Items filtered by date: November 2007

 The Auditorium (Chicago’s Landmark Stage® at 50 E. Ida B. Wells Drive) proudly welcomes back the eclectic energy of hometown favorite South Chicago Dance Theatre (SCDT) with IN/WITHIN, a mixed repertory program in one performance only Saturday, May 3 at 7:30 PM.  In addition to debuting two World Premieres – IN/WITHIN, a wildly theatrical one-act production choreographed by SCDT Founder & Director of Vision and Strategy Kia S. Smith, and FOLK, by New York-based Guggenheim Award-winning choreographer Kate Weare – the veteran choreographer and former longtime Artistic Director of River North Dance Company, Frank Chaves, will be honored with SCDT’s 5^th Cultural Hero Award. IN/WITHIN tickets, starting at $39.00, are available at auditoriumtheatre.org or by calling The Auditorium’s Ticket Service Center at 312.341.2300.

Beginning the evening on a joyous note, choreographer Frank Chaves will be honored with South Chicago Dance Theatre’s 5^th Cultural Hero Award, paying tribute to a member of the Chicago dance community who has made an invaluable impact on our city. Chaves served as Artistic Director of River North Dance Chicago for 23 years, before officially retiring in December 2015. Having produced more than 20 original works for the company, he is concentrating solely on his choreography, creating new works and finding new homes for his existing body of work. Chaves currently resides in Sarasota, Florida where he has been dealing with a degenerative spinal cord disease, syringomyelia, diagnosed over ten years ago. As a Cultural Hero, Chaves joins past awardees August Tye (2018), Pierre Lockett (2019), Millie Cruzat (2021), and Sarita Smith Childs (2022).  

The Company Premiere of Chaves’ Temporal Trance (1998) starts the IN/WITHIN program. He has referred to this signature work for River North Dance Chicago as an “exploration of three very different qualities of movement, culminating in a mesmerizing feast for the eyes, soul and spirit.” Temporal Trance features a soundtrack by Peter Gabriel, Vangelis, and Gabrielle Roth and The Mirrors, and is dedicated to Chaves’ mother, Maria.  Following is the World Premiere of Weare’s FOLK (2025), exploring the idea of “village” as a space where we commune together, despite differences and difficulties, all set to a score drawing from traditional Jewish and Italian music. Closing the first act will be the SCDT audience hit, Taiwanese choreographer Tsai His Hung’s Under the Skin (2024), in which dancers move from darkness to light, to an experimental score by Taiwanese musician Yi Chun Hung. The second half of the program is comprised of Smith’s IN/WITHIN, a one-act World Premiere fusing athleticism, dialogue and scenic design that promises to be unlike any other SCDT piece! IN/WITHIN, a work of contemporary dance theater, delves into the imaginary landscape of the lead performer as she ventures through the characters, objects and ephemera of her subconscious mind.  Irrationally juxtaposed scenes spark joy and delight, absurdity, melancholy, empathy and actualization. 

“The Auditorium is pleased to again showcase South Chicago Dance Theatre in its third annual Spring engagement. Kia is a rising star on Chicago’s dance scene and audiences can always expect high energy and enthusiasm from her company,” said The Auditorium CEO Rich Regan.  “River North Dance, under Frank Chaves’ direction, was a frequent guest on our stage, and we look forward to welcoming him home for this well-deserved honor.”

“This program is especially meaningful to me,” said Smith.  “I fell in love with Frank’s Temporal Trance as a college dance student, and it’s a milestone for my company to now add it to our repertoire. Kate Weare is a mentor with a global presence, and I’m so honored that she has set FOLK on our company. The juxtaposition of this work and Tsai His Hung’s experimental crowd pleaser Under the Skin, should keep audiences on their toes.  And finally, IN/WITHIN, my first theatrical work, represents me and my voice more than any other work I’ve choreographed. I envision this is the start of a new era for South Chicago Dance Theatre, with an emphasis on ‘theatre’ and a more narrative-driven model.”   

About South Chicago Dance Theatre

South Chicago Dance Theatre (SCDT) is a multicultural organization seamlessly fusing classical and contemporary dance styles as well as preserving historic dance work. With Choreographic Diplomacy™ at the heart of the organization, SCDT creates, performs, and teaches dance on a local, national, and international platform. Since its 2017 launch, the Main Company has toured regionally, nationally and internationally to the Netherlands, South America, Vietnam and South Korea and commissioned the choreographic work of renowned artists. Its collaborative initiatives have included music ensembles, television, opera, art museums and public schools through a range of performances and educational programs. Recent recognition includes support from the Princess Grace USA Foundation, and the City of Chicago Department of Cultural Affairs and Special Events Foster Innovation Award. Kia S. Smith has been honored with a 3Arts Make A Wave Award and a Chicago Dancemakers Forum Lab Artist Award, and participated in the Choreography Fellowship at the School at Jacob’s Pillow. She was named one of Dance Magazine’s 25 to Watch for 2024. For information, visit southchicagodancetheatre.com.

About The Auditorium

The Auditorium, located at 50 E. Ida B. Wells Drive in Chicago, is an Illinois not-for-profit organization committed to presenting the finest in international, cultural, community, and educational programming to all of Chicago and beyond as The Theatre for the People. The organization also is committed to the continued restoration and preservation of this National Historic Landmark that originally opened in 1889. The Auditorium’s 2024-25 performance season features a dynamic mix of cultural events from ballet to rock and roll and everything in between. For more information on The Auditorium and a complete listing of events at The Auditorium please visit AuditoriumTheatre.org.

Open Space Arts (OSA), who recently won some of the top honors in the Joseph Jefferson Awards for 2024 productions, wraps up its dynamic second season in April and May with three programs of staged readings and the international premiere of SCANDALOUS BOY, David Atfield's historical queer love story. All performances will be at Open Space Arts, 1411 W. Wilson Avenue (1/2 block east of Clark St.).
 
The series of staged readings will begin on April 25 with BREAKING THE CODE, Hugh Whitemore's powerful 1986 drama about Alan Turing, the brilliant mathematician who pioneered modern computing and played a pivotal role in World War II by deciphering the German Enigma code. BREAKING THE CODE intertwines Turing's groundbreaking achievements with his personal struggles, particularly his persecution for homosexuality—a factor that led to his tragic demise. The play offers a profound exploration of the man behind the genius, highlighting the societal injustices he faced and his enduring legacy in the fields of cryptography and computer science. BREAKING THE CODE will be directed by Jack Dugan Carpenter and will be performed one night only, on Friday April 25 at 7:30 pm. Suggested donation is $10.00.
 
Following BREAKING THE CODE will be a riveting 90-minute program of new short plays called 100 DAYS featuring characters affected by the current political landscape. Curated by PlaywrightPower.com and directed by its co-founder Tara Blau Smollen, the production will feature eight compelling new 10-minute plays written since the last election, selected from 167 submissions. 100 DAYS will open on April 30, the 100th day of the new administration, with the same plays repeated on May 1, 2, 3, and 4. Performances will be Wednesday, April 30 through Saturday, May 3 at 7:30 pm, and Sunday, May 4 at 3:00 pm. Suggested donation is $10.00.
 
The readings series will conclude with a staged reading of NOCTURNAL ADMISSIONS, a thrilling and provocative screenplay by Christian Reda, winner of the 2025 Queer Expression Writing Contest for Stage and Screen. This gripping romantic melodrama blends crime, suspense, and forbidden love in a story that challenges power and prejudice. Joe Kowalski, a 20-year veteran of the LAPD, is assigned to protect Hector "Angel" Cruz, a young Latino hustler and the sole witness to the murder of a married senatorial candidate he was hired to escort for the evening. As Joe fights to keep Angel safe, the last thing he expects is to fall in love. NOCTURNAL ADMISSIONS will be performed on Saturday, May 10 at 7:30 pm. Suggested donation is $10.00.
 
Open Space Arts' 2024-25 season will conclude with a fully staged production of SCANDALOUS BOY by David Atfield, in its International Premiere since its world premiere in Atfield's native Australia. The play is the story of the love between the emperor Hadrian and Antinous in pre-Christian Rome but framed in a twenty-first century setting with the statue of Antinous coming to life in modern Australia to tell his story. SCANDALOUS BOY will be directed by Benjamin Mills and will run from May 23 through June 8. Cast and production team will be announced soon.
 
All performances are at Open Space Arts's hyper-intimate 20-seat theater at 1411 W Wilson, in Chicago.
 
LISTING INFORMATION
 
BREAKING THE CODE
By Hugh Whitemore
Directed by Jack Dugan Carpenter
Friday, April 25, 2025 – 7:30 pm
Open Space Arts
1411 W. Wilson Ave.,
Suggested donation $10.00
Website: www.openspacearts.org
 
Hugh Whitemore's powerful 1986 drama about Alan Turing, the brilliant mathematician who pioneered modern computing and played a pivotal role in World War II by deciphering the German Enigma code.
 
100 DAYS
Curated by Playwright Power.com
Directed by Tara Blau Smollen
April 30 – May 4, 2025
Wednesday – Saturday at 7:30 pm. Sunday at 3:00 pm
Open Space Arts
1411 W. Wilson Ave.,
Suggested donation $10.00
Website: www.openspacearts.org
 
A riveting 90-minute program of new eight compelling new short plays featuring characters affected by the current political landscape. Curated by PlaywrightPower.com and directed by co-founder Tara Blau Smollen.
 
NOCTURNAL ADMISSIONS
By Christian Reda
Saturday, May 10, 2025 – 7:30 pm
Open Space Arts
1411 W. Wilson Ave.,
Suggested donation $10.00
Website: www.openspacearts.org
 
Staged reading of a gripping romantic melodrama screenplay that blends crime, suspense, and forbidden love in a story that challenges power and prejudice. Joe Kowalski, a 20-year veteran of the LAPD, is assigned to protect Hector "Angel" Cruz, a young Latino hustler and the sole witness to the murder of a married senatorial candidate he was hired to escort for the evening. As Joe fights to keep Angel safe, the last thing he expects is to fall in love.
 
SCANDALOUS BOY
By David Atfield
Directed by Benjamin Mills
May 23- June 8, 2025
Fridays and Saturdays at 7:30 pm, Sundays at 6:00 pm
Open Space Arts
1411 W. Wilson Ave.,
Tickets $30.00
Website: www.openspacearts.org
 
The story of the love between the emperor Hadrian and Antinous in pre-Christian Rome but framed in a twenty-first century setting with the statue of Antinous coming to life in modern Australia to tell his story.
 
BIOS
 
Hugh Whitemore (Playwright, BREAKING THE CODE) was a distinguished English playwright and screenwriter. He began his writing career in British television, contributing original teleplays and adaptations of classic works by authors such as Charles Dickens and Charlotte Brontë. Whitemore twice received the Writer's Guild of Great Britain award. His notable works include STEVIE (1977), focusing on poet Stevie Smith, and PACK OF LIES (1983), depicting the events leading to the arrest of two Americans spying for the Russians in London. Whitemore's work for American television includes CONCEALED ENEMIES (1984), about the Alger Hiss case; and THE GATHERING STORM (2002), focusing on a troubled period in Winston Churchill's life. Both earned him Emmy Awards. He was a Fellow of the Royal Society of Literature and an Honorary Fellow of King's College, London.
 
Jack Dugan Carpenter (Director, BREAKING THE CODE) is a distinguished director and actor with extensive experience in the Chicago theater scene. He has collaborated with numerous theater companies, including The Plagiarists, where he served as Managing and Development Director from 2011 to 2025. His directorial credits with The Plagiarists encompass productions such as MÜNSTERSPIEL, SOME LIKE IT RED, GILGAMESH, THESE SAINTS WILL BURN, WAR SONG, MATRYOSHKA, AND CAESURA: A BUTCHERY. Beyond The Plagiarists, Carpenter has directed CHARLEY'S AUNT, THE WOMAN IN BLACK, MEASURE FOR MEASURE, and FIGMENTS with Saint Sebastian Players, as well as THE ALCHEMIST and THE ARMAGEDDON DANCE PARTY with Nothing Special Productions.
 
Playwright Power.com (Curator, 100 DAYS) Playwright Power empowers playwrights to spark change and inspire dialogue through impactful theatrical storytelling. Created in response to the 2024 election, the organization solicited new short plays featuring characters affected by the current political landscape, culminating in this electrifying 90-minute program.
 
Tara Blau Smollen  (Director, 100 DAYS) is an award-winning actor, director, playwright, and theater professor. She holds an MFA in Acting from the National Theater Conservatory in Denver and has worked extensively Off-Broadway and in regional theaters across the U.S. As the former Artistic Director of Porchlight Theater Company, her children's plays reached over 10,000 students in the San Francisco Bay Area. As a playwright, she was a finalist in Lifeline Theatre Company's 3rd Annual BIPOC Adaptation and Showcase for Sisters, an African American reimagining of Chekhov's THREE SISTERS. Her recent direction of Jen Silverman's THE MOORS was named one of the best plays in the Bay Area in 2024 by THE SAN FRANCISCO CHRONICLE.
 
Christian Reda (Screenwriter, NOCTURNAL ADMISSIONS) is an accomplished screenwriter with a diverse portfolio spanning multiple genres. His works include THE ISLAND HOUSE (horror/thriller), LADY IN A JAM (action/romance), SIX NIGHTS TO DESTINY (sci-fi/romance), and NOCTURNAL ADMISSIONS (romantic melodrama/thriller).

David Atfield (Writer, SCANDALOUS BOY) David Atfield is an Australian stage writer and director, based in Canberra, where he has been Writer/Director/Producer at The Street Theatre since 2018, and Writer/Producer at Canberra Theatre Center since 2021. David moved to Canberra in 1992 to work with Company Skylark, writing and directing plays for them, and later that year formed BITS (A Break In the Silence) Theatre Company. His plays include LOVELY LOUISE, about silent film star Louise Lovely, PINK TRIANGLES, a play about the Nazi persecution of homosexual men. In 2000 he directed a production of it, again at the Street Theatre. Other plays include CLEAN, EXCLUSION, and CHIAROSCURO.  His 2014 production of SCANDALOUS BOY was named one of the top five productions of the year by THE CANBERRA TIMES and the script was short-listed for the Arch and Bruce Brown Foundation Playwriting Award, New York
 
Benjamin Mills (Director, SCANDALOUS BOY) is an actor, designer, director, and Chicago theatre jack of all trades. His design work has been seen at Theatre L'Acadie, Open Space Arts, and Big Noise Theatre. Most recently seen on stage in SPRING AWAKENING, GREY GARDENS THE MUSICAL, THE LEARNED LADIES, BONNIE AND CLYDE THE MUSICAL, and a three-show tour with Great Works Touring Theatre. Benjamin is a Company Member/Resident Costume Designer with Theatre L'Acadie. SCANDALOUS BOY marks Benjamin's Chicago directorial debut.
 
OPEN SPACE ARTS, a 501(c)3 non-profit organization, is dedicated to combating homophobia and transphobia through the transformative power of creativity and cultural expression. Our mission is to foster inclusivity, promote understanding, and empower marginalized communities by utilizing various artistic mediums to challenge discriminatory beliefs and attitudes. OSA won some of the top honors in the Joseph Jefferson Awards for work produced in 2024, including Production of a Play – Short Run (COCK), Direction of a Play – Short Run (Michael D. Weber- LIGHT SWITCH), Performer in a Principal Role – Short Run  (Philip Andrew Monnett – LIGHT SWITCH), and Performer in a Supporting Role – Short Run (Sonya Robinson – COCK) .

Additionally, Open Space Arts has produced SUNSETS: TWO ACTS ON A BEACH, ROSENBERG, MASSAGE THERAPY, MERCY KILLING, MR. PARKER, "it's been ten years since everyone died. a play about final girls." and THE KRAMER PROJECT in live performances. OSA also produces the Queer Expressions Film Fest, a hybrid fest of streaming and in-person events, which runs from November 1 to July 1 annually. Open Space Arts is led by David Zak.

I’ve reviewed a number of shows at Open Space Arts (OSA) – I love the place – so I’m familiar with OSA’s attributes: unique productions that battle antisemitism and homophobia with art; premiere plays by previously-unknown writers; small, intimate venue; and, most of all, incredible talent both on- and off-stage.  it’s been ten years meets all these criteria.

Cesario Tirado-Ortiz is a playwright, actor, singer, producer (and, no doubt, pastry chef and bricklayer!), and it’s been ten years follows his tradition of telling queer stories that are not necessarily about being queer. Director Teri Talo is an actor making their directing debut with it’s been ten years, finding in this new role a chance continues using art as social remonstration.

The story is one of trauma, terror, and murky uncertainty. Ten years ago, four kids faced life-threatening (but unknown) horrors, which each of the four responded to in different ways. Allison (Noah Hinton) fled; Maude (Julia Toney) killed the perpetrator (who happened to be their brother); and Betsy (Alexis Queen) developed an … atypical eating disorder.  

Maude is ostensibly the most damaged in the group, and only with great reluctance do they agree to their former lover Betsy’s idea for group healing. Betsy brings Allison and Maude to a group retreat at a remote campsite, run by ‘therapist’ Alex Marusich, whose incompetence only begins with muddling pronouns … but that’s a significant problem with this group, as only Betsy has retained her cis-gender. Gender is a conspicuous uncertainty in it’s been ten years, but it’s by no means the most pivotal.

We never learn exactly what the original traumas entailed; we don’t know (though we can speculate) why Maude and Betsy are estranged; and hey! there were four survicors of the original trauma. Where – for that matter, who – is the fourth? Sam (Alex Marusich) doesn’t appear until late in the action, and his arrival is neither expected nor welcomed. The other three suspect that Sam must have done something infamous in response to their ordeal [whatever it was]. It must be pretty heinous to top Betsy, who witnessed the murders of her cheerleading squad, then ate them.

This seething agglomeration of distress is roused by a fortuitous thunderstorm, which not only provides appropriate auditory context (sound design Kiera Battles) but knocks out the camp’s electricity, so the remainder of the action is lit by lightning flashes (lighting design Lex Newman). Video clips (Shane Hogan) provide glimpses of the characters’ past lives, and production stage manager Mary Dixon brings it all together in this dark, cramped, rather spooky basement venue – perfect for this tale of horror, desolation and self-recrimination.

it's been ten years since everybody died plays at Open Space Arts through April 6

*Extended through April 19th

Recommended!    

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

Hell in a Handbag Productions is pleased to continue its 2024/25 Season with the world premiere of Scary Town, Artistic Director David Cerda's semi-autobiographical tale about growing up, seeing things differently and questioning your very existence – as told through the lens of a little brown bunny. Directed by Cheryl Snodgrass, Scary Town will play April 9 – May 11, 2025 at Handbag's intimate artistic home The Clutch, 4335 N. Western Ave. in Chicago's Lincoln Square neighborhood. Tickets are currently on sale at handbagproductions.org or buytickets.at/hellinahandbagproductions/1618086. 

Merry Town is the happiest town where all the animals live in harmony and wear cute outfits. Deven Bunny has lived there all his life and has always been taught it's the best place ever. But he's not a child anymore (he's turning 13) and suddenly he starts seeing things differently. When Deven discovers a deep dark family secret, it changes everything he thought knew about everything. Part Richard Scarry storybooks, a dash of soap opera and a loving touch of David Lynch for good measure, Scary Town is an adult children's play about growing up in a lie and living not so happily ever after.

The cast includes ensemble members Grant Drager*, Ed Jones*, Stevie Love*, Scott Sawa* and Danne W. Taylor* with Colin Callahan, Sophia Dennis, Al Duffy and Jerod Turner. Understudies include: Kelly Anchors, Wendy Hayne, Brandon Nelson, TJ O'Brien and Jack Oleg.

Comments Artistic Director and playwright David Cerda, "I've wanted to tell my story for what seems like forever, but I kept putting it off because I didn't want to write a traditional dysfunctional family drama. I wanted to capture the melodramatic nature of my life where ridiculousness is reality, and reality is ridiculous. Sharing my childhood story through the lens of some of my favorite storybook characters helped me discuss some complex and painful experiences without dragging everyone into an abyss of despair. I know people expect to laugh when they see one of my shows and I hope they do – but I also want to tell my truth, which isn't always pleasant."

The production team includes Marcus Klein (Scenic Designer), Rachel M. Sypniewski (Costume Designer), Liz Cooper (Lighting Designer), DJ Douglass (Sound Designer), Maggie O'Brien (Props Designer), Jabberwocky Marionettes (Puppet Designer), Syd Genco* (Makeup Design), Keith Ryan* (Wig Designer), Tom Daniel (Technical Director), Michael S. Miller* (Graphic Designer) and Veronica Kostka* (Stage Manager).

*Denotes Handbag Ensemble Member

*Extended through May 18th

PRODUCTION DETAILS:

Title: Scary Town

Playwright: Artistic Director David Cerda*
Director: Cheryl Snodgrass
Cast (in alphabetical order): Colin Callahan (Deven Bunny), Sophia Dennis (Betsy Bunny, Trixie Bunny) Grant Drager* (Mrs. Fox, Benny Bunny) Al Duffy (Penelope Porcupine), Ed Jones* (Mrs. Wanda Water Buffalo), Stevie Love* (Mrs. Betty Bunny), Scott Sawa* (Officer Aardvark, Uncle Brian Bunny), Danne W. Taylor* (Granny Bunny) and Jerod Turner (Willie Worm). Understudies include: Kelly Anchors, Wendy Hayne, Brandon Nelson, TJ O'Brien and Jack Oleg.

Location: The Clutch, 4335 N. Western Ave., Chicago, IL 60618

Previews: Wednesday, April 9 at 7:30 pm, Thursday, April 10 at 7:30 pm and Friday, April 11 at 7:30 pm
Press performances: Saturday, April 12 at 7:30 pm and Sunday, April 13 at 3 pm
Regular run: Thursday, April 24 – Sunday, May 11, 2025
Curtain Times: Thursday, Fridays and Saturday at 7:30 pm; Sundays at 3 pm & 7 pm. Please note: there will be an added performance on Monday, May 5 at 7:30 pm (Industry Night); there will not be a 7 pm performance on Sunday, May 11.

Tickets: Previews: $22. VIP reserved previews: $30. General admission: $35. VIP reserved: $43. Tickets are now on sale for all performance at handbagproductions.org or buytickets.at/hellinahandbagproductions/1618086.

About the Artists:

David Cerda (Playwright) is a founding member and Artistic Director of Hell in a Handbag Productions, now celebrating its 23^rd  year anniversary. As resident playwright, he has written many Handbag productions as well as acted in them. His play, The Drag Seed was recently produced at LaMaMa Experimental Theater and his Golden Girls Lost Episodes parody shows have been produced around the country and was featured in Golden Con: Thank you for being a Fan, the world's first fan convention dedicated to all things Golden Girls at Chicago's Navy Pier. Cerda is a proud inductee into the Chicago LGBT Hall of Fame and recipient of a Jeff Award for lifetime achievement for his 23 years (and counting) of work and service to the community. He lives in Chicago with his partner, Christopher.

Cheryl Snodgrass (Director) is an alumni ensemble member of Hell in a Handbag and returns to her artistic home for Scary Town. This is her ninth directing project with HIAH (Die Mommie!  Die!, Haywire, Rip Nelson's Halloween Spooktacular, SCARRIE: The Musical, L'Imitation of Life, The Birds, The Drag Seed and A Fine Feathered Murder) and her sixth David Cerda scribed show. Cheryl has worked extensively as a visiting artist at Mill Mountain Theatre and Studio Roanoke (Roanoke, VA). She has also directed for Sweetback, Glass Apple, Trap Door, The Foundlings, Tellin' Tales, Jonny Staxx Presents, Filet of Solo and Penobscot Theatre Company (Bangor, ME). 

About Hell in a Handbag Productions:

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

In Definition Theatre's production of "Splash Hatch on the E Going Down," Kia Corthron's 1997 work feels unnervingly relevant in 2025. Under Cheryl Lynn Bruce's incisive direction, this story of environmental racism and maternal health transforms from a Clinton-era critique into a mirror reflecting our ongoing, unresolved struggles with environmental justice—struggles that have only become more pronounced in the wake of the Flint water crisis, Hurricane Katrina, and the toxic train derailment in East Palestine, Ohio.

The play revolves around Thyme (Jada Jackson), a pregnant teenager whose self-taught passion for environmental science serves as both her armor and her cross to bear. Jackson infuses raw authenticity into Thyme's arc, as we watch her transform from an idealistic eco-warrior into a young woman confronting harsh realities. Her scenes with Jabari Khaliq, who embodies the role of her 18-year-old husband Erry, are particularly memorable. Khaliq brings a delicate balance of youth and forced maturity to his performance. His natural, unaffected style meshes perfectly with Jackson's intensity, creating moments that pulse with teenage vitality while tackling grown-up challenges. When they share the stage, their connection feels genuine rather than performed – two kids trying to navigate an adult world with nothing but determination and each other. This chemistry transforms what could have been preachy material into something deeply human and affecting.

Bruce, known for her work in Chicago theater, skillfully balances intellectual and emotional elements in Corthron's complex play. Rather than getting lost in scientific data about lead poisoning and environmental racism, she reveals the human story underneath. Through subtle directing choices—a mother's nervous touch, children's fading laughter, Thyme's increasingly desperate monologues, Bruce transforms statistics into lived experiences. This approach feels especially relevant in our post-Flint era, where lead poisoning's effects are no longer theoretical but real tragedies affecting American communities. The production reminds us that every statistic represents actual people, children, mothers, and communities—whose stories demand our response.

The supporting cast transforms this environmental drama into a richly layered exploration of community and health disparities. As Ollie, Stetson Pierre brings nuance to the role of Thyme's truck-driving father, portraying a man caught between providing for his family and confronting the environmental hazards he's learned to accept. Quenna Lené Barrett, a seasoned Chicago performer and educator, infuses Marjorie with quiet strength, while Rita Wicks delivers an outstanding performance as Shaneequa, Thyme's equally pregnant best friend with an usual condition. Together, these characters weave a powerful narrative about Black maternal health that extends far beyond one family's story, reflecting stark realities about healthcare access in America. Their interwoven experiences echo through recent headlines about water crises and pandemic outcomes, making the play's message devastatingly timely.

Brian Sidney Bembridge's set design, though technically impressive, failed to capture the cramped intimacy of a Harlem apartment. The oversized space worked unexpectedly well as a neutral backdrop, allowing Willow James's sound design to truly shine. James created an immersive urban atmosphere through layered audio: subway rumbles, hospital monitors, and children's distant laughter. These sounds, more than the set itself, anchored the production in its Harlem setting.

The play’s educational aspects, which could feel like public service announcements in less skilled hands, become integral to character development here. Thyme’s knowledge isn’t just information dumping; it’s her way of trying to control an increasingly uncontrollable situation. Her scientific facts become a form of incantation, as if understanding the problem thoroughly enough might somehow solve it. But as history has shown—from Flint to East Palestine—knowledge alone is not enough.

"Splash Hatch on the E Going Down" at Definition Theatre is a reckoning. It challenges us to consider how many of the environmental and healthcare issues Corthron identified in the ‘90s remain unresolved. Under Bruce’s direction, this production transforms a historically significant play into an urgent contemporary conversation, proving that sometimes the most powerful way to look forward is to look back with clear eyes. It’s about TIME!

Recommended

When: Through April 13

Where: Definition @ 55th, 1160 E. 55th St.

Running time: 1 hour, 45 minutes

Tickets: $25 - $35

definitiontheatre.org

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

Kokandy Productions is pleased to announce the official selections for the annual Chicago Musical Theatre Festival, a celebration and showcase of the growing field of musical theatre creators from Chicago and beyond. The 2025 Festival will feature concert presentations of five new musicals over the course of one weekend from April 3 – 6, 2025 on The Chopin Theatre Mainstage, 1543 W. Division St. in Chicago. Tickets ($20 per performance) are now on sale at bit.ly/CMTF2025.

Now in its 8^th year, CMTF was created with the belief that there's a wealth of musical theatre creators in Chicago and around the country, but the high risks of producing new musicals offers limited opportunities for emerging authors to have their work seen and heard. CMTF is designed to provide much-needed artistic resources for writers to have their work supported, explored, and most importantly – performed! Since its inception in 2014 by Underscore Theatre Company, CMTF has brought 60 new musicals to Chicago stages. Following a four-year hiatus, CMTF returned last year under the stewardship of Kokandy Productions.

Festival Producer Nicholas Reinhart comments, "Each year, we are amazed by the creativity, passion and innovation that today's musical theatre writers bring to the table, and this year was no exception. After receiving nearly 100 submissions from across the country, we are thrilled to present five new, original musicals, including two musicals geared towards young audiences and families. We are continually proud to foster a space where bold storytelling and fresh musical voices can flourish, and we hope audiences join us at The Chopin in April."

Executive Producer Scot Kokandy adds, "CMTF 2025 has been sponsored by an anonymous donor, whose generosity will help this year's festival thrive."

The full-line up and performance schedule includes:

Thursday, April 3 at 7:30 pm: Bend Toward the Light

Friday, April 4 at 7:30 pm: Man of the People: The Trials of Huey Long

Saturday, April 5 at 2:30 pm: Queen Bea

Saturday, April 5 at 7:30 pm: The Muses

Sunday, April 6 at 2:30 pm: Big Wig

Bend Toward the Light

Music by Sarah Slipp
Book and Lyrics by Bryce Palmer

A sung-through, two-hander musical that explores the fractured relationship between Asher Fitzgerald and his twin sister, Willow over the course of a real-time interrogation, as Asher recounts a recent trip that he and Willow took together into the woods to recover a time capsule that they buried in their childhood.

Man of the People: The Trials of Huey Long

Book, Music and Lyrics by Wyatt Andrew Brownell 

The one-of-a-kind story of Louisiana political icon Huey Long. From his beginnings as a poor young salesman, Huey rises to the highest levels of success in American politics, making many friends and many more enemies along the way.

Queen Bea

Book, Music and Lyrics by Scott Evan Davis & Jason Marks

In a royal kingdom where honey flows, a reluctant bee discards her calling to accept the responsibility of becoming Queen. But can a wise firefly, and a near death experience by a praying mantis convince Beatrice to return home before it's too late to save her colony?  

The Muses

Book, Music and Lyrics by Liam P. Mulligan

William Albright, a struggling opera composer, finds that his best friend and muse, Laura, is engaged to an electrician after being gone on a week-long Spring Break trip. On Laura's wedding day, William appears before the wedding to tell her how he loved her, and then he leaves her to begin a five-year search for closure filled with 8 doppelgänger "Lauras" based on the Greek Muses. 

Big Wig

Book and Lyrics by Jonathan Keebler
Music by Ryan Korell
Conceived by Bryan McCaffrey
Based on the book by Jonathan Hillman

This irrepressible musical celebrates drag kids, individuality and self-confidence from the perspective of a fabulous wig!

In addition to the five musicals selected for performance, the CMTF selection committee would like to commend the following musicals as finalists for the Festival: New York Letters (Book by Mare Rozzelle, Music and Lyrics by Glenn Prangnell & Mare Rozzelle), Quillén (Music and Spanish Lyrics by Pablo Concha, Book and English Lyrics by Jamie Buxton), Savage: The Unconquerable Wanda Savage (Book by Nicolette Blount & Lindel Hart, Music and Lyrics by Nicolette Blount), Star Machine (Book by Hollee Temple & John Temple, Music and Lyrics by Gideon Temple & Hank Temple) and Who Needs Love? (Book by Keith Huff, Music by Joel Evans, Lyrics by Adryan Russ).

CMTF 2025 Artist Biographies

Sarah Slipp (Music, Bend Toward the Light) is a composer, flautist, orchestrator and music teacher from New Brunswick, Canada. She holds a Bachelor of Music in Flute Performance from Acadia University and studied Graduate Musical Theatre Writing at NYU Tisch. Sarah is passionate about using music as a dramatic language to help deepen an audience's experience of a story.

Bryce Palmer (Book and Lyrics, Bend Toward the Light) is a bookwriter, composer and lyricist. He studied Theatre & Music at Vanderbilt University, where he finished in the top 100% of his class and graduated Sicut Vix ("just barely"). MFA: NYU. He is a proud member of the BMI Lehman Engel Advanced Songwriting Workshop and The Dramatists Guild.

Wyatt Andrew Brownell (Book, Music and Lyrics, Man of the People: The Trials of Huey Long) is an actor, musician, songwriter and playwright based in Lubbock, TX. He began writing songs at fifteen, but first ventured into writing for the theatre during his senior year at West Texas A&M University with the one act piece BFA Project: The Musical! Since graduation, Wyatt has continued to work as both an actor and a writer. Man of the People is his first full-length work.

Scott Evan Davis (Book, Music & Lyrics, Queen Bea) is a multi-award-winning NYC-based composer, lyricist, vocal coach, musical director and social media personality. His musical Indigo premiered in 2023 and will play London's Curve Theatre in May 2025. Named New Yorker of the Week for his work with autistic artists, and his songs have been performed worldwide.

Jason Marks (Book, Music & Lyrics, Queen Bea) is a Richmond, Virginia-based award-winning actor, singer, composer and music director. He has performed on regional stages all over the United States, and his original works for young audiences have toured with Virginia Repertory Theatre, and been seen by thousands of school children across the nation.

Liam P. Mulligan  (Book, Music & Lyrics, The Muses) is a composer, writer and music director who studied at Moravian College and Carnegie Mellon University. He has written musical and dramatic works for stage, screen, and concert hall. Mulligan regularly serves as arranger, music director and conductor for theatrical productions and new musical workshops in Pennsylvania, New England and New York City.

Jonathan Keebler (Book and Lyrics, Big Wig) is a NYC-based lyricist and bookwriter. Notable works include A Most Average Musical, Gay Card and Meet and Run. His work is licensed by MTI and Uproar Theatrics. He is a member of the Theatre Now Writers Lab and the Dramatist Guild. Music available on streaming.

Ryan Korell (Music, Big Wig) is an award-winning composer, arranger and orchestrator whose work has been featured globally. Credits include Gay Card, Meet and Run, Love in NY and The Bridges of Madison County (Broadway). He is an alumnus of Vanderbilt University and NYU Tisch. Find his music on any streaming platform.

About Kokandy Productions

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

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot T. Kokandy (Executive Producer) and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot T. Kokandy, Danielle Sparklin and Katie Svaicer.

For additional information, visit www.kokandyproductions.com. 

I’m not holding back—Copley Theatre’s latest offering, The 25th Annual Putnam County Spelling Bee, is an absolute winner! I’ve seen this delightfully offbeat musical brought to life at various theaters, but Copley’s rendition? It’s absolutely “F-A-B-U-L-O-U-S.” This production earns its place at the very top, possibly stealing the crown altogether.

And let’s take a moment to appreciate the venue! My inaugural visit to Copley Theatre was a treat in itself. Not only did I get to enjoy the hilarious, heartfelt magic of Spelling Bee, but I also had the chance to soak in the sleek elegance of this modern gem. With its stunning aesthetics, thoughtful conveniences, and intimate yet impeccably crafted stage setup, Copley has created an experience that’s as polished as it is inviting.

The 25th Annual Putnam County Spelling Bee is a brilliantly funny and deeply touching musical that captures the hilarity and heartache of middle school life through the lens of a high stakes spelling competition. With a sharp and witty book by Rachel Sheinkin and an engaging score by William Finn, the show offers a perfect blend of humor, warmth, and unforgettable musical moments.

At its core, the story introduces us to six wildly different young spellers, each of whom brings their own unique quirks, struggles, and aspirations to the stage. There’s Leaf Coneybear (Ben Broughton), the whimsical underdog with a heart of gold who’s as surprised as anyone to have qualified for the competition. Then there's Logainne Schwartzandgrubenierre (Ann Delaney), a driven and socially conscious overachiever with a lisp and two doting dads rooting her on. And, of course, William Barfée (Teddy Gales) —brash, brilliant, and armed with his hilariously unconventional “magic foot” spelling strategy that leaves both contestants and audiences in awe. Other spellers include the pressure-laden Marcy Park (Shelbi Voss), an overachiever who excels at everything; the sweet yet neurotic Olive Ostrovsky (Elizabeth Stenholt), who’s grappling with absent parents; and the slightly obnoxious, juice-box-loving Chip Tolentino (Nic Dantes), facing the realities of puberty at an inopportune time.

The competition itself is overseen by an equally eccentric trio of adults: Rona Lisa Peretti (Veronica Garza), a former Bee champion turned upbeat host; Vice Principal Panch (Jason Richards), whose tightly wound demeanor hides his hilariously chaotic tendencies; and Mitch Mahoney (Naphtali Curry), the “comfort counselor” on parole, tasked with handing out juice boxes to eliminated contestants.

While Spelling Bee unfolds with plenty of laugh-out-loud moments—enhanced by improv comedy and unexpected audience participation — the musical also delves into poignant themes. Beneath the humor lies a heartfelt exploration of identity, resilience, and the awkward beauty of adolescence. Each character’s journey speaks to the universal struggles of finding one's place in the world, making the show deeply relatable to audiences of all ages.

Highlighting the show’s standout performers is easy — it's the entire cast, hands down! Every single member of this ensemble is outstanding – and I truly mean that. Each spelling bee contestant shines with their own unique moments to revel in - and each gets plenty of big laughs – Gales, Delaney, Broughton, Voss, Stenholt, Dantes – all of them are terrific! As for the hosting adults, Garza as the charismatic event host and Richards as the stone-faced VP with a penchant for tossing out challenging words make a hysterical duo. Curry as the competition's "comfort counselor," also steals the spotlight in several scenes.

Shelbi Voss (front) is the overachiever, Marcy Park, in The 25th Annual Putnam County Spelling Bee.

Wonderfully directed by Stephen Schellhardt, the magic of Spelling Bee truly shines in many standout moments that follow the company’s opening number – a fresh and vibrant take on the show’s title song. Shelbi Voss dazzles as she command’s the stage with “I Speak Six Languages,” capped off with Music Director Kory Danielson’s own energetic and uniquely upbeat spin on the ending. Then there’s the stunning trio of Elizabeth Stenholt, Veronica Garza, and Naphtali Curry, who deliver a breathtaking showcase of vocal mastery in their emotionally charged performance of “The I Love You Song.” And Nic Dantes brings the house down with the hilariously awkward and unforgettable number “Chip’s Lament,” riotously portraying the character’s woes after a... let’s call it “untimely distraction” during the competition. These moments, and soooo many more, make this production soar.

With its clever writing, charmingly oddball characters, and emotionally resonant storytelling, The 25th Annual Putnam County Spelling Bee proves that even something as seemingly mundane as a spelling competition can be transformed into a magical, uproariously funny, and deeply moving theatrical experience.

Also striking in this very funny and heartwarming musical were the details in set of the high school gymnasium and the overall show production and choreography. When you put it all together, audience members get an intimate, next-level theatre experience.

For those unaware, Copley Theatre (part of the Paramount Theatre family) is nestled in the heart of downtown Aurora. This 165-seat gem stands as an inviting and contemporary performance venue that really delivers, thanks to its recent extensive renovations, elevating it to a cutting-edge space designed for captivating and thought-provoking productions. Copley Theatre is also celebrated for hosting the Paramount Theatre's BOLD Series, a carefully curated lineup of productions that showcase a blend of timeless classics and modern works meant to inspire, challenge, and entertain. The recent upgrades also introduced an elegant lounge and bar area, adding a touch of sophistication and comfort to the theatergoing experience. I feel I can safely say that, whether you're an avid theatergoer or exploring the performing arts for the first time, Copley Theatre promises an enriching and memorable journey into the world of live entertainment.

See this show! The 25th Annual Putnam County Spelling Bee is being performed through April 27^th at Copley Theatre located at 8 East Galena Boulevard in Aurora. Tickets are in the $55 range and the show’s running time is two hours including a fifteen-minute intermission. For tickets and/or more show information, click here.

Very highly recommended!

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

Don’t be deceived by the title.  The phrase “lifespan of a fact” sounds about as dry as the Mojave Desert and just a mite confusing.  But, as Glenview’s Oil Lamp Theater’s current stage production proves, those knee jerk perceptions turn out to be completely absurd.  Instead, its The Lifespan of a Fact is about as engrossing and entertaining as anything you’ll find on the big screen, a streaming service or another theatrical stage.

Adapted from a 2012 book of the same title, the play re-enacts the fiery real-life interplay between a writer and his fact checker about a magazine article concerning suicide in Las Vegas. A sixteen-year-old boy, Levi Presley, jumped from the Stratosphere Hotel in 2002. The author writing about his death, John D’Agata, used his piece to talk more broadly about the scourge of suicide and its prevalence in Vegas.  Jim Fingal was the fact checker assigned to him by the magazine publishing his essay.  Together, they would eventually co-author the book, The Lifespan of a Fact, revealing the laborious and harrowing process of ensuring the preservation of truth remains the cornerstone of journalistic practice. Derived from the book, Oil Lamp’s standout presentation of the play, which debuted in 2018, brings that process blazingly to life.

It starts innocently enough, slathered as it is in the hallmarks of high stakes corporate urgency. Magazine editor Emily Penrose (Marianne Embree) needs a fact checker for an article by a highly regarded writer known to take creative liberties with his submissions. She taps a young, eager and very bright recent Harvard grad, Jim Fingal (James Wheeler), for the job.  He’s got three days to make sure every detail is accurate and if they’re not, make sure they are by Monday. Fingal assures her he’s got this.  Not only does he carry the Harvard stamp, he reminds her he also worked on the college’s vaunted newspaper, The Crimson.  After reviewing his strategy with her, he’s flushes whatever plans he had for the weekend and plunges into his task.

Quickly noticing discrepancies in what the author stated and what was fact, he queries her about how best to address the conflict.  High ranking editors in New York’s media empires don’t usually have time for the tedium of minutiae and she recommends he call D’Agata himself for clarifications or corrections.  With that recommendation, she’s unwittingly introducing dynamite to a flame.

So driven is he to meet his commitment, Fingal hops a plane to Vegas, uninvited and uninstructed, to meet with the author. From moment one, Wheeler as Fingal fills his role so completely you have no reservations cheering his conviction, even if he is a bit top heavy in the sanctimonious and ego departments.  The first has a lot to do with who he’s dealing with.  He and D’Agata, splendidly played by Tim Walsh, have opposing views on the pliability of journalistic tenets.  D’Agata doesn’t even want to call the piece he submitted an article.  He prefers to reference it as an essay, something much more amenable to creative license.  As interested in the feel, texture and aesthetic resonance of his writing as he is in its truth, D’Agata believes some facts, or a portion of the core components of truth, can be sacrificed to the art of writing.  Neither the editor or the fact checker questions the beauty or power of the piece D’Agata has written about the young boy’s death, but they don’t want a compromised truth to be its cost. With two colossal egos at war, the clashes between the two men become titanic and, superficially, hugely comical.  Director Elizabeth Mazur Levin’s nimble sense of pacing keeps anticipation on a steady boil and the scrappy, often scintillating dialog, bullet train fast.   Jeremy Kareken, David Murrell and Gordon Farrell adapted the book for the stage and deserve extravagant praise for how effectively they make the would-be arcane so deliciously palatable.  

Although the play’s beginning transpires in the blank sterility of a New York office building, the bulk of it happens in D’Agata’s Las Vegas home.  There, Ellen Markus’s scenic design gives a sobering view of what life as an acclaimed and respected feature writer might look like.  It’s not an enviable or tempting picture.  Rather it’s quite modest and absent of anything that suggests indulgence or noticeable luxury.  D’Agata informs the fact checker that he lived there with his mother until she passed away and confirmed he also teaches at a local university in Las Vegas.  It’s the type of solitary existence that fosters contemplation.  And it also seems to be an environment where convictions easily harden. 

In a desperate attempt to salvage a written work she hopes will be a part of her legacy at the magazine, the editor, Penrose, eventually ends up in Vegas, too.  As the three pick the article/essay apart, evaluating the import, significance and intrinsic criticality of each factual element, you sense the gravity of what they’re attempting to do.  As much as Fingal the fact checker abhors it, they’re “negotiating” on what and how information will be relayed in D’Agata’s story.  How truth, as they collectively agree to define it, will be expressed.   The process is quiet, reasoned and as gripping as watching the deliberations of a “trial of the century” live and in-person. 

It would be terrific if seeing the play does what the artistic team behind the production would like it to do, generate conversation about the relationship between truth, facts and storytelling.  But if it doesn’t, The Lifespan of a Fact will make you think about all those things more intently, more actively and, in essence, leave you a changed person.  The acting, directing and production value just happen to push the entertainment quotient sky high. 

The Lifespan of a Fact

Through April 13, 2025

Oil Lamp Theater

1723 Glenview Road

Glenview, IL  60025

https://www.oillamptheater.org/mainstage-productions/the-lifespan-of-a-fact

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

A.B.L.E.—Artists Breaking Limits & Expectations—a Chicago-based nonprofit that creates theatre and film for, with, and by individuals with Down syndrome and other intellectual and developmental disabilities (I/DD) is thrilled to return to Chicago Shakespeare Theater with a re-imagining of the gothic classic Frankenstein running April 25-27, 2025.

The production will transform the Upstairs Studio into a run-down punk club called The Arctic. Music journalist Roberta Walton (played by Ryan Foley) is on site to cover the closing of the club, but instead finds a disoriented Victor Frankenstein (played by Marissa Bloodgood and Andrew Kosnik) and a much more interesting story! The neurodiverse ensemble - composed of 9 actors with varying disabilities and a team of facilitators - will play multiple characters as they bring Frankenstein's memories to life. The production blends music, movement, and scenes devised by the group into a powerful exploration of ambition, isolation, and the balance between the head and the heart. 

Writer and co-director Lawrence Kern, anchored this version of Frankenstein in the punk world to honor the rebellious spirit of the disability community. "Most people have a very clear picture in their head of what this story looks like with green makeup and neck bolts," says Kern. "We always want to challenge assumptions at A.B.L.E., to surprise our audiences, and leave room for our actors to put their own spin on things."

Through the 10-week rehearsal process, Kern and co-director Katie Yohe led a highly collaborative process that included actors developing their own choreography, infusing personal reflections and storytelling into the script, and developing scenes in the manner that best suited each individual performer. The result is a deeply personal production. "The Creature is really misunderstood and I know how that feels," says actor Zach Wandel. "When you move through the world with a disability, people treat you like a kid. And when you're an artist, like me, people don't take you seriously, or think your art is less than. But we deserve a chance." 

Before the show on Saturday April 26th, the public is invited to participate in a free 75-minute interactive workshop with the ensemble to learn more about how A.B.L.E. developed this adaptation. Audiences can experience some of the games and activities A.B.L.E. used to bring their ideas to the stage, get a touch tour of key costume pieces and props, and try A.B.L.E.'s signature "dropping in" method. This exclusive opportunity is only available to 20 ticket holders - space can be reserved when purchasing tickets.

A.B.L.E. is committed to ensuring everyone feels they belong in the theatre. In addition to supporting disabled actors onstage and backstage, all 3 performances include numerous accessibility supports for audience members of all ages and abilities. Open captioning is integrated into the design of the show. All performances are relaxed, and audience members will receive a social story before the show to help audience members know what to expect from their trip to the theatre. The performance on April 27th will be dual ASL interpreted. Yohe says,  "We hope we can set an example for our community of what true inclusion looks like both onstage and off."

Performances:

Friday April 25 at 7pm
Saturday April 26 at 2pm (free pre-show workshop at 10:30am)
Sunday April 27 at 2pm (ASL interpreted)

Run-time approximately 90 minutes

Chicago Shakespeare's Courtyard Theater
800 East Grand Avenue
Chicago, IL 60611

Tickets: Pay-what-you-can general admission ranging from $15-$45
Online: chicagoshakes.com/frankenstein
Phone: 312.595.5600
In person: at the Chicago Shakespeare Theater Box Office

Accessibility at all performances:

• Open captioning
• Relaxed performance including a designated movement zone
• Sensory support tools
• Wheelchair Access
• Masks are required for all attendees out of consideration for our immunocompromised community members

Frankenstein is sponsored by Charcoalblue. A.B.L.E.'s 2024-2025 Season is partially supported by The Arts Work Fund for Organizational Development, The Chicago Department of Cultural Affairs and Special Events, FunFund, Fs Foundation, The Illinois Arts Council, The LaChapelle Family Foundation, The Paul M. Angell Family Foundation, The Poor Handmaids of Jesus Christ Ministry Fund, The National Endowment for the Arts, and generous individuals like you!

ABOUT A.B.L.E.

A.B.L.E. - Artists Breaking Limits & Expectations - is celebrating their 9th anniversary of creating theatre and film for, with, and by individuals with intellectual and developmental disabilities. Whether in person or online, all A.B.L.E. programs strive to foster agency, and nurture lifelong skills like communication, collaboration, and creativity. A.B.L.E.'s ensembles have produced more than 30 projects for the stage and screen, ranging from original work devised by the group, to Shakespearean classics, to award-winning feature films. A.B.L.E. also shares their unique approach for creative arts programming through workshops and residences with schools, community centers, and other organizations that serve people with disabilities, and also disability inclusion training for businesses. By placing disability in the spotlight, A.B.L.E. strives to shift societal preconceptions, and build more inclusive, empathetic communities.  Watch past shows, meet the team, and go behind the scenes at ableensemble.com

ABOUT CHICAGO SHAKESPEARE THEATER

A Regional Tony Award recipient, Chicago Shakespeare Theater produces a bold and innovative year-round season that includes Shakespeare, original plays, musicals, family programming, and international theatrical events. CST is committed to serving as a cultural center across its three stages—the 700+ seat Yard, 500-seat Jentes Family Courtyard Theater, and the 200-seat Carl and Marilynn Thoma Theater Upstairs as well as in classrooms, neighborhoods, and venues around the world. CST has a deep commitment to education and lifelong learning with robust programming for students, teachers, and lifelong learners, and engagement with communities across the city. Onstage, in classrooms and neighborhoods across the city, and in venues around the world, Chicago Shakespeare is a multifaceted theatre—inviting audiences, artists, and community members to share powerful stories that illuminate the complexities, ambiguities, and wonders of our world. www.chicagoshakes.com.

Walking into Windy City Playhouse, audiences are immediately transported to somewhere new. Scenic Designer Kevin Rofls fills the space with trees, branches, and flowers – drawing the audience into the story as soon as they enter the space. Lighting Designer Trey Brazeal highlights the room in a mix of various shades of blue, creating a somewhat hazy atmosphere. The shadows hit the tree branches and rocks just right, also providing an air of mystery. Audiences are immersed into a space of wonder.

The Winter’s Tale is about a number of things. There’s heartbreak and betrayal. There is jealousy and trickery. There’s reconciliation and forgiveness, as well as the test of time. Surrounding all of these storylines is one of magic and love – with an exploration of how the heart can bring us to do some dangerous, but also some beautiful things. The design team creatively collaborates to draw audiences into that enchanted world – a space where anything can happen. Particularly when combined with live music, you might just find yourself leaning in as you become absorbed in the dark romance.

Written by William Shakespeare, The Winter’s Tale follows King Leontes (Michael Stejskal). When he falsely accuses his wife, Hermione (Andrea Uppling) of having an affair with his best friend, King Polixenes (Raul Alonzo), a series of unfortunate events are spurred into action. Hermione is arrested, causing their young son, Mamillius (Jennifer Agather) to die due to distress. The King and Queen’s baby girl is stolen away for safety, and Hermione barely makes it through her trial. As with so many Shakespearean stories, all turns into chaos, and the remaining heroes are eventually left to pick up the pieces and see what may be worth saving.

Directed and adapted by Charles Askenaizer, the ensemble as a whole is quite strong. The Winter’s Tale is one of Shakespeare’s pieces that does not quite fit. There is love, but it is not technically a comedy. There is death, but it is not quite a tragedy. The story moves through the highs and lows of the genre and the actors bring that to life with ease – in particular, Uppling as Hermione and Stejskal as Leontes. Shakespeare does not make it easy for these performers – with a relationship that pulls a 180 within minutes as Leontes becomes lost in jealousy and rage. However, this duo approaches the emotional complexity with grace and certainly keeps the audiences on their toes – wondering what twist or turn may be thrown into the relationship next.

As much as The Winter’s Tale handles heavy matters of tragedy, the production also carries what some might find to be much needed moments of levity. Sam Nachison’s Autolycus is a prime example - appearing early in Act 2. Autolycus steals from an unsuspecting Clown (played by Kyle Quinlivan - with a sweet, unassuming innocence), and Nachison turns this into a game with the audience. With each piece of clothing Autolycus tricks the poor man into removing, or coin purse that the Clown unknowingly hands over – Nachison throws a little wink or gesture to the adoring crowd. His performance elicited uproars of laughter, and even cheers as the thief’s tactics became increasingly over-the-top.

With a stunning design and strong ensemble, The Winter’s Tale is a night of romance and wonder. 

RECOMMENDED

Run Time: 2 hours and 45 minutes, with intermission.

The Winter’s Tale runs through April 20, 2025 at Windy City Playhouse – 3014 W. Irving Park Road. For tickets and information, see the Invictus Theatre website.

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