Items filtered by date: November 2007

Beetlejuice, Beetlejuice… Beetlejuice! You’ve summoned him once again, Chicago— BEETLEJUICE is back for another hauntingly hilarious run! The edgy and irreverent Broadway smash hit will haunt the Cadillac Palace Theatre for a strictly limited engagement today through March 16, 2025. Individual tickets ($47.50-157.50) and a select number of premium tickets are on sale now and may be purchased at BroadwayInChicago.com. Group orders of 10+ are also available by calling (312) 977-1710 or by emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Patrons can also participate in a digital lottery for a chance to purchase $25 tickets for each performance. A limited number of day-of-show, in person $49 Rush tickets will also be available for all performances. Click here for more information.

Based on Tim Burton’s dearly beloved film, this hilarious musical tells the story of Lydia Deetz, a strange and unusual teenager whose whole life changes when she meets a recently deceased couple and a demon with a thing for stripes. With an irreverent book, an astonishing set, and a score that’s out of this Netherworld, BEETLEJUICE is “SCREAMINGLY GOOD FUN!” (Variety). And under its uproarious surface (six feet under, to be exact), it’s a remarkably touching show about family, love, and making the most of every Day-O!

BEETLEJUICE is directed by Tony Award® winner Alex Timbers (Moulin Rouge!, Director of Warner Bros. forthcoming TOTO, the animated musical film adaptation of Michael Morpurgo and Emma Chichester Clark’s 2017 book) with an original score by Tony Award nominee Eddie Perfect (King Kong); a book by Tony Award nominee Scott Brown (“Castle Rock”) and Tony and Emmy Award® nominee Anthony King (“Robbie”); music supervision, orchestrations and incidental music by Kris Kukul (Joan of Arc: Into the Fire); and choreography by Connor Gallagher (The Robber Bridegroom).

BEETLEJUICE features scenic design by three-time Tony Award nominee David Korins (Hamilton); costume design by six-time Tony Award winner William Ivey Long (The Producers); lighting design by Tony Award winner Kenneth Posner (Kinky Boots); sound design by Tony Award winner Peter Hylenski (Moulin Rouge!); projection design by Tony Award nominee and Drama Desk Award winner Peter Nigrini (Dear Evan Hansen); puppet design by Drama Desk Award winner Michael Curry (The Lion King); special effects design by Jeremy Chernick (Harry Potter and the Cursed Child), hair and wig design by Drama Desk Award nominee Charles G. LaPointe; make-up design by Joe Dulude II; associate director is Catie Davis and associate choreographer is Michael Fatica; casting by The Telsey Office.

BEETLEJUICE Producers include Warner Bros, Theatre Ventures, Langley Park Productions and NETworks Presentations.

BEETLEJUICE opened at Broadway’s Winter Garden Theatre on Thursday, April 25, 2019, presented by Warner Bros. Theatre Ventures (Mark Kaufman) and Langley Park Productions (Kevin McCormick), and won the Drama Desk Award and Outer Critics Circle Award for David Korins’ scenic design and was nominated for eight Tony Awards including Best New Musical. BEETLEJUICE had a history making run on Broadway - following the release of the musical’s original Broadway cast recording and Tony Awards appearance, the box office exploded, making it the surprise hit of the 2018/2019 season. BEETLEJUICE’s Tony Awards performance has gone on to be the most watched musical number from the broadcast with over 3,921,530 views. BEETLEJUICE became a sensation with fans everywhere including on TikTok, which lead to an additional burst of ticket sales from a new audience for Broadway, making the musical one of the top grossing shows on Broadway, going on to break the Winter Garden box office record. The smash hit musical BEETLEJUICE played 366 performances at the Winter Garden Theatre on Broadway before being shuttered with the rest of Broadway on March 12, 2020. BEETLEJUICE returned triumphantly to Broadway with performances on April 8, 2022, at the Marquis Theatre where it continued to haunt Broadway through January 8, 2023.

GHOSTLIGHT RECORDS and WARNER RECORDS released BEETLEJUICE – ORIGINAL BROADWAY CAST RECORDING for digital download, streaming and on CD. The album is produced by Tony Award winner Matt Stine, Tony Award winner Alex Timbers, Tony nominee Eddie Perfect and three-time Grammy Award winner Kurt Deutsch and has surpassed 250 million streams in the United States and 760 million streams globally. These landmark numbers continue the remarkable success of the album, reaching the list of top 10 most streamed OBCRs of the previous decade. The show’s songs have placed in Spotify’s “Viral 50” charts in 13 different countries. In addition, “Say My Name,” one of the show’s breakout showstoppers, was chosen as Amazon’s “Alexa Song of the Day” in 2019. The incredible growth is partly a result of user-generated content on TikTok, where songs from the album have been used in over one million videos.

BEETLEJUICE is based on the 1988 Academy Award®-winning Geffen Company motion picture presented by Warner Bros. and directed by Tim Burton. The smash hit comedy starred Michael Keaton, Alec Baldwin, Geena Davis, Jeffrey Jones, Catherine O’Hara and Winona Ryder with story by Michael McDowell and Larry Wilson.

Like BEETLEJUICE on Facebook at Facebook.com/BeetlejuiceBway/.
Follow on TikTok, Twitter , and Instagram @BeetlejuiceBway.
For more information, visit www.BeetlejuiceBroadway.com.

PERFORMANCE SCHEDULE
Tuesday, March 11 at 7:00 p.m.                  Saturday, March 15 at 2:00 p.m.
Wednesday, March 12 at 7:00 p.m.           Saturday, March 15 at 7:30 p.m.
Thursday, March 13 at 7:00 p.m.                Sunday, March 16 at 1:00 p.m.
Friday, March 14 at 7:30 p.m.                      Sunday, March 16 at 6:30 p.m.

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

For more information, visit www.broadwayinchicago.com.
Follow @broadwayinchicago on Facebook, Instagram , Blue Sky, and TikTok #broadwayinchicago

Obliteration, LLC & The Revival Theater announce a limited engagement of Obliteration, written by Andrew Hinderaker, directed by Jonathan Berry, featuring Michael Patrick Thornton and Cyd Blakewell. Obliteration runs April 10-May 4, 2025, at The Revival Theater, 906 S Wabash Ave in Chicago.

Obliteration is a fusion of stand-up comedy and theater that tells the story of two comedians, Neal (Thornton) and Lee (Blakewell), trying to make sense of a world that's falling apart, even as their own lives are hanging on by a thread.

Obliteration played last summer to sold out audiences and rave reviews as part of Steppenwolf's LookOut Festival and produced by The Gift Theatre in a production directed by Andrew Hinderaker. 

"I've loved stand-up comedy my whole life. But I'd never attempted to write it—I'm a playwright, not a comedian. Then a few years ago, I stumbled upon this quote from the brilliant Phoebe Waller-Bridge: 'You get a lot for free from an audience if you can make them laugh.' Immediately an idea for a play unspooled in my mind: a fusion of stand-up and theater that would tell the story of two comedians, whose lives were hanging on by a thread," comments Andrew Hinderaker. 

Hinderaker continues, "I wrote the piece for two of my fellow ensemble members of Chicago's Gift Theatre: Michael Patrick Thornton, with whom I've collaborated for over a decade; and Cyd Blakewell, with whom I've been desperate to work for years. Our process was simple: I'd write some pages, hoping they would make Cyd and Mike laugh and/or cry. Then they'd read the pages and make me laugh and cry. Over a year, we built the 'play' like this, gradually folding an audience into our process. And once we got people in the room, that's when we realized, holy shit, there's something here."

"I've known all three of these artists for over 20 years and what I can say with certainty is that they are uncompromising in their pursuit of excellence in the art. It's a privilege to return to this production as director and, because we're in a very different moment, I'm sure the play and these actors will be in response to that. What hasn't changed, is our need for laughter, our need for connection, and I am thrilled to create the opportunity for a new audience to experience that," comments Jonathan Berry. 

The Revival Theatre's John Stoops comments, "The Revival is thrilled to host the incomparable Michael Patrick Thornton and Cyd Blakewell in Obliteration. We can't imagine a better way to celebrate our 10th year than to present this groundbreaking production that celebrates comedy and drama in equal measure."

FACTS

Title: Obliteration

Written by: Andrew Hinderaker

Directed by: Jonathan Berry

Cast: Cyd Blakewell and Michael Patrick Thornton 

Production team: Matthew Chapman (sound designer), Sheryl Williams (intimacy director), Jenn Thompson (production coordinator), Sarah Luse, (stage manager)

Location: The Revival Theater, 906 S Wabash Ave in Chicago

Dates: April 10-May 4, 2025

Previews: April 10, 11, 13, and 16, 2025

Opening: April 17, 2025 

Performance schedule: Thursdays-Sundays at 8pm

by: Jonathan Berry

Cast: Cyd Blakewell and Michael Patrick Thornton 

Production team: Matthew Chapman (sound designer), Sheryl Williams (intimacy director), Jenn Thompson (production coordinator), Sarah Luse, (stage manager)

No performances April 12 or 19, 2025

Tickets:https://www.the-revival.com

Previews: $25, $20 students

Regular run: $35, $25 students

About the Artists

Andrew Hinderaker (Playwright) most recently served as an Executive Producer and Showrunner of Black Rabbit, an upcoming Netflix series starring Jason Bateman and Jude Law. He previously created and showran the Showtime series, Let the Right One In, starring Oscar Nominee Demián Bichir, as well as the Netflix series, Away, starring Oscar Winner Hilary Swank. Additional TV writing credits include Penny Dreadful and The Path, but Hinderaker's heart and soul belong to the theater, where he specializes in writing plays that are (nearly) impossible to produce. Recent projects include The Magic Play (Goodman Theatre; Actors' Theatre of Louisville; Portland Center Stage) a five-year collaboration with a sleight-of-hand card artist; and Colossal, an epic theatrical event featuring full-contact football hits, a modern dance company, and a drum line. Colossal received a National New Play Network (NNPN) Rolling World Premiere from 2014- 2016, with its inaugural production at the Olney Theatre Center (DC) receiving numerous Helen Hayes Awards, including Best New Play. Hinderaker's additional plays include Suicide, Incorporated; Dirty; Kingsville; and I Am Going to Change the World, all of which premiered in his hometown of Chicago before enjoying productions in NY and throughout the world. Hinderaker holds an MFA in Playwriting from the University of Texas at Austin, and is a proud ensemble member of the Gift Theatre Company in Chicago. Obliteration marks his seventh collaboration with Michael Patrick Thornton, and his first with Cyd Blakewell. They are two of his favorite artists in the world.

Jonathan Berry (Director), a Chicago director, producer and teacher, is the Artistic Director of Penobscot Theatre in Bangor, Maine. He spent five years as an Artistic Producer at Steppenwolf Theatre Company and he remains a proud ensemble member of both Steep Theatre and Griffin Theatre. Steppenwolf directing credits include: Lindiwe (Co-directed with Eric Simonson and featuring Ladysmith Black Mambazo), The Children, You Got Older, Constellations, and the SYA productions of The Curious Incident of the Dog in the Nighttime, The Crucible, and A Separate Peace. Steep Theatre productions include: Paris, Red Rex, Earthquakes in London, Posh, The Life and Sort of Death of Eric Argyle, If There Is I Haven't Found it Yet, The Knowledge, Festen, Moment, The Hollow Lands and The Resistible Rise of Arturo Ui. At Griffin, productions include: The North American premiers of Simon Stephens Punk Rock (Jeff Award Director, Lead Actor, and Ensemble) Port, and On the Shore of the Wide World, as well as The Harvest, Winterset, Pocatello, Balm in Gilead, Golden Boy, The Burnt Part Boys, Spring Awakening Company, Picnic, Time and the Conways, Dead End, The Hostage and Journey's End. He directed the NY premiere of Andrew Hinderaker's Suicide, Incorporated for The Roundabout. His work has been honored with numerous Joseph Jefferson Award nominations, as well as frequent representation on the end of year Top Ten lists of the Chicago Tribune, the Chicago Sun Times and TimeOut Chicago. He won the Joseph Jefferson Award for directing for his work on Simon Stephen's Punk Rock.  

Berry served as Assistant Director for Anna D Shapiro's Broadway productions of Of Mice and Men and This is Our Youth. At the Gift Theatre, he directed the world premieres of Andrew Hinderaker's Dirty and Suicide, Incorporated. At the Goodman Theatre, he directed the New Stages productions of Martin Zimmerman's The Solid Sand Below and Frances Ya-Chu Cowhig's The World of Extreme Happiness. Other work includes: American Theatre Company: Kill Floor, American Blues: Little Shop of Horrors and Sideman; Redtwist: Look Back in Anger and Reverb, Chicago Dramatists: I am Going to Change the World, Jackalope Theatre: The Casuals, Strawdog: Conversations on a Homecoming, Remy Bumppo: The Marriage of Figaro, Theatre Mir: The Sea and Caucasian Chalk Circle, Lifeline Theater: The Piano Tuner (Afterdark Award – Best Production) He pursued his MFA in directing from Northwestern University under the tutelage of Anna D. Shapiro. He has taught acting, directing, and viewpoints at University of Michigan, Northwestern University, University of Chicago, University of Illinois – Chicago, Vagabond School, Act One Studios, and Columbia College Chicago. For 17 years he played an integral role in the esteemed ensemble training program The School at Steppenwolf, serving as director of the program from 2015-2019. 

Michael Patrick Thornton (Neal) has appeared on stages throughout the world, most recently on Broadway with Jessica Chastain in the acclaimed and Tony-nominated production of A Doll's House, directed by Jamie Lloyd and adapted by Amy Herzog, for which Michael's performance as "Dr. Rank" won the 2023 Actors' Equity Foundation Joe A. Callaway Award for the best performance by an actor in a classical play in the New York metropolitan area. 

Thornton made his Broadway debut in Sam Gold's production of Macbeth with Daniel Craig and Ruth Negga. Other highlights: The Gift Theatre's Doubt at Steppenwolf's 1700, Will Eno's Title and Deed (Lookingglass—Time Out Magazine Best Actor Award) as well as Eno's Middletown (Steppenwolf) the premiere of Andrew Hinderaker's Colossal (Olney Theatre, Kennedy Center) Othello (The Gift, "Iago") Our Town (Actors Theatre of Louisville) and the world premieres of Hinderaker's Dirty and Suicide, Incorporated (The Git) for which Thornton was nominated for a Joseph Jefferson Award. During his 2016 performance in the title role of Richard III (The Gift, at Steppenwolf) Thornton became the first actor to ever act onstage while wearing a robotic exoskeleton, pairing not only an actor with a disability with a character with a disability, but furthermore using cutting-edge technology to theatrically complicate the character of Richard and its discussion around disability, ableism, and representation. This production continues to be the subject of podcasts, published essays, anthologies, and academic papers.

Michael won the 2006 Jeff Award for Solo Performance for The Good Thief (The Gift).

On camera, Thornton has acted opposite Oscar Winners Jessica Chastain, J.K. Simmons, Hilary Swank, Alicia Vikander as well as Oscar nominees Jude Law and Demián Bichir. For two seasons, he played the love interest of six-time Tony Award winning legend Audra McDonald on Private Practice. 

In addition, Thornton's acclaimed improv show—You & Me—premiered at Steppenwolf and has since played for over a decade throughout Chicago, the country, as well as Dublin, Ireland. You & Me most recently had the honor of making its New York debut at Lincoln Center with Michael's comedy partner for life Susan Messing. The Chicago Reader has called the show and Thornton's improvisation "masterful."

Select Film/TV: Ponderosa, The Last Day, The Savant, Black Rabbit, NCIS, The Good Doctor, Let The Right One In, Chicago Party Aunt, 61st Street, A Million Little Things, Away, All Rise, Madam Secretary, The Red Line, Counterpart, Elementary, and The View From Tall. 

Select Awards: Actors' Equity Foundation Joe A. Callaway Award; Irish Books and Music Festival (iBAM!) Award Recipient; Best Actor: 2017 Midwest International Film Festival (The View From Tall); Tree of Life Award: Shirley Ryan Ability Lab; 3Arts Artist Award; Northlight Theatre's Jack Springer Award for Outstanding Performance; The Tim Meier and Helen Coburn Meier Foundation Achievement Award; The Second City Foundation's Jim Zulevic Chicago Arts Award; The Joseph Jefferson Award for Solo Performance, and induction into The University of Iowa and St. Patrick High School Halls of Fame.

Cyd Blakewell (Lee) is living her best life working on this incredible project with this fantastically dreamy team. She is a proud ensemble member of The Gift Theatre, where she is also the Casting Director. Gift Shows: The Locusts, The Pillowman, Doubt, A Life Extra Ordinary, Good For Otto, Body + Blood, Broadsword, Mine and multiple episodes of TEN. Chicago theatre credits: The Brightest Thing in the World (About Face); Birthday Candles (Northlight); The Snare (Jackalope); Balm In Gilead and Port (Griffin); Buddy Cop 2, breaks & bikes and MilkMilkLemonade (Pavement Group); Sweet Confinement and Ivanov (SiNNERMAN Ensemble); Orange Flower Water (Interrobang); Lies & Liars and Mimesophobia (Theatre Seven)d; Rewind (The Side Project). She recently wrapped a short film called Fairground and can also be seen in Jeri's Grille. Cyd got her BFA from Southwestern University in Georgetown, TX, is a graduate from the School at Steppenwolf and is represented by Promote Talent Agency. She is married to Keith Neagle and mother to Wesley, who give her an endless amount of love and support.

The Dance Center of Columbia College Chicago announces 16 by Red Clay Dance Company for three performances only, April 17-19, 2025, featuring Founding Artistic Director and CEO Vershawn Sanders-Ward (‘02)’s new staging of Written on the Flesh and a premiere by Bebe Miller—commissioned and set on Red Clay Dance Company dancers including Columbia alumni Amaya Arroyo (‘23) and Celeste Brace (‘23).

For more information and to purchase tickets, visit dance.colum.edu/events/2025/4/17/red-clay-dance-company.

Season 51 welcomes the return to the Dance Center of two extraordinary dance artists who have significantly impacted the dance ecosystem in Chicago and beyond—Bebe Miller and Vershawn Sanders-Ward. New York- and Ohio-based Miller was dubbed a “MoMing Sensation” by the Chicago Tribune in 1986 when she first performed in Chicago at MoMing Dance and Arts Center. Miller made her Dance Center debut at the original Uptown location in 1990 as part of Present Vision/Past Voice – The African American Tradition in Modern Dance series and returned in 1999 for the Changing Channels Festival where then-undergraduate Vershawn Sanders-Ward first experienced her work. From 2005 through 2020, the Dance Center, the Museum of Contemporary Art, and Links Hall all presented Miller in Chicago. Sanders-Ward founded Red Clay Dance Company in Chicago in 2009 and began making a local, national and international name for herself. Sanders-Ward returned to her alma mater for Red Clay Dance Company’s collaboration with Uganda-based Keiga Dance Company in 2018. During the pandemic, the South Loop Spark Plug incubator residency at the Dance Center commissioned four Chicago-based choreographers, including Sanders-Ward, to premiere new works in 2022 that were developed over a 6-month period with Miller serving as an artistic process mentor. 16 is the latest opportunity for Chicago to experience these two artists at the Dance Center.

“Vershawn Sanders-Ward and Bebe Miller are shining examples of continued, never-ending dedication to the field, to process, to inquiry, to continuing to investigate,” says Dance Center Artistic Director Meredith Sutton.

Tickets for Red Clay Dance Company’s 16 at the Dance Center of Columbia College Chicago (1306 S. Michigan Avenue, Chicago) are now available for $30, with non-Columbia student tickets available for $10. Performances are Thursday, April 17 at 7:30 p.m. (includes post-performance Q&A with Bebe Miller and Vershawn Sanders-Ward); Friday, April 18 at 7:30 p.m.; and Saturday, April 19 at 7:30 p.m. For more information and to purchase tickets, visit dance.colum.edu/events/2025/4/17/red-clay-dance-company.

Displayed int he lobby will be an archive of Red Clay Dance Company’s16 years in partnership with the Chicago Dance History Project for audiences to view before the show and during intermission.

Alongside the performances, advanced/professional dancers and students can take a masterclass with Bebe Miller at Red Clay Dance Company (808 E. 63rd Street, Chicago) on Thursday, April 17. Tickets are available for $30 HERE. A workshop with Vershawn Sanders-Ward will also be held at the Dance Center at Columbia College Chicago (1306 S. Michigan Avenue, Chicago) on Friday, March 7 at 10:30 a.m.

When Written on the Flesh first premiered in 2016 at Chicago’s DuSable Black History Museum and Education Center, it had been sparked by a Ta-Nehisi Coates’ 2014 essay in The Atlantic where he wrote: “elegant racism is invisible, supple, and enduring.” In developing the dance work, Vershawn Sanders-Ward and the Red Clay Dance Company dancers were struck by how memories of direct, in-your-face bigotry were easy to call up and respond to, “But some of the underpinnings of the things that we just move through in our lives become a way of living,” says Sanders-Ward. “They are actually invisibilized. I was intrigued about how to make those things visible.”

This 2025 restaging takes the inquiry deeper, drawing additional inspiration from Isabel Wilkerson’s 2020 book Caste: The Origins of Our Discontents: “As we go about our daily lives, caste is the wordless usher in a darkened theater, flashlight cast down in the aisles, guiding us to our assigned seats for a performance. The hierarchy of caste is not about feelings or morality. It is about power—which groups have it and which do not.” Reimagining the work with the current dancers in the company, Sanders-Ward seeks to confront systemic racial inequities while searching for resilience, forgiveness, and love.

“There are systemic issues that we still don’t have the courage to really lay bare,” says Sanders-Ward. “Even when it’s bubbling up there’s still this powerful dynamic to suppress and suppress and suppress, not let’s address it head on no matter how disruptive it’s going to be. We see pockets of it. But are we willing to let it all come out?”

“The relationships that I have now in the field are because of the time that I was at the Dance Center and the generosity of the faculty in making connections for me,” says Sanders-Ward. “I feel very blessed to be in a position to put the dancers in the company in relationship with Bebe Miller, an artist who is just legendary to me, but is also still on her own creative journey.” says Sanders-Ward. “It’s a homecoming to be able to be incubated in a space and go away and to come back at this pivotal moment.”

About 16’s Choreographers

A native New Yorker, Bebe Miller first performed her choreography at NYC’s Dance Theater Workshop in 1978. She formed Bebe Miller Company in 1985 to pursue her interest in finding a physical language for the human condition. Committed to keeping dance available to a wide spectrum of people and to further the conversation about the role of arts and creativity in our culture, Miller is dedicated to providing access to the creative process and expression to diverse communities. She has created more than 50 dance works for the company and has been commissioned and presented by 651 ARTS, BAM Next Wave, DTW, Jacob’s Pillow, Joyce Theater, PICA, REDCAT, Walker Art Center, and Wexner Center for the Arts among others. Her choreography has been performed by Kyle Abraham’s A.I.M. (Abraham In Motion), Dayton Contemporary Dance Company, Oregon Ballet Theater, Boston Ballet, Philadanco, Salt Lake City’s Repertory Dance Theater, the UK’s Phoenix Dance Company, PACT Dance Company of Johannesburg, South Africa, and at a host of colleges and universities including the Dance Center of Columbia College Chicago. Named a Master of African AmericanChoreography by the Kennedy Center in 2005, Bebe has been a Movement Research honoree, has received four New York Dance and Performance “Bessie” awards, the David R. White Award from New York Live Arts, United States Artists and Guggenheim Fellowships, honorary doctorates from Ursinus College and Franklin & Marshall College, and is one of the inaugural class of Doris Duke Artist Award recipients. Bebe is a Distinguished Professor Emerita in The Ohio State University’s Department of Dance and lives in Columbus, OH. bebemillercompany.org

The Founding Artistic Director& CEO of Red Clay Dance Company, Vershawn Sanders-Ward blends elements of African diasporic dance forms with modern techniques and is committed to reshaping the landscape of contemporary dance while driving social change. Through Red Clay Dance Company, she provides a platform for artists of diverse backgrounds to explore issues of identity, race, and social justice through dance and ARTIVISM. Her work has been presented in Chicago, New York, San Francisco, The Yard at Martha’s Vineyard, and internationally in Toronto, Dakar and Kampala and commissioned by Columbia College Chicago, Northwestern University, Knox College, AS220, and the National Theatre in Uganda. On the Board of Trustees for Dance/USA, Sanders-Ward is President of the Board of Directors for the Black Arts & Cultural Alliance of Chicago, was selected as a Community Impact Fellow for the Harvard Business School Club of Chicago and as a member of the inaugural Obama Foundation Summit for Emerging Global Leaders. She is the recipient of the inaugural Walder Foundation Platform Award, Dance/USA Artist Fellowship, Dance/USA Leadership Fellowship, Chicago Dancemakers Forum Award, and 3Arts Award. She was featured on the 2024 Chicago episode of the PBS series "The Expressway with Dulé Hill, "named a 2024 Chicagoan of the Year by the Chicago Tribune, and inducted into Newcity’s “Players 50: People Who Really Perform for Chicago” Hall of Fame in 2023. Sanders-Ward is a candidate for Dunham Certification and currently serves on faculty at Loyola University of Chicago. She holds an MFA in Dance from New York University and is the first recipient of a BFA in Dance from  Columbia College Chicago, where she was a Gates Millennium Scholar. redclaydance.com

About Red Clay Dance Company

Red Clay Dance Company, Chicago’s premier Afro-contemporary dance company, is the brainchild of Vershawn Sanders-Ward, the institutions’ Founding Artistic Director & CEO. The touring company is an award-winning ensemble of versatile and dynamic dance Artivists that tour and perform locally, nationally, and internationally. In its 16-year history the company has toured and performed in venues such as the Harris Theater for Music & Dance, Dance Center of Columbia College, the DuSable Museum Roundhouse, the Museum of Contemporary Art, ODC Theater, Dance Mission Theater, The Painted Bride, Joyce Soho, and the National Theater of Uganda. Committed to taking their signature Artivism in Motion from the stage into learning environments, its community engagement work is a vital part of the company’s creative process and village building work.

About The Dance Center of Columbia College Chicago

Within the School of Theatre and Dance, the Dance Center of Columbia College Chicago is home to the Dance program and the Dance Presenting Series. Valuing embodied human expression, nurturing an expansive understanding of dance from the established to the experimental, and centering pluralism, the Dance Center aims to be a nucleus for innovation and creativity—on stage, in the classroom, and beyond. By partnering with local, national, and international dance artists dedicated to transforming the field, the Dance Presenting Series offers live performances and other shared opportunities for students, faculty, artists, and audiences to connect, witness, research, experiment, practice, imagine, and grow. We cultivate an environment and culture that prioritizes respect for self and others, and advances an anti-racist, equitable, and just society.

Season 51 is supported in part by Alphawood Foundation, Chicago International Puppet Theatre Festival, City of Chicago Department of Cultural Affairs and Special Events, Illinois Arts Council, Kalapriya Center for Indian Arts, National Endowment for the Arts, Red Clay Dance Company, and The Richard H. Driehaus Foundation. Additional support for She’s Auspicious is provided by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

About Columbia College Chicago

Located in the heart of downtown Chicago’s Cultural Mile, Columbia College Chicago is a private, nonprofit college offering a distinctive curriculum that blends creative and media arts, liberal arts, and business for nearly 6,700 students in more than 60 undergraduate and graduate degree programs. Dedicated to academic excellence and long-term career success, Columbia College Chicago creates a dynamic, challenging, and collaborative space for students who see the world through a creative lens.

Stand Up Together, a comedy benefit in support of artists impacted by the Los Angeles wildfires, hosted by Second City and SNL Alum Katie Rich, is planned for Thursday, March 27 at 7:30pm at Laugh Factory Chicago, 3175 N Broadway. Comedians Pat McGann, Katie Rich, Megan Gailey, Marcella Arguello, Kristen Toomey, Calvin Evans, Matty Ryan, Chris Bader and more will take the stage to raise funds for artists and industry professionals impacted by the Southern California wildfires.

All ticket sales, raffle proceeds and donations will go to Motion Picture & Television Fund (MPTF), an organization that offers a variety of services that can provide emotional and financial relief to entertainment industry members and their families during times of need, including financial assistance, supportive counseling, and assistance navigating insurance needs for entertainment industry members and their families impacted by the Southern California wildfires.

Since January 7, MPTF has received over 530 fire-related calls, including over 150 clients who have suffered complete loss of home. Over 200 clients have already received financial assistance. MPTF has been receiving significantly higher requests for assistance in times of need currently due to the industry contraction and wildfire relief, with industry members also still in recovery from the impact of the pandemic and dual strikes. 

The event is produced by Artists First and Laugh Factory. Tickets, priced at $35, as well as raffle tickets for purchase are available at https://bit.ly/standuptogetherevent. Laugh Factory Chicago is located at 3175 N Broadway. Stand Up Together is an 18+ showcase.

About Motion Picture & Television Fund (MPTF)

MPTF supports working and retired members of the entertainment community with a safety net of health and social services, including temporary financial assistance, case management, and residential living. From childcare to living and aging well with dignity and purpose, MPTF is there to guide the industry workforce through the enormous obstacles life presents. For over 100 years, the extraordinary generosity of the entertainment community has enabled MPTF to deliver charitable services to industry members in need. MPTF is a 501(c)(3) nonprofit, tax-exempt charitable organization.

MPTF is supported by the philanthropy and volunteer services of fellow entertainment industry members. Our industry is unique and we have a history of taking care of our own like no other industry in the world. People are at the heart of what we do each and every day and it's because of the generosity of countless donors, families, and volunteers, that we can deliver services to thousands of people each month.

Following a string of successful shows, Music Theater Works has once again hit the jackpot with their 2025 season opener, Guys and Dolls. This delightful production is currently wowing audiences at the North Theatre at the North Shore Center for the Performing Arts. With infectious tunes and clever lyrics by Frank Loesser, and a sharp script by Jo Swerling and Abe Burrows, the show is skillfully directed by Sasha Gerritson. Add to that the vibrant choreography by Clayton Cross and the expert musical direction by Linda Madonia, and you've got a performance that's guaranteed to keep you coming back for more!

Guys and Dolls is a timeless musical comedy that transports audiences to the bustling streets of 1950s New York City. The plot centers around the dynamic lives of several characters, particularly Nathan Detroit, a gambler running an underground dice game, and his enduring fiancée, Miss Adelaide, a nightclub singer longing for Nathan to finally marry her. To fund his next game, Nathan bets Sky Masterson, a high-stakes gambler, that he can't charm Sarah Brown, a virtuous mission worker. Sky takes up the challenge, and through a series of delightful and engaging interactions, he gradually wins Sarah's heart.

As the story unfolds, the characters become woven into a rich tapestry of love, deceit, and redemption. Sarah uncovers Sky's original motives but forgives him as they both realize their deepening love for each other. Meanwhile, Nathan's efforts to keep his dice game hidden lead to a blend of comedic and thrilling situations. The musical reaches a heartwarming and joyous climax, with Nathan marrying Adelaide and Sky and Sarah starting a promising new chapter together. Featuring memorable songs, lively dance routines, and a touching storyline, Guys and Dolls remains a beloved and timeless treasure in the world of musical theatre.

This well-cast ensemble driven production has an array of bright and talented actors that make this such a memorable adventure. Callen Roberts finesses the role of Nathan Detroit to perfection - a gambler who runs an illegal dice game and is engaged to Miss Adelaide. Roberts truly embraces his fast-talking, hustling persona, transforming the character into one of the show's key anchors and a standout presence. Jeffrey Charles is spot on as Sky Masterson, the suave gambler who wagers he can charm Sarah Brown, while Kristin Brintnall steals the spotlight as Miss Adelaide, Nathan's fiancée. Her blend of comedic timing and stellar vocals brings the nightclub singer's longing for a settled life to life brilliantly. Cecilia Iole shines Sarah Brown, a mission worker who becomes the object of Sky's bet but eventually falls for him. Iole’s vocals are nothing short of spectacular. A round of applause also goes out to the rest of the ensemble, who contribute to making this musical the delightful experience it is meant to be. Andrew Freeland brings down the house as Big Julie, serving up some of the show’s biggest belly laughs. Shoutouts are also well-earned by Ian Reed, Carey Lovett, Caron Buinis, Bob Sanders, and Peter Ruger, who each bring their own flair to the stage. And let’s not forget the dazzling Hot Box Girls—Jenny Couch, Catherine Rodriguez O’Connor, Emily Holland, and Emma Jean Eastland—who light up the stage with their sensational moves. These ladies can really dance! The entire cast? Absolutely top-notch.

(L to R) Jenny Couch, Catherine Rodriguez O’Connor, Kristin Brintnall, Emily Holland and Emma Jean Eastland in GUYS AND DOLLS, from Music Theater Works.

One of my absolute favorite things about the show was its incredible Times Square neighborhood set—it felt like you were right in the heart of the action! But what truly stole the spotlight was the eight-piece band playing up above for everyone to admire. Talk about a show-stopping touch! Equally impressive was how choreographer Clayton Cross utilized the stage space to accommodate such a large cast, creating a busy New York feel with heavy people traffic and such elaborate dance numbers.

Guys and Dolls is a must-see production that brings the vibrant streets of 1950s New York City to life with its captivating characters and delightful musical numbers. With unforgettable songs like "Luck Be a Lady," “A Bushel and a Peck,” and "Sit Down, You're Rockin' the Boat," this show is guaranteed to have you tapping your toes and humming along. Don't miss the chance to experience the magic, humor, and heart of this timeless classic—it's a theatrical gem that promises an evening of pure entertainment!

This might be the first production of the year, but plenty of action lies ahead for Music Theater Works. The 45th season lineup also features the following upcoming shows: Fiddler on the Roof from August 7 to 17, Godspell from October 23 to November 16, and Annie from December 18, 2025, to January 4, 2026.

Guys and Dolls is currently being performed at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd, Skokie and runs through March 30^th. For tickets and/or more show information, visit www.MusicTheaterWorks.com.

Highly Recommended!

Featured on https://www.theatreinchicago.com/

Two dancers stand center stage. The traditional, spiritual music begins to play as they start to move. Very much in unison, and slowly in time with the rhythm. We are in the first segment of Revelations - “Pilgrim of Sorrow.” The first two segments were larger group numbers, but this one feels different.

“Fix Me, Jesus” features a duet, and as the song continues, Ailey’s choreography only heightens. Just when you might think the pure strength on stage cannot become more mesmerizing, the dancers wow you with yet another move. The male dancer dips the female to the stage with little more support than his hand on her head. Then he lifts her into the air with his feet, and she continues to amaze with kick after kick – holding her extension at full height for multiple seconds at a time.  Each acrobatic feat elicited cheers from this opening night audience and even brought some to their feet upon the number’s completion.

Alvin Ailey’s company is full of so many incredible dancers. Every number showcased impressive talent that left the eager audience wanting more. However, you just might find that what pushes these numbers over the top is the clear connection that the performers not only share with each other, but also the material. Whether it’s a large group number or a duet like “Fix Me, Jesus,” there is an emotional resonance to each of the pieces that pushes the storytelling over the top.

Helmed by Interim Artistic Director Matthew Rushing, Alvin Ailey American Dance Theater’s tour to the Auditorium Theater showcases a range of material. Long-time fans of the company (like myself) are sure to recognize some of the famous pieces – such as Revelations. This particular performance also sprinkled in some of the newer pieces from the company – including Grace and Finding Free. Each piece was stunning, and from the uproars of applause from the surrounding audience, it was clear I was not alone in my assessment.

Alvin Ailey American Dance Theater in Hope Boykin's Finding Free.

Cry was certainly a favorite at this performance, and it’s not hard to see why. Alvin Ailey choreographed this piece as a birthday present to his mother back in 1971, and as noted in the program, it continues to serve as a celebration of “black women everywhere – especially our mothers.” With costumes by A. Christina Giannini, the women on stage wear long, flowing white skirts that twirl and sway with every movement. Particularly when combined with the blue of Chenault Spence’s lighting design, the women almost feel angelic. So much of this performance was met with cheers and standing ovations, but this particular number left audience members silent – clearly leaning into the heartfelt, emotional depth of the piece.

As much as the slower, heavier pieces stood out, you might find that it is hard to top the pure joy that exudes from the final installment of Revelations - “Rocka My Soul in the Bosom of Abraham.” This number is a full-ensemble moment – with each member dressed up to the nines for a church service. With the men in suits and the women carrying fans, they dance in unison and are clearly having a blast as the music moves through them. Audience members, swept along in the passion, even began to clap along to the music – which only invited the smiles on the dancers to grow.

Full of talent and delight, Alvin Ailey American Dance Theater’s performance simply does not disappoint. Whether you are a long-time fan or completely new to the company, there’s a little something for everyone.

Alvin Ailey American Dance Theater’s run at the Auditorium Theater (50 East Ida B. Wells Drive) ended on Sunday, March 9. See the Auditorium Theatre website for  information on other performances in their season. 

*You can also find this review featured on https://www.theatreinchicago.com/.

Victory Gardens Theater, in association with Relentless Theatre Group, will present the Midwest premiere of a new work by Pulitzer Prize-winner, filmmaker and former Chicago-based playwright David Mamet, "Henry Johnson." Presented in celebration of the 50th anniversary of the founding of Victory Gardens, the production will be directed by Joseph Jefferson Award-winner Edward Torres (Co-founder and Artistic Director Emeritus at Teatro Vista) and will star acclaimed actors Thomas Gibson (TV's "Criminal Minds"), Keith Kupferer ("Ghostlight") Al'Jaleel McGhee and Daniil Krimer. Dennis Zacek, the Founder and Artistic Director Emeritus at Victory Gardens Theater, who led the company to receive a 2001 Tony Award for excellence in regional theater, will serve as Executive Producer.

The press performance will be Sunday, April 14 at 3 p.m.

"Henry Johnson," which is being produced for the first time since its world premiere in Los Angeles in 2023, delves into the themes of manipulation and ethical ambiguity. The story follows Henry Johnson, a middle-aged man, as he navigates a series of encounters, both in the corporate world and in prison. As the play progresses, audiences are prompted to wonder: "What is the price of compassion?" 

The production features a lighting design by Jared Gooding, costumes by Stephanie Cluggish, set design by CODESIGN STUDIOS, props by Jeff Brain and fight choreography by David Woolley.

Tickets, which range in price from $64-69, will go on sale today, March 7 at 10 a.m. at victorygardens.stagey.net/projects/12019. The performance schedule is Wednesdays, Thursdays and Fridays at 7 p.m. Saturdays at 3 and 7:30 p.m. and Sundays at 3 p.m. There will be no performances April 18 – 20.

David Mamet (Playwright)

Chicago-born David Mamet is the author of numerous critically acclaimed, award-winning plays including "American Buffalo," "Speed the Plow," and "Glengarry Glen Ross," for which he was awarded the Pulitzer Prize for drama in 1984.

His films include "The Postman Always Rings Twice," "Wag the Dog," "The Verdict," " Hoffa," "Ronin," "The Untouchables," "House of Games" (writer/director), "Oleanna" (writer/director), (writer/director), "Homicide" (writer/director), "The Spanish Prisoner" (writer/director), "State and Main" (writer/director), "Heist" (writer/director), "Spartan" (writer/director) and "Redbelt" (writer/director). His most recent books are "True and False," "Three Uses of the Knife," "The Wicked Son," "Bambi vs. Godzilla," "The Secret Knowledge," "Chicago" "The Diary of a Porn Star," "Recessional: On the Death of Free Speech and the Cost of a Free Lunch,"  and the upcoming "The Disenlightenment: Politics, Horror, and Entertainment." He directed the world premieres of his most recent plays, "Bitter Wheat," starring John Malkovich, on the West End in 2019, and The Christopher Boy's "Communion" at the Odyssey Theatre in Los Angeles in February 2020. He recently wrote and directed the film "Henry Johnson," available soon at HenryJohnsonMovie.com.

Edward Torres (Director)

Edward Torres is a director and performer whose work has been seen on stages across the country. As an actor, he most recently appeared in Bruce Norris's "Downstate" at Playwrights Horizons, following acclaimed productions at the National Theatre in London and Steppenwolf Theatre Company.  He also received a Lucille Lortel nomination for Featured Outstanding Performance 2023 for his role in Downstate

As a director, Edward has led productions at The Old Globe, including "El Borracho," "Familiar," "Native Gardens" and "Water by the Spoonful." He was named one of The Old Globe's Classical Directing Fellows in 2021 and directed the podcast adaptation of "Macbeth" for NEXT Chapter Podcasts and Play On Shakespeare. He helmed the world premiere of Kristoffer Diaz's "The Elaborate Entrance of Chad Deity" at Victory Gardens Theater and Teatro Vista, a production that was named Best Play of 2009 by the Chicago Tribune and won five Joseph Jefferson Awards, including Best Production and Best Director.

Torres has also directed at several other prominent theaters, including Geffen Playhouse, Second Stage Theatre, Goodman Theatre, The Public Theater and Repertorio Español. His work has earned him accolades such as the Latin ACE Award for Best Musical and the Artistas de Teatro Independiente Award for Best Director. He is an associate Professor at University of Illinois -Chicago and serves as Artistic Director Emeritus at Teatro Vista

Thomas Gibson  (Gene)

Thomas Gibson hails from Charleston, South Carolina. At a young age, Thomas became interested in theater, and later moved to NY to become a member of Group 14 at Juilliard's Drama Division.

He has worked extensively on stage in NY, including Shakespeare in the Park, Molière and Noel Coward on Broadway, as well as last year's premiere of Ibsen's "Ghost" by Charles Busch at Primary Stages. Thomas has also created roles in premieres by Romulus Linney, Anna Cascio, David Hare, and Howard Brenton, among others.

Thomas' work in films and television includes the beloved "Tales of the City" series, as well as Kubrick's "Eyes Wide Shut," Whit Stillman's "Barcelona," Scorcese's "Age of Innocence," as well as "Love and Human Remains" and "Stardom," both with Denys Arcand. He starred with Jenna Elfman in "Dharma and Greg," for which he was twice nominated for a Golden Globe. He is also known for playing Aaron Hotchner on the series "Criminal Minds." Thomas is an accomplished director both in the theater and on television, and recently produced and starred in "The Writer's Bible," a short film which he co-wrote with his son, JP, and which JP directed and produced.

Keith Kupferer (Jerry)

Keith Kupferer delivered a widely praised, powerhouse performance in "Ghostlight," directed by Alex Thompson and Kelly O'Sullivan, which premiered to critical acclaim at Sundance in 2024 and was later released nationwide by IFC Films. His work in the film earned him multiple prestigious end-of-year nominations, including recognition from the Gothams and Independent Spirit Awards. He was awarded Best Actor in a Comedy by the Satellite Awards and named the "2025 Chicagoan of the Year in Film" by the Chicago Tribune.

A veteran of Chicago's theater scene, Kupferer has performed at many of the city's most esteemed institutions, including Steppenwolf, Goodman Theatre, Victory Gardens, Writers Theatre, Lookingglass Theatre, Northlight Theatre, A Red Orchid and Chicago Shakespeare Theater. A founding member of Rivendell Theatre Ensemble—now celebrating its 30th anniversary—he has starred in critically acclaimed productions such as "A Mile in the Dark," "The Cake," "American Wee-Pie" and "Cal in Camo" (for which he won a Jeff Award for Supporting Actor). His other notable credits include "Support Group for Men," "God of Carnage" and "Sweat" (Goodman); "The Seagull," "The Great Leap," "The Qualms," "Good People" and "Middletown" (Steppenwolf); "Hillary and Clinton," "Never the Sinner" and "Appropriate" (Victory Gardens); "West Side Story" (Lyric Opera) and the world premiere of "The Humans" (American Theater Company).  He has also appeared in numerous films and television shows.

Al'Jaleel McGhee (Mr. Barnes)

Al'Jaleel McGhee is a dynamic actor whose work spans stage and screen. He recently toured nationally with the Broadway production of "A Soldier's Play" and has performed extensively in Chicago's top theaters. His credits include "Noises Off" at Steppenwolf, "Intimate Apparel" and "Fireflies" at Northlight Theatre, "Hamlet" at Chicago Shakespeare Theater, "Graveyard Shift" at the Goodman Theatre's New Stages Festival, "Paradise Blue" at TimeLine Theatre, and "Blues for an Alabama Sky" at Court Theatre.

Beyond Chicago, Al'Jaleel has appeared in regional productions such as "Noises Off" at the Geffen Playhouse and "Toni Stone" at the Huntington Theatre. On screen, he can currently be seen in "Lady in the Lake" and "Shining Girls" (Apple TV+), "61st Street" (AMC), and "POWER Book IV: FORCE" (Starz).

Al'Jaleel holds an MFA from Northwestern University and studied at the University of Illinois Chicago and North Carolina Central University. He is represented by Gray Talent Group.

Daniil Krimer (Henry Johnson)

Daniil Krimer is an actor and theatermaker whose work spans stage and screen. In New York, he appeared in "Really Really" with Normal Ave Productions. His regional credits include "Sherlock Holmes" at West Virginia Public Theatre, while in Chicago he has performed in "Romeo and Juliet" and "Twelfth Night" at Kane Repertory Theatre.

On television, Daniil has been seen in "FBI" and "Chicago P.D." He holds an MFA in Acting from Northern Illinois University and is the co-founder and former Artistic Director of Kane Repertory Theatre. He is grateful to David Mamet for the opportunity to bring his work to his hometown and to his family for their unwavering support.

About Dennis Zacek

Dennis Zacek is Artistic Director Emeritus of Victory Gardens Theater where he held the position of Artistic Director for 34 years. He, his wife Marcelle McVay, and Sandy
Shinner accepted Victory Gardens' 2001 Tony Award for Outstanding Regional Theatre.

He also accepted the Actors Equity Association (AEA) Spirit Recognition Award on
behalf of Victory Gardens. The Spirit Award is given to institutions that "have made
nontraditional casting a way of life." Among other awards are a Jeff Award for
Outstanding Achievement in Chicago Equity Theatre, an Artistic Leadership Award from the League of Chicago Theatres, the Rosetta Lenoire Award from AEA and the Sidney R. Yates Arts Advocacy Award from the Illinois Arts Alliance (now Arts Alliance Illinois). Zacek is Professor Emeritus at Loyola University and was included on Utne Reader's list of "Artists Who Will Shake the World." Currently he works at The Studios of Key West as a teacher during the winter. He has directed more than 250 productions in his career.

About Relentless Theatre

Relentless Theatre Group believes great theater challenges the mind. Our mission is to offer a theatrical home for public discourse, freedom of expression, and brilliant creation.

About Victory Gardens Theater

The Victory Gardens Theater, established in 1974, stands as a beacon of innovation and artistry in the theater community. With a record of producing more world and Chicago premieres, collaborating with more living playwrights, and exporting new plays for production elsewhere than any other theater in the region, we are proud to lead the way in the evolution of contemporary theater. Our mission is to cultivate and present powerful, new works that capture the diverse narratives of our world, enriching the American theater landscape. Through our productions, we ignite important conversations that drive meaningful civic change and foster an inclusive theater experience that invites everyone to partake.

Our achievements over the past 50 years were recognized in 2001 when we received the prestigious Tony Award® for Outstanding Regional Theatre at New York's Radio City Music Hall. This esteemed award honors our unwavering commitment to artistic excellence and our significant contribution to the growth of theater on a national scale. As we celebrate our past, we look forward with determination to the next 50 years, remaining steadfast in our values of integrity, diversity, innovation, and excellence. Together, we will continue to inspire and transform the theater experience for audiences everywhere. Please visit victorygardens.org/mission-history to learn more about our history or victorygardens.org/donate/ to donate to our cause.

Prolific, and routinely recognized as being one of the most produced playwrights in the country, Lauren Gunderson’s range is as impressive as the quality and popularity of her work.  Inspiration for her plays often springs from things she loves, with history and science at the top of the list.  They can also arise from sheer curiosity or when she notices a subject matter void.  I and You can be said to fall in both latter categories.  Now playing in Lake Forest’s Citadel Theatre, it burrows into the lives of people we don’t see enough on the theatrical stage, the young.  By centering on youth, she gives us an opportunity to better understand ourselves from a rarely observed perspective. 

In I and You, a genetic condition diagnosed at birth has Caroline (Amia Korman), now 17, homebound.  She used to be able to go to school, but the progression of her illness now has her doing remote learning exclusively.  With a wonderful wall of photographs and images covering its back wall, a not too frilly bedroom and her stuffed turtle make up her universe.  The only human contact she has is with her mother; someone we never see.  Understandably, she’s both surprised and alarmed when Anthony (Jay Westbrook) bursts into her room after a perfunctory knock on the door looking for help with a homework assignment.  Directed by Scott Shallenbarger, it’s a tense encounter.  Anthony’s Black, and there’s a tinge of racial fear detectable in the scene.  But through it we get a baseline on the character of these two young people; or at least on how they relate to other people.

Caroline’s prickly, defensive and sharp-tongued.  We soon detect too that she’s angry about not having a normal teenage life and psychologically weary of waking up to the possibility of imminent death every morning of her life.  Anthony’s just a regular pleasant teenager intent on getting an assignment done.  Sports, other interests and procrastination have put him behind the eight ball and, with the assignment due the next day, he’s a little anxious.  When he lets slip that he volunteered to team with Caroline on this project, he’s compelled to admit he did so because she was a topic of curiosity at their school, and he wanted to meet her.  Walt Whitman’s Leaves of Grass is the assignment and, despite being an avid B-baller, Anthony’s a big fan of Whitman’s poetry.  Beautiful and still groundbreaking 170 years after it was originally published, Whitman’s classic looms large over the entire play.  So much so you might find yourself checking your bookshelves for a copy when you get home to reacquaint yourself with the poet’s seminal genius.

Gunderson’s writing and Shallenbarger’s direction perfectly capture the almost exasperatingly rapid speed and quirky fluidity of teenage-ese.  Well matched in its fluency, Caroline and Anthony also happen to be very intelligent and willing, once trust is gained, to speak candidly to one another.  Something not easily done with someone who’s accustomed to closing herself off from a world that hasn’t given her much to believe in.  What Caroline doesn’t want is pity, especially in the form of reflexive or obligatory niceness.  It’s the reason she initially closes the door to kindness of any type from Anthony. 

Picking up cues from the way Anthony talks about his father, his love of jazz and his interaction with girls, she feels he has it all.  It’s a notion he quickly disabuses her of by revealing personal flaws and confessing to missteps he’s taken that bring balance to her perception of him.  Flashes of vulnerability that they both share lead to frank, thoroughly absorbing dialogues about death.  When she confesses her dream of being a photographer and travelling the world, and then demurs saying she knows it’s all fantasy, it's Anthony’s turn to bristle by demanding she “stare it down and don’t give up”.   Both young actors display a natural and refined intuition for their craft. The deeper their roles take them, the greater their appeal as they invest an uncanny honesty into their characters.  As they disclose more and more about themselves, barriers between them begin to quietly tumble.  Something that they both notice, resist, slowly accept and finally embrace. 

As with so many who share her craft, displaying the universal need for connection between people was a conscious goal of the playwright in I and You.  That the two characters be of different races or ethnic backgrounds was a casting condition for Gunderson in this play as well.  As the playwright has noted, it’s reflective of the real world and doing so created a silent but constant reminder of the arbitrary boundaries we create between ourselves.   As Caroline and Anthony gain deeper insights into each other, and as they explore together the wonders and possibilities Whitman’s words engender, the barriers separating them, including that of race, fade like a mist.  They quite unconsciously begin to focus on what they have in common.  An affection that only deep understanding arouses begins to germinate, preceding an ending that’s so startling it makes some people gasp. A shock that prods us to take stock of ourselves and the world we live in through a more illuminating and expansive light. 

Unobtrusive yet discreetly distinctive, David Solotke’s set design held insinuating touches that added notes of mystery to the play and Jodi Williams’ lighting during pivotal moments amplified its drama in hugely rewarding ways.  Paired with an exemplary story, very fine acting and discerning sure direction, Citadel’s production of I and You is a delight that can be savored long after the lights come up. 

I and You

Through March 23, 2025

Citadel Theatre

300 S. Waukegan Road

Lake Forest, IL  60045

https://www.citadeltheatre.org/

*You can also find this review featured on https://www.theatreinchicago.com/.

Do not bring the kids to TITUS ANDRONICUS; it has 14 killings, 9 of them on stage, 6 severed members, 1 rape (or 2 or 3, depending on how you count), 1 live burial, 1 case of insanity and 1 of cannibalism – an average of 5.2 atrocities per act. We’re talking kung-fu, sword-fu, spear-fu, dagger-fu, arrow-fu, pie-fu … heads roll, hands roll, tongues roll, nine and a half quarts of blood flow – pretty gruesome, even for Shakespeare. We were offered seats within or outside the ‘splash zone’; we chose the former (of course) and were duly splashed.

TITUS ANDRONICUS, Shakespeare's bloodiest script, brings prejudice and the politics of revenge to the forefront – timely and apt, yeah? TITUS ANDRONICUS is one of the Bard’s lesser-known plays; co-adaptors Dusty Brown, Caroline Kidwell and Jordan Gleaves showed courage and foresight in bringing this controversial story to the stage and are rewarded by the aptness of this story to 2025 America. Prejudice and revenge? Yeah.

Redtwist Theatre is one of Chicago’s signature black box venues; its mission is to ‘create searing hot drama that builds empathy, dissects cruelty, and reveals broader truths.’ Their tiny black box venue becomes a thematic asset (TITUS ANDRONICUS seated 20), every show tailored to close the gap between actor and audience – literally and figuratively – adding ‘a little red twist’ to every production by exploring the violence inherent in our humanity.

Fine aspirations but challenging to realize. Redtwist was recently renovated, though We aim to create brave spaces, where listening and learning can take place.

The cast was phenomenal, as is to be expected in Chicago’s rich thespian environs.  Anne Sheridan Smith in the title role maintained their martial dynamism through a score of brutal spectacles, as did Sabine Wan as their sister Marcus. Caroline Kidwell personified the heroism of their mutilated daughter Lavinia while Philip C. Matthews was a compelling Lucius, sole surviving progeny of the Andronicus line.

On the other side of the conflict, Laura Sturm was redoubtable as Titus Andronicus’ captive Tamora, Queen of the Goths; the Emperor Saturninus (Joshua Servantez) is sufficiently impressed to marry and make her Empress, abjuring his engagement to Titus’ daughter Lavinia. This delights his brother Bassianus (Madelyn Loehr), who is in love with and betrothed to Lavinia.

Are you still following this? Iambic pentameter is challenging enough without so convoluted a plotline. The talents of Text Coach Meredith Ernst Maryfield were absolutely vital!

Meanwhile, back at the Emperor’s palace, Empress Tamora gives birth to a baby whose dark skin proves he was fathered, not by the Emperor but by the lowborn (not to mention Black) Aaron (James Lewis). Aaron is devoted to the infant, in stark contrast to his unrelenting inclination for inciting evil. He helps Tamora’s sons Chiron (Elijah Newman) and Demetrius (Quinn Leary) foil their brother Bassianus by capturing Lavinia, gang-raping her, and cutting away her tongue and hands to prevent her identifying them.

Tamora arrays herself as Vengeance and appears to Titus Andronicus with her sons, disguised as Murder and Rapine. Undeceived (and understandably, vexed by their pillage of Lavinia), Titus sends ‘Vengeance’ away, retaining ‘Murder’ and ‘Rapine’, both of whom he kills. He invites Tamora and Saturninus to a banquet and, after they’ve scarfed down every bite, reveals that the pie he served was made with the hearts of Demetrius and Chiron.

Once Tamora has eaten her fill of scion pie, he kills both her and (for some reason) his own daughter Lavinia. A rash of killings ensues, leaving alive only Marcus, Lucius, Young Lucius, and Aaron. Lucius has Aaron buried alive and Tamora's corpse thrown to the beasts and having thus demonstrated his fitness for office, he becomes the new Emperor, promising to Make Rome Great Again. The people of Rome refuse to accept it and march en-mass on the nation’s Capital … oops, sorry; that’s 2025; Lucius Andronicus took the throne in … well, TITUS ANDRONICUS is fictional so we can’t be sure, but we can be sure that history repeats itself.

Redtwist’s creative team makes all of this work, from Director Dusty Brown with Assistant Andie Dae to Stage Managers Eliot Colin, Raine DeDominici, and Ashley O’Neill.  I was deeply impressed with Scenic Designer Eric Luchen’s set: austere, even spartan, it accommodated the script’s complex depredations and treated most spectators to contact with a corpse if not baptism in blood. I loved Costume Designer kClare McKellaston’s fusion of modern and bling. Michael Dias’ gruesomely convincing stage combat was perfectly balanced by Intimacy Director Erin Sheets; powerful even at very close contact.

If you’d like to follow (another) depraved empire crumble from within, TITUS ANDRONICUS is for you. But let me repeat:  do not bring the kids!

TITUS ANDRONICUS plays at Redtwist Theatre through March 30.

HIGHLY RECOMMENDED!  By Sarz Maxwell

*Extended through April 6th

*You can also find this review featured on https://www.theatreinchicago.com/.

Get ready, Chicago! AKW Productions and Broadway In Chicago are thrilled to announce that the 13-time Tony Award® nominated Broadway sensation, HELL’S KITCHEN, is set to bring the heat to the Windy City when it arrives for a limited three-week engagement at the Nederlander Theatre (24 W. Randolph St.) from November 11 to November 30. This highly anticipated multi-year North American tour brings a high-energy, coming-of-age story set to iconic songs from Alicia Keys’ legendary catalog. HELL’S KITCHEN delivers a theatrical experience unlike any other—one that Chicago theatergoers won’t want to miss—and will be part of the next Broadway In Chicago season package, on sale this April. Groups (10+) are available now by calling (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more details, visit BroadwayInChicago.com.

“Seeing HELL’S KITCHEN on a Broadway marquee has fulfilled one of my earliest and most influential dreams as an artist and a New Yorker,” said Alicia Keys. “I’m overjoyed by the impact it has already had with audiences that truly mirror the  world around us in New York and I am ecstatic that we can bring the show to so many incredible cities across the country. Let’s Gooooo!!!!!”

Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world.  How she finds them is a New York City coming-of-age story you've never felt before – HELL’S KITCHEN, a new musical from 17-time Grammy® Award—winner Alicia Keys, whose new songs and greatest hits about growing up in NY inspire a story made for Broadway.

Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano. Set to the rhythm of the 90s, HELL'S KITCHEN is a love story between a mother and daughter. It's about finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin.

Hailed as a New York Times Critic’s Pick that is, “thrilling from beginning to end – a rare must-see!" HELL’S KITCHEN is directed by four-time Tony Award® nominee Michael Greif, with choreography by four-time Tony Award® nominee Camille A. Brown, a book by Pulitzer Prize finalist and Tony Award® nominee Kristoffer Diaz, and the music of 17-time Grammy® Award—winner Alicia Keys.

The creative team for HELL’S KITCHEN includes Tony Award® nominee Robert Brill (Scenic Design), Tony Award® winner Dede Ayite (Costume Design), Tony Award® winner Natasha Katz (Lighting Design), Tony Award® winner Gareth Owen (Sound Design), Tony Award® nominee Peter Nigrini (Projection Design), Mia Neal (Hair and Wig Design), Michael Clifton (Makeup Design), Heidi Griffiths and Kate Murray (Casting), and Foresight Theatrical (General Management).

The music team of HELL’S KITCHEN includes orchestrations by Tony Award® winner Tom Kitt and Tony Award® nominee Adam Blackstone, arrangements by Alicia Keys and Adam Blackstone, music consulting by Tom Kitt.

The Original Broadway Cast Recording of HELL’S KITCHEN won the 2025 Grammy® Award for Best Musical Theater Album and is available via Alicia Keys Records/Interscope Records on all streaming and digital platforms worldwide. It is also available for purchase on vinyl and CD.

Through the ongoing partnership between Broadway’s HELL’S KITCHEN and the Alicia Keys co-founded organization KEEP A CHILD ALIVE (KCA), a landmark donation has recently been made of $1,000,000 to date. The partnership remains ongoing throughout the Broadway run of the show with a $1 donation being made for every ticket sold. More information about Keep a Child Alive (KCA) is available at  www.keepachildalive.org.

HELL’S KITCHEN began performances on Broadway on Thursday, March 28, 2024, and opened on Saturday, April 20, 2024, at the famed Shubert Theatre where it continues to play to sold-out audiences. Prior to opening on Broadway, HELL’S KITCHEN had its world premiere at The Public Theater on October 24, 2023, and had a five-week extension before closing its limited run on January 14, 2024.

HELL’S KITCHEN on Broadway is produced by AKW Productions. Aaron Lustbader serves as Executive Producer. Roc Nation, DML Productions, Mandy Hackett, Julie Yorn, The Jacobs Family, The Sunshine Group, Front Row Productions, Sharpton Swindal Productions, The Jaime Family, John Gore Organization, Terria Joseph, Andy Nahas, James L. Nederlander, Candy Spelling, Clara Wu Tsai, Universal Music Publishing, Grove Entertainment, Independent Presenters Network, Della Pietra Spark Theatricals and Score 3 Partners serve as co-producers.

For more information visit: HellsKitchen.com
@HellsKitchenBway

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

For more information, visit www.BroadwayInChicago.com.
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