Items filtered by date: November 2007

Brightside Theatre’s rendition of Bram Stoker’s Dracula, adapted by Stephen Dietz, captivates from the opening scene to its climactic finale. Ever since the 1992 Francis Ford Coppola film with Gary Oldman, Bram Stoker’s Dracula has fascinated me. It was a delight to see Brightside Theatre’s cast and crew brilliantly capture the excitement, romance, and terror of this classic tale. Each professional performer brought their unique talents to the show, creating an unforgettable experience.

Bram Stoker’s Dracula is a gothic horror story that follows Jonathan Harker, a young lawyer, who travels to Transylvania to help Count Dracula purchase a London estate. Harker soon discovers that Dracula is a vampire intent on spreading his undead curse to England. Meanwhile, Dracula's sinister influence spreads, threatening Harker's fiancée Mina and her friend Lucy. While Renfield eagerly awaits his master’s arrival, a group led by Professor Van Helsing joins forces to thwart Dracula's plans, resulting in a thrilling battle between good and evil. The tale explores themes of fear, seduction, and the clash between modernity and ancient evil.

Lucy (Julia Hope Budd) and Seward (Adam Boczar) in Dracula

The entire cast is excellent. Greg Kolack shines as Renfield, bringing immense energy and pathos to the role of Dracula's insane, bloodthirsty slave. Caitlin Wolfe captures Mina's innocent charm with a thoughtful and intelligent grace, making her the perfect target for Dracula's dark desires. Brady McNeil delivers a compelling performance as Jonathan Harker, convincingly portraying his transition from a rational businessman visiting Dracula's castle to a broken, mentally disturbed soul after enduring the bloody, sexual rituals of Dracula’s vixens. Julia Hope Budd delivers an exceptional and multifaceted performance as Lucy, the innocent victim who succumbs to Dracula's bloodthirst and transforms into a vampire. Budd lights up the stage with her sensuality and humor in scenes where she's pursued by suitors. As she transforms into a vampire, she remains equally compelling and thrilling to watch.

Also delivering a strong performance is Mike Boyna, who excels as Van Helsing, bringing a mature presence and delivering words of wisdom that resonate deeply with the audience in Steven Dietz's well-written adaptation. Seward is superbly played by Adam Boczar. His deep love for Lucy is clear, despite her referring to him as a "true friend." Seward's love and respect for Lucy is palpable, especially in the way he gently touches her wrist to take her temperature, as if overcome with emotion at the honor.

Of course, Danny Parrott excels as Dracula, bringing a spooky energy to the role. Parrot's strong, graceful, and sensual portrayal as he stalks his victims showcases both sides of Dracula—the powerful, commanding seducer and the violent, selfish monster capable of great cruelty and murder.

The vixens, portrayed by Erica Harrington, Daria Koon, and Kirstin Palatinus, were each sensuous and frightening, draped in beautiful silk robes.

The cast of Bram Stoker's Dracula

Throughout the play the production's lighting and sound effects, crafted by set designer Jeff Sand, Jay Fontanetta, and Kurt Ottinger, were exceptional, including its clever use of multimedia. I also thoroughly enjoyed Cheryl Newman's well-fitting and multilayered period costumes. Each outfit perfectly suited both the actors and the era, particularly the women's intricate, corseted silk ensembles.

During the play’s intermission, I spoke with Jeffrey Cass, Brightside’s Artistic Director, and Julie Ann Kornak, the company’s Executive Director and co-founder, praising their excellent work in creating the space—a delightfully intimate three-quarter thrust theater with comfortable seating, great sight lines, and effective special effects lighting. I was thrilled to learn that their upcoming season will feature more exciting productions like Dracula, including Jekyll and Hyde the Musical, the ever-romantic Midsummer Night’s Dream, and the uplifting musical comedy Pippin!

Skillfully directed by Jay Fontanetta, this thrilling, scary, and sensual production of Dracula is a must-see for audiences of all ages. It's the perfect Halloween treat for adults looking to celebrate the holiday without the usual haunted house fare!

Dracula is being performed at Brightside Theatre in Naperville through November 3rd. For tickets and/or more show information, click HERE.

The early closing of the Conspirators’ 2023 production of “Commedia Divina,” proved useful, giving this …erm … highly original company an opportunity to retool “Commedia Divina” into a production worthy of Election Year 2024.

I can’t claim I wasn’t warned. I mean, the very title is “Commedia Divina: It’s Worse Than That, An Immorality Play.” You can’t read that title and walk in expecting Carol Burnett, right? I was further cautioned by my seatmate (a Conspirators veteran) that the Conspirators’ style is “an acquired taste.”

In fact, The Conspirators work exclusively in “The Style” – a highly theatrical performance mode developed by movie stars Tim Robbins and John Cusack from the techniques of Ariane Mnouchkine, Commedia dell'Arte, Kabuki, Bugs Bunny cartoons and punk rock.

In COMMEDIA DIVINA, “The Style” features easy-to-change (it happens alot) costumes from Kit Medic (they/them), with Kate Akerboom’s (she/her) in-your-face over-the-top makeup. Together, one hardly needs Sid Feldman’s he/him words or William Bullion’s (he/him) direction … but trust me, you’d miss them if they were deleted.

As they almost were when the video for the Fourth Circle refused to play … but the Conspirators are a professional troupe, and neither a misbehaving media clip nor a broken butterfly net caused so much as a hiccup.

Maybe I should go back and tell you the story huh?

Start with Inferno, the first (stanza) in Dante’s epic poem, The Divine Comedy, in which the poet Virgil escorts Dante through the Nine Circles of Hell. Dante intended the Inferno to illuminate the contrast between reality and fantasy, between existence and illusion, and show the suffering of the damned at each circle. The Conspirators do a masterful job of not only scrambling these concepts, but of showing us how well that snarl mirrors contemporary life.

Dante’s guide through these Circles is Virgil; in “Commedia Divina” Fr. Virgil is immaculately (sic) played by Corin Wiggins (they/she/he), who guides, not Dante, but Malady Traitor Greene, a suburban business heiress from northern Georgia, played with lunatic frenzy by Christine Watt (she/her). Any similarities to a certain Congresswoman from  Georgia are purely coincidental - not!

The play opens with Malady Traitor Greene hysterically soliciting Fr Virgil for insight into the dreams/visions she’s been having. And as we descend with them through these Circles we begin to not only sympathize with Greene’s derangement, we too become infected with maniacal insanity, expressing itself as riotous and uncontainable laughter.

The Conspirators do their job well: by the time we exited the theater the entire sold-out audience was rampantly unhinged. In fact, if you were anywhere near 3914 N Clark Friday night you may have glimpsed a group of seething lunatics absconding into the street.

We descended with Malady and Fr. Virgil into the first circle of hell, past an Amazon packaging assembly line where all the employees are writhing with the pain of overfilled bladders, waiting eternally for a break that never comes. The next circle took us to a meeting of Karens, who can’t seem to agree on how to do good, or anything. The chair, a Karen herself, suffers damnation in managing a meeting filled with complaining, obstructionist Karens. Another circle finds the seductress Covida (Kelly Opalkoshe/her) inveigled and infected one boyfriend after another. Dramatic moments were often punctuated by a drumroll, but onstage percussionist Dakota Norman did more than simply beat the drum; he and his sticks were most definitely active members of the cast.

The Circles continued down to the uproarious "Ron Paul's Drag Race", with Travis Barnhart’s (he/him) sidesplitting appearance as Senator Mitch McConnell hitting it off with Liza Minelli. Liza serenaded us with a retooled version of “Maybe Next Time”. Throughout the production various demons, imps, Karens and ghouls were brilliantly enacted by Eva Andrews she/her; Emily Fernandez (she/her); Tess Vincentshe/her; Mitch Maguirehe/him, Jimmy Dwyer (he/him); Kelly Opalko (she/her); Lex Mann Turner (they/he) and Harper McCoy (she/they).

 Mike McShane’s (he/him) lighting and Sebby Woldt’s (they/them) sound design were integral to the production. Choreographer Meghan Lyndham (she/her) had her work cut out for her! but rose to the challenge, coordinating well with Violence Designer Libby Beyreis (she/her). Christen Krasch (she/they) was kept busy as Assistant to Stage Manager Matt Bonaccorso (he/him) as well as with A/V; I’m sure the media glitch in Circle 4 was an opening-night foible, and they’ll have it under control for the next performance.

“Commedia Divina” was written (and retooled) by Sid Feldman and directed by William Bullion, with assistant Elena Avila. Feldman and Bullion co-founded The Conspirators in 2016.

Beneath the unrelenting comedy “Comedia Divina” was amazingly erudite. Laughter is often an effective approach to commentary on the dire issues facing all of us. It’s clearly no accident that the production is timed to coincide with the election: the last words of the night were from Fr. Virgil as he was churlishly yanked offstage: “Please Vote!”

Highly recommended, “Commedia Divina” runs at Otherworld Theatre through November 10, with special late night performances October 31 and November 1, 2, 8 and 9, as well as an Industry Night Election Special performance on Monday, November 4.

What source materials make a great ballet? Can everything be interpreted through dance? It’s a fair question when considering Joffrey Ballet’s new adaptation of Ian McEwan’s complex novel. This sumptuous co-production with Ballett Zurich is proof that the sky’s the limit when it comes to what’s possible on stage.

Those who have read the novel or are familiar with the 2007 Joe Wright film will certainly find the plot a bit easier to follow. However, through Cathy Marston’s fascinating choreography, the ill-fated romance leaps off the stage. ‘Atonement’ begins at the Tallis family estate in the English countryside during one sultry summer evening in 1935. Young Briony Tallis (Yumi Kanazawa) witnesses a sexual congress between her older sister Cecilia (Amanda Asssucena) and Robbie (Alberto Velazquez), the son of one of the servants. Later in the evening, her cousin is attacked in the dark by an unknown prowler. Assuming the incidents are related, she implicates Robbie and forever changes the course of his and Cecilia’s lives.

Ian McEwan’s novel endures as one of the most inventive books of the early 00s in part because of its unique story structure. Joe Wright honored that in his film version by showing the same scenes from various points of view. ‘Atonement’ the ballet takes a unique approach to narrative structure with the traditional act order somewhat altered.

‘Atonement’ is forthrightly erotic. Given the deeply romantic plot between Cecilia and Robbie, it’s imperative for the audience to believe their chemistry. And that chemistry is hard to deny. Amanda Asssucena and Alberto Velazquez move with fluidity that may put a little sweat under your collar. Afterall, not every ballet is ‘The Nutcracker’.

Laura Rossi’s score pulls every emotion to the surface. A buoyant, romantic first act is balanced out by the urgent sounds that simulate the horrors of WWII-era London in the latter half of the ballet. Along with artful staging by Adam Blyde and Anastacia Holden, ‘Atonement’ is a feast. From the costumes to the minimalist setting, this production oozes sensuality.

The Joffrey Ballet has a certain knack for literary adaptation. ‘Atonement’ is another installment in their archive of hits. Classic settings provide a perfect backdrop for provocative modern steps that take your breath away. ‘Atonement’ achieves romantic complexity without words, proving how universal feelings of heartbreak and longing are. 

Through October 27 at Joffrey Ballet, Civic Opera House, 20 N Wacker Dr. 312-386-8905 

I look forward to every Hell and a Handbag production - because I know they’re always a great time. The company’s spot-on takes on adored characters, from those in the Golden Girls to Rudolph the Red-Hosed Reindeer, always blend high camp humor with a warm, heartfelt touch. 

In Handbag’s latest offering, the world premiere of The Golden Girls Meet The Skooby Don’t Gang: The Mystery of The Haunted Bush, we get a brilliant mash up of beloved characters from the Golden Girls and Scooby Doo. Does it work? It absolutely does. This new comedy, penned by the immensely talented David Cerda, and directed and choreographed with flair by Frankie Leo Bennett is one of the team’s best yet.

The adventure kicks off when Rose spots a leafy, brush-covered monster—dubbed the “haunted bush”—lurking around the complex where she, Dorothy, Blanche, and Sophia live. "The haunted bush"... you can already imagine the fun to be had with that one. As the monster sightings increase and the girl’s fear escalates, Rose calls in her nephew, Fred, and his Skooby Don't Gang of crime solvers to investigate. And just like that, these two worlds collide in a side-splitting adventure, which only gets wilder when Nancy Drew joins the team. Yes, the famous girl detective, Nancy Drew! As with any Handbag production, the laughs in this comedy-mystery are as outrageous as they are plentiful. Packed with cartoonish chase scenes, snappy one-liners, well-timed slapstick and a hefty dose of innuendo-driven humor, this new production at Chopin Theatre’s mainstage is a hilariously bold comedy with all the right twists and turns.

Tyler Anthony Smith as Fred in The Golden Girls Meet The Skooby Don’t Gang: The Mystery of The Haunted Bush 

This cast is packed with all your favorite Handbag stars. The Golden Girls are back! Yay! Ed Jones shines as the naive but loveable Rose Nyland, while Grant Drager is a tour de force as flirty Blanche Devereaux, delivering one witty remark after another. David Cerda reprises his role as Dorothy Zbornak, commanding the stage with every line and Sophia Petrillo is wonderfully portrayed with grit and sass by Ryan Oates. Dorothy’s ex, Stan is riotously played by Scott Sawa, drawing several big laughs while also interacting with the audience throughout the show for Golden Girls trivia, with the winners (everyone who plays) getting to reach in and choose a prize from the mystery bag. I won a Handbag magnet! Woot!

The Skooby gang is also superbly cast, led by Tyler Anthony Smith as Fred. Smith absolutely crushes the role and delivers one funny scene after another from the moment we are greeted by his ass as Rose opens the door to welcome her nephew. Elizabeth Lesinski is delightful as Daffy while Caitlin Jackson is just perfect as Velva, the two heavily crushing on each other throughout the play. The gang is rounded out well with stellar performances from both Ben Meneses as Skooby and Josh Kemper as Skaggy, cracking voice and all. Michael S. Miller is funny in his dual roles as Miles and Rita Claxton and Danne W. Taylor gets some hearty laughs in taking on the role of Nancy Drew, especially in a love scene that no one could have seen coming. But all is possible in the Handbag multi-verse.

Handbag’s talented cast has perfected the art of camp humor, skillfully addressing and laughing at the subjects of sexuality, while also evoking compassion —all within a familiar, friendly, and entertaining environment.

While the cast is exceptional, the creative team also does a tremendous job in putting together a set that brings the audience into the center of the mystery. Marcus Klein (Scenic Design), Liz Cooper (Lighting Design) and Danny Rockett (Sound Design) team up to deliver a visual and audio experience that uniquely pulls in each and every audience member while Sydney Genco (Make-up Design), Keith Ryan (Wig design) and Madeline Felauer (Costume Design) seamlessly bring the characters to life.

(left to right) Caitlin Jackson as Velva and Elizabeth Lesinksi as Daffy in The Golden Girls Meet The Skooby Don’t Gang: The Mystery of The Haunted Bush

For those Chicagoans lucky enough to have been watching Handbag productions for the last 22 years, going to one of their shows is like being at a party with a bunch of your best old friends. With this show, it’s a place to sing the Golden Girls theme song, laugh at bawdy jokes, and just let your heart breathe free for a while, even though it seems like chaos and unfriendliness are raging all around the globe. 

I highly recommend this final production of Hell in a Handbag’s 22nd season for audiences who want to have a good hard laugh, a nice drink and a solid night of fun, hilarious entertainment.

The Golden Girls Meet The Skooby Don’t Gang: The Mystery of The Haunted Bush is being performed at Chopin Theatre through November 3rd. For tickets and/or more show information, click HERE.

Eboni Booth’s 2024 Pulitzer Prize-winning drama Primary Trust is a deeply introspective and bittersweet exploration of abandonment, routine, and the disorienting reality of sudden change. Directed with sensitivity by Malkia Stampley in her Goodman debut, the production skillfully tells the story of Kenneth, a quiet, unassuming man in his late 30s who has spent his entire life working at a single bookstore. When the shop closes, Kenneth is forced to confront not only the uncertainty of unemployment but also the emotional abandonment that surfaces as his stable, predictable world unravels. The closure of the bookstore, along with his long-standing isolation, pushes Kenneth to face a future where the comforting routines and relationships he once relied on are gone, underscoring the profound effects of abandonment in his life.

Namir Smallwood’s portrayal of Kenneth is truly extraordinary. He captures the character’s quiet vulnerability, depicting a man whose life revolves around the safety of a small, predictable world. Smallwood infuses Kenneth with a subtle yet profound emotional depth, inviting the audience to experience both his fear of change and his intense longing for connection. His interactions, especially with his imaginary friend Bert, reveal Kenneth’s deep-seated need for stability and companionship. Bravo!

Charles Andrew Gardner plays Bert, Kenneth’s imaginary friend and a manifestation of his internal struggles. Gardner’s portrayal is warm and engaging, bringing a sense of playfulness and hope to the otherwise heavy emotional landscape. The dynamic between Smallwood and Gardner is captivating, with Bert acting as both a comforting presence and a stark reminder of Kenneth’s profound isolation. Gardner brings a lightness to the role that underscores the bittersweet nature of Kenneth’s imaginary companionship.

Christiana Clark is impressive in her portrayal of 27 characters, most notably Corrina, a waitress at a bar where Kenneth frequently dines. Clark brings a vibrant energy to her roles, providing Kenneth with moments of real, tangible connection. Her Corrina is kind but grounded, gently pushing Kenneth to consider the world beyond his limited bubble. Clark’s range is showcased as she shifts between 27 (you read that) 27 different personas, offering a fresh perspective to each new character.

Fred Zimmerman also takes on multiple roles, including Kenneth’s boss, Clay, and various other characters. His versatility adds depth and dimension to the play’s supporting cast, each character uniquely distinct and contributing to Kenneth’s journey. Zimmerman’s performance helps fill out the world of Primary Trust with a sense of realism and gentle humor.

Mike Przygoda’s onstage musicianship brings a delicate, almost whimsical layer to the production. His understated presence as the tiki bar musician, playing late 90s top 40 hits, highlights key emotional moments in Kenneth’s journey. The music acts as an emotional echo, amplifying Kenneth’s solitude and brief glimpses of hope.

Lex Liang’s set design perfectly captures the small town of Cranberry, N.Y. where Kenneth lives. He brilliantly makes the town feel even smaller through his presence. Heather Gilbert’s lighting design enhances this with soft, natural tones and hints of color that create a sense of warmth while subtly highlighting a sense of hope.

Malkia Stampley’s direction allows the story to unfold at a measured pace, giving space for the quiet moments to resonate. She lets the production breathe as she skillfully balances the play’s themes of abandonment, loneliness and hope, guiding the audience through Kenneth’s gradual self-realization with care and empathy. The delicate interplay between reality and fantasy is handled with a light touch, allowing the audience to feel immersed in Kenneth’s internal world without losing sight of the story’s emotional core.

Primary Trust is a moving and tender exploration of a fragile man struggling to cope with the sudden upheaval of his carefully structured life. With an outstanding cast and an inspired creative team, the production offers a quiet yet profound reflection on human connection, personal growth, courage, and the essential need for primary trust. Yeah, it’s okay to not be okay.

HIGHLY RECOMMENDED

When: Through Nov. 3

Where: Goodman Theatre 170 N. Dearborn

Tickets: $25 - $40

Infor:www.goodmantheatre.org/show/primary-trust/

The Y2K era was a wild time to be a girl. Bubblegum pop juxtaposed against futuristic silver-scaled sets, female artists viciously pitted against one another in the media, women and young girls being viewed as simultaneously pure and virginal and corrupt and sexual deviants. All of these themes are perfectly captured in the millennial time capsule of a play The Love Object now playing at Raven Theatre.

On the eve of Ramona's sold-out stadium tour, her best friend and trusted assistant Paula announces she is leaving to pursue her own artistry. Fearing the loss of her closest confidante, Ramona reveals that a sex tape she made is about to be released, tainting her image (and ticket sales) forever. Will Paula stay and clean up Ramona's mess one more time or finally escape the oppressive celebrity machine for good? The Love Object is a contemporary adaptation of Euripides' Hippolytus, examining the hyper-sexualization of women celebrities, the power struggles of interracial friendship, and the tragedies of late-stage capitalism, all through the bubblegum veneer of an early 2000s pop superstar.

Much like its Greek predecessor, The Love Object, the characters within the play all have a bit of blindness that prevents them from understanding the other's perspective; Ramona, played by Emily Holland, failing to understand why Paula would want to leave, Paula, played by Kaylah Marie Crosby,  failing to understand the loneliness of stardom, and Simon, played by William Anthony Sebastian Rose II, failing to understand the complexities of female choices and consequences of his own actions. The undercurrent of purity and sexuality throughout the play is represented not only in the main protagonists but also in the supporting back up dancers, Tish, played by Cat Christmas, Randy, played by Spencer Diaz Tootle, and Kylie, played by Mollyanne Nunn, all of whom have their own squabbles with one another while also viewing Ramona through both lenses of a virgin and a sinner.

Looking back at the bubblegum pop era through the social context of today we have sure come a long way. We as a society were awful to young women, judgemental, critical, and downright vicious. Time allows us to look back on that period with a kinder viewpoint, one that is not so polarized. Being able to view The Love Object through the same lens affords us the ability to equally despise the vain pop star and be sympathetic to her loneliness of lacking in any real or substantive friendships, or to resent the assistant and her actions and also embrace the karmic justice of our f-around and find out world. With a minimalist futuristic set, early 2000s pop culture references, superb acting, and a storyline every millennial woman can relate to, The Love Object is a perfect time capsule for this fall theatre scene and one sure to entertain.

The Love Object, presented by The Story Theatre at Raven Theatre (6157 N Clark St, Chicago), runs through November 3rd. Ramona’s tour is selling out fast so be sure to grab your tickets with backstage access at www.raventheatre.com/season42/. 

Have you ever jumped on a crowded L train and wondered just why there were so many people on it? Where did they all come from? Where were they all going? Who were they going to meet? What were they going to do when they got to their destination? When I ride the L I get sonder, the feeling of realizing that everyone has a life as full and complex as your own. It's the idea that everyone is the central character in their own story, but also a supporting cast member or extra in other people's stories. We never quite know what people are going through and we cannot rely on that glimpsed impression to truly understand. It is this theme that is at the heart of Milo Imagines the World, a new musical now playing at Chicago Children’s Theatre. 

Milo Imagines the World follows a young boy who uses art to process the realities of growing up with an incarcerated parent. Audiences join Milo and his big sister, Adrienne, on an urban subway ride. Adrienne is at odds with her little brother and does her best to tune him out, while Milo passes the time by drawing colorful pictures of the other passengers, imagining the wonderful lives they must lead. Once the train reaches its destination, Milo understands that you can’t know anyone’s story just by looking at them.

Adapted by Terry Guest and directed by Mikael Burke, Milo Imagines the World is a world premiere musical based on the book of the same name by Newbery-winning children’s author Matt de la Peña and illustrator Christian Robinson about a young boy who uses art to process the realities of growing up with an incarcerated parent. “By telling Milo’s story, we have the opportunity to expand what children in Chicago see on stage,” says Guest, who is himself the child of an incarcerated parent. “We are reflecting their stories back at them and making them feel less alone. Milo is so many of us, and it’s an honor to bring him to life on the stage.” “This play is a ride, a musical odyssey of imagination, a journey from house to home,” adds Burke. “Through vibrant songs, expressive dance, and a whole lot of imagination, this magical, musical journey takes audiences through the mind of a child, as he learns to see the world as it really is.” 

Just like riding public transit, the play took you to some expected and unexpected places. The ensemble cast embraces the humorous, creative, and imaginative world that Milo, played by Ian Thigpen, imagines as he is riding the train. You don’t quite know where he and his sister, played by Livia Robin are going, but the tension slowly builds just as it does on a commuter train; that hurry-up-we’re-going-to-miss-our-train-and-throw-off-our-whole-day feeling while simultaneously providing an escape and reprieve from the outside world. Thigpen and the Chicago Children’s Theatre ensemble cast expertly build this tension culminating in the bittersweet reality that so many children in the US experience. The story and the musical find a way to address the impact of incarceration on families while fostering a sense of wonder, joy, hope, and resilience. It is an absolute gem of a piece and is sure to move audiences for decades to come.

Public performances continue through November 10, Saturdays and Sundays at 9:30 a.m. and 11:30 a.m., with a large number of weekday morning matinees for school groups. Milo Imagines the World is recommended for ages six and up and a run time is approximately 60 minutes. Visit chicagochildrenstheatre.org, call (312) 374-8835, or email This email address is being protected from spambots. You need JavaScript enabled to view it. for tickets, you don’t want to miss this incredible journey.

History is often said to be written by the victors, and few events illustrate this more clearly than the Salem Witch Trials of 1692. Arthur Miller gave the historic event a new life in his 1953 allegorical play ‘The Crucible’. However, playwright Sarah Ruhl was piqued when she heard a story about Miller’s real inspiration for writing his classic play about neighborly betrayal. ‘Becky Nurse of Salem’ is Ruhl’s modern, humorous twist on the Salem Witch Trials.

Sarah Ruhl is one of the most popular American playwrights today. She has a knack for warmhearted, thought-provoking fantasies that showcase her highly creative storytelling approach. There’s no question ‘Becky Nurse’ has signature Sarah Ruhl elements, but in many ways this play is a departure–it’s angry.

Written during the Trump era, inspired by the eerie echoes of “Lock her up! Lock her up!”, ‘Becky Nurse of Salem’ is a bit of a blender of themes on modern American life. Becky is an unhappy 63-year-old woman giving tours of a dusty Salem Witch Trial museum. She’s a descendent of the real Rebecca Nurse who was executed during the Salem Witch Trials and to keep herself entertained; she tells tour groups “the real story” until her uptight boss lets her go. She’s also caring for her troubled granddaughter after her mother dies of an overdose. Becky is very lonely and takes comfort in opiods.

While this may not sound like the makings of a comedy, Ruhl’s play finds relatability in Becky Nurse. Afterall, who among us isn’t angry? Who isn’t outraged by the fact that over 300 years later, we haven’t fully learned the lessons of the Salem Witch Trials? Becky Nurse, is like all of us, flawed, and often unlovable but with her heart in the right place.

Shattered Globe Theatre brings ‘Becky Nurse of Salem’ to the Midwest after a 2022 Off-Broadway production. Directed by Ruhl’s longtime friend and collaborator, Polly Noonan, this revival feels like love is sewn into every hem. Leading the ensemble cast is Linda Reiter as Becky. Her performance fully embodies what it means to just be tired of the B.S. Her spiritual awakening is all the more earned by the play’s conclusion. And what’s a witch play without a little magic? SGT ensemble member Rebecca Jordan brings lightness to the darkness of the play with her rubbery affects and far out delivery as a real-life witch. Her scenes with Linda Reiter are some of the most fun to watch.

While watching ‘Becky Nurse of Salem’ there really does seem like a lot going on, but it’s after the play that you’ll realize how masterfully Sarah Ruhl intertwines so many hot button issues. This is Ruhl’s most serious work, and it also feels like her most urgent. Just like Arthur Miller, Ruhl bends the history of the Salem Witch Trials to serve her dire warning, and just like ‘The Crucible’ is an exciting exploration of where we’ve come from and where we’re going. Unlike Miller though, Ruhl leaves us with optimism.

Through November 16 at Shattered Globe Theatre. 1229 W Belmont Ave. 773-975-8150

Lore, a noun. knowledge and information related to a particular subject, especially when it is not written down, the stories and traditions of a particular group of people

The world premiere of Chicago Lore(s), written by Sammy Publes and produced by Urban Theater Company (UTC), is a compelling and emotional journey through the life of José "Cha Cha" Jimenez, co-founder of the Young Lords Organization. True to UTC’s mission of preserving the Puerto Rican and Humboldt Park community voice, the production is a powerful tribute to Chicago’s civil rights history and the often-overlooked contributions of Puerto Rican activists. Directed by Miranda Gonzalez, this play not only recounts history but invites the audience to reconnect with it on a personal and communal level.

Ivan Vega delivers a captivating performance as the aging revolutionary Cha Cha, who is visited by voices from his past while reflecting on his transformative journey from a troubled youth in 1960s Chicago to a political force that reshaped the city’s approach to social justice. Vega brings a profound sense of gravitas and vulnerability to the role, while Stanley King’s portrayal of Cha Cha’s best friend, Billy “Che” Brooks, serves as an essential counterbalance—grounding Cha Cha’s reflections with heartfelt camaraderie and insight.

The play is a dynamic fusion of personal storytelling and political history. It’s through Cha Cha’s eyes that the audience is transported to key moments in Chicago’s history, including the Young Lords’ radical evolution from a gang to a political organization that fought for civil rights and social justice. The ensemble cast, which includes Kevin Cruz, David Gordon Johnson, Alexis Janae, Abigail Pinon, Claudia Quesada, and Joshua David Thomas, contributes to the narrative as they take on various roles, seamlessly guiding both Cha Cha and the audience through forgotten chapters of Chicago’s activist history.

The scenic design by Harrison Ornelas beautifully captures the essence of memory and history, with layers that feel both grounded and ethereal. The set, with its delicate balance of realism and abstraction, evokes the "gossamer dreams" of Cha Cha's past—fragile yet vividly present, the design perfectly mirrors the play’s exploration of history, where memories hang like whispers, elusive but ever-present. Sarah Albrecht’s quick-change costumes further support the fluidity of the time shifts and transitions between past and present. The attention to detail in the design elevates the production, creating an environment where the personal and historical can merge effortlessly.

The heart of Chicago Lore(s) lies in its decolonized approach to theater and storytelling, a hallmark of Urban Theater Company. It’s not just a recounting of the past but an active reclamation of history that centers the voices of people of color. Some of the characters in Chicago Lore(s) are real, while others are amalgamations of individuals who played pivotal roles in Cha Cha life serving as a powerful reminder of the vital impact these activists had on Chicago and beyond.

Miranda Gonzalez’s direction is nuanced and thoughtful, giving space for each character’s voice to be heard while maintaining a cohesive, emotionally charged narrative. The play excels at balancing the personal with the political, ensuring that the audience is as connected to the intimate moments between Cha Cha and his grandmother as they are to the larger social movements at play.

Chicago Lore(s) is an essential piece of storytelling that shines a light on Puerto Rican activism in Chicago, giving voice to a community that helped shape the city’s political landscape. The production is not only an educational experience but a celebration of cultural pride and resilience. Urban Theater Company continues to elevate the work of diverse Chicago creatives through this powerful and necessary world premiere.

HIGHLY RECOMMENDED

When: Through Oct. 27

Where: Urban Theatre Company, 2628 W. Division Street

Tickets: $37

Info:urbantheaterchicago.org (312)239-8783

Do you like scary movies? I do. I blame the origin of this love of scary movies to being tricked into watching The Blair Witch project alone in a glass house in The Hills in Southern California in middle school; I loved the adrenaline rush, the ‘would I have survived that’ thought process that ensues. With spooky season officially upon Chicagoland, do you think I would miss the opportunity to see an Immersive Puppet Haunted House? No chance.

House of the Exquisite Corpse IV: SUPERSTITIONS is an annual themed anthology of puppetry art show. Part haunted house, part puppet show, and part platform for artists to create an immersive, experimental, non-hierarchical art form. The immersive puppet show features six haunted rooms which feature a different puppet show that run about 5-6 minutes a piece. You as a viewer observe the performances through peep-holes, adding to the voyeuristic horror-like setting. Each year, teams of multidisciplinary  puppet artists anchor to one particular theme which the artists interpret, prepare, and perform for audiences. This year’s anthology is centered around superstitions, each of the performances, each selecting a different superstition to feature. There’s “Step on a Crack,” by Ken Buckingham and Corey Smith,  “Broken Mirror,” by Justin D’Acci and Pablo Monterrubio, “If you lie, the devil’s darning needle will sew your mouth shut,” by Chio Cabrera, Alonso Galue and Brett Swinney, “Through the Looking Glass,” by Felix Mayes and Cam Armstrong Smith, “A White Bird in the House is an Omen of Death,” by Jacky Kelsey, Fletcher Pierson and Kevin Wesson, “Dreams Foretell the Future,” by Sion Silva and Emilie Wingate.

I know what you might be thinking. Horror show? Not for me. But for those perhaps not a fan of scary movies, fear not. There are no jump scares, no gore, only a series of artistic expressions utilizing multiple different puppet mediums. But puppets? Really? Yes! Did you know there are actually six different types of puppetry? There are far more than just those like Lambchop (creepy) or puppets like those in Avenue Q. There are marionettes, hand puppets, rod puppets, shadow figures, and Bunraku-style puppets, and you’ll see many of these artforms on display at House of Exquisite Corpse. The puppets add to that particular spine tingling, skin crawling curiosity that one gets when watching a scary or suspenseful film and it is executed in fascinating ways.

While there are no jump scares that will leave your heart pounding, the shows do feature some visual and auditory elements such as frightening imagery, strobe lights, loud noises, and haze effects. But fear not, those so inclined may soothe any creepy crawly feels with a drink at Front Bar at Steppenwolf Theatre only steps away. You will be on your feet for the majority of the show. The floor is concrete, so you may want to wear comfortable shoes. Audience members with limited mobility will be accommodated, all you need to do is email This email address is being protected from spambots. You need JavaScript enabled to view it. to discuss any accessibility needs. The show is recommended for audiences aged 14 and over.

House of the Exquisite Corpse IV: SUPERSTITIONS runs through spooky season ending its run on November 2nd is conveniently located at the south end of the Steppenwolf complex, 1624 N Halsted, in Chicago's Lincoln Park neighborhood tickets are available at www.tickettailor.com. Don't miss your chance to see SUPERSTITIONS at House of the Exquisite Corpse, you won't regret it, just be sure to throw a pinch of salt over your shoulder, just in case.

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