

PERFORMANCE SCHEDULE
Wednesday, April 2 at 7:00 p.m.
Thursday, April 3 at 1:00 p.m. and 7:00 p.m.
Friday, April 4 at 7:30 p.m.
Saturday, April 5 at 2:00 p.m. and 7:30 p.m.
Sunday, April 6 at 1:00 p.m. and 6:30 p.m.Tuesday, April 8 at 7:00 p.m.
Wednesday, April 9 at 1:00 p.m. and 7:00 p.m.
Thursday, April 10 at 7:00 p.m.
Friday, April 11 at 7:30 p.m.
Saturday, April 12 at 2:00 p.m. and 7:30 p.m.
Sunday, April 13 at 1:00 p.m.Tuesday, April 15 at 7:00 p.m.
Wednesday, April 16 at 1:00 p.m. and 7:00 p.m.
Thursday, April 17 at 7:00 p.m.
Friday, April 18 at 7:30 p.m.
Saturday, April 19 at 2:00 p.m. and 7:30 p.m.
Sunday, April 20 at 1:00 p.m.TICKET INFORMATION
Experience it again! Individual tickets for MOULIN ROUGE! THE MUSICAL are on sale now and range from $40.00 - $145.00 with a select number of premium tickets available. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more  information, visit www.BroadwayInChicago.com.ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 25 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the  Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway  Playhouse at Water Tower Place.For more information and tickets, visit www.BroadwayInChicago.com.
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#broadwayinchicago

By popular demand, Disney’s The Lion King will return to Chicago for the first time since 2023, where the production played a sold-out run at the Cadillac Palace Theatre.  This three-week return engagement at the Cadillac Palace Theatre begins Friday, October 3, 2025 and plays through Sunday, October 19, 2025. Individual tickets for The Lion King will go on sale to the general public later this year.

Reservations for groups of ten (10) or more are now being accepted by calling 312-977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it..  Additionally, Extra Magic Packages, which include an excellent seat in the theater and show merchandise, are also available.

The Lion King has been touring North America for more than 22 years, and during that time has welcomed over 23 million theatergoers, making it North America’s longest-running and most-attended Broadway tour. Having already played more than 10,000 performances in over 90 cities across North America, The Lion King now proudly returns to Chicago at the Cadillac Palace Theatre.   

ABOUT THE LION KING
Approaching 30 landmark years on Broadway, The Lion King continues ascendant as one of the most popular stage musicals of all time.  Since its premiere on November 13, 1997, 30 global productions have been seen by over 124 million people.  Produced by Disney Theatrical Group, under the direction of Andrew Flatt, Anne Quart, and Thomas Schumacher, The Lion King has made theatrical history with two productions worldwide running 20 or more years and three others running 25 or more years. 

Performed over its lifetime in nine different languages (English, Japanese, German, Korean, French, Dutch, Spanish, Mandarin and Portuguese), there are currently nine productions of The Lion King around the world: Broadway, London, Paris, Hamburg, Madrid, Tokyo, Toronto, Mexico City, and on tour across North America. The Lion King has played over 100 cities in 24 countries on every continent except Antarctica; its worldwide gross exceeds that of any film, Broadway show or other entertainment title in box office history.     
 
The Lion King won six 1998 Tony Awards^®:  Best Musical, Best Scenic Design (Richard Hudson), Best Costume Design (Julie Taymor), Best Lighting Design (Donald Holder), Best Choreography (Garth Fagan) and Best Direction of a Musical.  The Lion King has also earned more than 70 major arts awards including the 1998 NY Drama Critics Circle Award for Best Musical, the 1999 Grammy^® for Best Musical Show Album, the 1999 Evening Standard Award for Theatrical Event of the Year and the 1999 Laurence Olivier Awards for Best Choreography and Best Costume Design. 

Director, costume designer and mask co-designer Julie Taymor, the first woman to win a Tony Award for Best Director of a Musical, remains actively involved in the show, launching new productions and maintaining the flagship Broadway production. 

The Broadway score features Elton John and Tim Rice’s songs from the Lion King animated film along with three new songs by John and Rice; additional musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer; and music from "Rhythm of the Pride Lands," an album inspired by the original music in the film, written by Lebo M, Mark Mancina and Hans Zimmer.  The resulting sound of The Lion King is a fusion of Western popular music and the distinctive sounds and rhythms of Africa, ranging from the Academy Award^®-winning song “Can You Feel the Love Tonight” to Lebo M’s rich choral numbers.

Elton John, Lebo M, and Hans Zimmer all collaborated on the 2019 version of the film, executive produced by Julie Taymor and Thomas Schumacher, which has gone onto extraordinary worldwide success.

The book has been adapted by Roger Allers, who co-directed the animated The Lion King feature, and Irene Mecchi, who co-wrote the film’s screenplay.  Other members of the creative team include:  Michael Curry, who designed the masks and puppets with Taymor, Steve Canyon Kennedy (sound design), Michael Ward (hair and makeup design), Anthony Lyn (associate director), Marey Griffith (associate choreographer), Clement Ishmael (music supervisor), Lisa Dawn Cave (production supervisor), Thomas Schlenk (general manager) and ARC/Mark Brandon, CSA (casting). Anne Quart serves as executive producer.

For more information worldwide, visit LionKing.com, www.facebook.com/thelionkingusa and www.instagram.com/thelionking. 

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

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

THE LISTENERS has undergone several incarnations since the 2021 novel by Jordan Tannahill. It’s been a full-length movie, a TV series’, and now an opera, premiering in New York and now brought to Chicago by the renowned composer/librettist team Missy Mazzoli and Royce Vavrek. This opera, at Civic Opera House, was in all aspects a spectacle.

The first spectacle for me was the videography, designed by Chris Maravich and Sarah Riffle. It not only enhanced the show but actually made it possible for patrons sitting farther back than the Dress Circle to actually see the performers. Solos were performed from a nondescript podium while a huge video showed the artist in closeup. The result was both wonderful and very effective.

[NOTE: This production features an enormous cast and crew; I simply couldn’t wedge them all into my review. The result includes those artists whose work moved me speak – my opinions, which in no way reflect the superb work of artists I neglected to name.]

Throughout the opera I was fascinated by Adam Rigg’s brilliant set. A few scenes – those involving the full company – used the entire stage, but most sets were formed on a revolving stage comprised of two or three separate sets. The huge apparatus could be drawn onto the stage by 2-3 people, and turned to display each new set as easily, while one set faced the rear and was not visible to the audience, allowing Rigg’s team to prepare it for future scenes.

I was entranced by the dancers Rachel Harris and Morgan Reed McDaniel, particularly in their role as Coyote, an apparition that offers solace to the primary Listener, Claire [NOTE:  the critter is called Coyote but, without wanting to be difficult, I maintain that I know a bloody CAT when I see one! slinking about between peoples’ legs and swishing her long tail. But that’s neither here nor there so far as this review.]

Let me give you the bare bones of the story (no spoilers, I promise). The Hum is a phenomenon seen in the UK and the US, particularly in Southwestern desert areas. It’s described variously by individual sufferers, but all agree on the appellation The Hum, a noise, neither loud nor unpleasant but directionless, untraceable, and, worst of all, constant. Claire, an unexceptional American housewife and schoolteacher, is subjected to The Hum and is unable to explain her world of hallucinatory oddness. Her husband Paul (Zachary Nelson) and daughter Ashley (Jasmine Habersham) behave just as you’d expect–initially they treat Claire sympathetically and then, as The Hum and Claire’s anguish persist, they can’t help thinking she’s simply gone nuts.

And indeed, Claire herself feels crazy. Is it all in her imagination?  Could The Hum be a murmur of dissatisfaction with her ordinary life? It’s impossible to explain. She believes herself alone, the only person that hears it … until she consults her high-school students. Here she strikes gold: one student hears it too! This naturally creates a bond between Claire and Kyle (Jonas Hacker), and she is receptive when Kyle discovers a group, THE LISTENERS, whose mission is to understand and eliminate The Hum.

Led by the charismatic Howard (Kyle Ketelsen) and his second-in-command Angela (Daniela Mack), THE LISTENERS offers a compassionate environment for Claire and Kyle, a group where strangers pour out their most intimate secrets to each other within about five minutes of meeting (as you do). 

Drawn into this group - are they a cult? What does that even mean? - Claire finds succor after the breakdown of her own family life. Still, questions of power, mental health and explanations for The Hum are raised but never resolved.

Act the Second focuses on the group, THE LISTENERS, As the group grows larger and becomes more ritualistic, the members – who are, after all, basically just folks – begin to assume the conflicts common to large groups:  dissonance between members; jealousy for higher position (e.g. supplanting second-in-command Angela); partisan factions arguing polemics. These squabbles are heightened as members begin to denounce Howard, whose response to the mutineers escalates from disregard to outright hostility. Ultimately Howard appoints himself Lord High Executioner and banishes the dissenters from THE LISTENERS.

The ending is no small thunderbolt, and I’ll not risk spoilers! However, in the year 2025 I’d be remiss not to use this opportunity to explore the phenomenon of CULTS.

‘CULT’ vs  ‘SECT’

Sects are products of internal schism and maintain continuity with traditional beliefs and practices, whereas cults arise spontaneously around novel beliefs and practices.

Wikipedia defines a cult as a social group with socially deviant or novel beliefs and practices. However, the term has dehumanizing associations and by the end of the 1970s the term ‘cult’ was largely replaced in academia with " new religious movement”.

Sects are smaller parts of larger groups and are not necessarily religious. The field of Economics, for example, can be divided into the sect’s ‘capitalist’ and ‘communist’; Psychiatry includes the sects “Freudian’ and ‘Jungian’.     A number of devices are used to define and recognize cults, and to differentiate cults from sects.

Dr. Steven Hassan’s BITE model includes clues for recognizing cults

B for Behavior Control: Promote dependence and obedience in all aspects of life

• Where & with whom you live; appearance
• Regulate eating, drinking, and sleeping
• Exploitation – sexually, financially

I  for Information Control: Deliberately withhold & distort information

• Divide information into Insider vs Outsider
• Demand confession sessions then use that information against you
• Encourage spying on your peers & reporting ‘misconduct’

T   for Thought Control:  Instill Black vs White/  Us vs Them  /  Good vs Evil  thinking

• Only +ve thoughts allowed
• Singing, prayer, chanting to block thought

E  for Emotional Control:  Instill irrational fears – happiness is found only in the group

• Label certain emotions as wrong, evil, sinful
• Promote shame, guilt, unworthiness; threaten family & friends
• Love bombing until you disobey; then shunning

Some scholars have theorized that religiosity and cultic affiliation tend to rise in proportion to perceived uncertainty: the less control we have over our circumstances, the more likely we are to entrust our fates to a higher power. 

This propensity could speak to why cults proliferated during the social and political tumult of the 1960’s, and why levels of religiosity have remained wider spread in America than in other industrialized countries. Americans, it is argued, experience significantly more economic precarity than people in nations with stronger social safety nets. Thus, they’re more inclined to seek comfort and security elsewhere.

This final bit is not necessarily related to my review of THE LISTENERS, but I found it to be an interesting and possibly important thought. Personally, I find the idea uniquely disquieting in April 2025.

The opera THE LISTENERS is also significantly disquieting. I like – in fact I prefer these more sombre and troubled performances, especially as THE LISTENERS features a musically and dramatically brilliant cast and crew. But if you simply want to be entertained by the mellifluent tones of Lyric’s superlative performers, you may prefer another of the masterworks in Lyric Opera’s season

RECOMMENDED

THE LISTENERS plays at Lyric Opera of Chicago through April 11  

*This review is also featured on https://www.theatreinchicago.com/!

IDENTITY PERFORMING ARTS Presents Spring Concert 2025 

“Instinct”

A captivating performance of four distinct works on April 26 & 27

Ann Barzel Theater

Visceral Dance Center, 3121 N Rockwell St, Chicago IL 60619

Tickets $30

Saturday, April 26 and Sunday, April 27 at 7 pm

Tickets Link

https://www.identityperformingarts.org/spring-and-summer-season-2025

 For more information, call 312.600.3076 or visit

https://www.identityperformingarts.org/

About the Program:

Join us for the premiere of choreographer Ginny Ching-Yin Lo’s newest work Instinct—her 17th original choreography for Identity’s 8th season of dance performances.

Inspired by Lo’s observation of our innate animalistic nature, Instinct shows bodies on stage that crawl, scratch and scan the landscape for survival, to the sounds of jungle drumming that abruptly changes to cello orchestration. 

This program also features the return of River Squalor, premiered in fall 2024 - a quartet of dancers who move on stage as if flowing with the water, as if nothing else matters beyond their joy. This work was inspired by Lo’s experience of seeing children gleefully playing with abandon in a squalid river, forgetting their dire surroundings. 

Muted, described by See Chicago Dance as “dancers gripped through an intriguing shadowy world of silence” is paired with Voices, offering how silence can be a powerful way to be heard.

Being heard allows us to soar beyond mere agreements and foster genuine connections.   

About Ginny Ching-Yin Lo and Identity Performing Arts:

Identity is a Chicago-based not-for-profit contemporary dance company established in 2016 by founder and artistic director, Ginny Ching-Yin Lo. Lo choreographs dance that represents her lived experiences as a Chinese-American artist and woman of faith; her works are a testament to the beauty that comes from staying true to all of the pieces of her personal history and identity. The commitment to sharing identity through dance allows the members of our Chicago community who share those experiences to feel seen, cherished, and represented. Lo has performed in the U.S., China, France and Germany with her original works.  

She has been creating dance works perpetually since starting the company with 3 dancers to 

9 dancers currently that allows her to expand her artistry and experimenting various choreographic works. Although she has her signature style, she strives to create beyond her comfort zone because of her curiosity and interest in new concepts, inspired be her personal experiences.  

The company's first live concert debuted in fall, 2021 and is one of the resident companies of Visceral Dance Center since 2022. Identity has performed locally, nationally in the Seattle International Dance Festival and internationally in Hanover, Germany. Identity hosted its own Elpis Dance Festival annually for the past three years in Chicago. All works created for and performed by Identity dancers express the beauty of our individual identities, interconnected in unity.