Items filtered by date: November 2007

“Southern Rapture” quickly elicits loud guffaws from the audience, a heartening circumstancve, as it means playwright Eric Coble’s script is doing its job. Billed as a satire, it recounts the tumultuous week in real life leading up to the 1996 opening night of Tony Kushner's celebrated AIDS play, “Angels in America” in Charlotte, NC. But what might have been a tragic recount of small-minded efforts at artistic repression gets turned on its head, a potential tragedy mined for comedy, with an ending that is at once affirming and exhilarating.  

This show at Theater Wit, produced by three-year-old Tin Drum Theatre Company, is loaded with broad humor, and is something of a backstage comedy as well. For purposes of the script, Charlotte becomes a generic southern city, and Kushner becomes Anton Finewitz, and his vaunted work is transformed into “Rapture in America.” 

The show parodies not just the reactionary forces that sought unsuccessfully to keep “Angels in America” from the stage of a rising southern metropolis. It also takes aim at the theater company, its governing board, local government, and the national media that spun the controversy into the unnuanced, dualistic divisiveness that seems to have solidified as a way of American life today. 

Andrew Bosworth as Reverend Dupree and Jenny Hoppes as Laverne Jackson protest the opening of "Rapture in America."

As “Rapture in America” barrels toward dress rehearsal, a big supratitle flashes the daily countdown to its local premiere. In an opening monolog to the audience, Marjorie Hooper proudly tells us, “The play’s won the Pulitzer, Tony, Drama Desk Award, an Evening Standard Award, the Rainbow Excellence Award and an ASPCA citation (that last one is a laugh line)—We’re one of only six theaters in the nation to get the rights to do the show outside of New York!” Indeed! 

When word gets around there will be full frontal male nudity in the show, the gears of progress run unevenly, and almost grind to a halt. Company director Marjorie Winthrop (Shannon Leigh Webber) attempts to insulate her performers from the backlash, which comes in the form of Reverend Dupree (Andrew Bosworth) and a town gadfly Lavern Jackson (Jenny Hoppes). Jackson has read the script and counted the number of mentions of “cocksucker” and other notable perversions to the Charlotte Town Council. (In a content warning to the audience, Jackson’s list includes “one penis,” which indeed appears in the second act at Theatre Wit.)

Theater critic Simon Larisher (Jordon Gleaves, left) conspires to promote "Rapture in America" with production director Donald Sherman (Michael Stejskal).

Charlotte Mayor Winston Paxton (Teddy Boone), ever even-tempered, tries to stay above the fray. His aspirations for transforming this growing city into a world-class metropolis have netted a symphony orchestra, a national sports franchise, and now, an important regional theater company, about to move into the big leagues. But the mayor is beginning to feel unsettled, praising the season’s opener, "The Odd Couple," and encouraging Marjorie to do something other than “Rapture.”

“There’s still gonna be plenty of art!,” the Mayor argues. “It’s just art we can all appreciate. Because that ‘Odd Couple’ was one of the goddam funniest things I ever saw in my life.” But Marjorie will have none of that, declaring the play "epic." 

It even dares to cut through the slavish devotion accorded "Angels in America" and Kushner himself, asking a if this two-part six-hour "epic" work might be too much in a town that likes to get home in time to catch Jay Leno.  

"'“Epic' meaning?" asks the mayor. "Three hours, two intermissions," Marjorie tells him. "And that’s just Part I. Part II is three hours too."
"Good lord, is this a play or a telethon?" asks the mayor, and the playwright punctures the unquestioned aura that seems to envelop Kushner and his fans. 

 Amid the brewing ontroversey, Marjorie conjures up a “bubble” for the players, a send up of that too precious psychobabble affectation that performers may have seen once or twice:

Marjorie: We’re in the bubble, say it with me.

Players: We’re in the bubble.

Marjorie: And what do we do in the bubble?

Players: We make art in the bubble.

Even theater reviewers get skewered in the no-holds-barred script: 

“When I have something to say,” says beleaguered Mayor Paxton, “I’ll talk to a real reporter.”

“I am a journalist,” Simon Larisher (Jordon Gleaves) retorts, to which the mayor replies, no, “You’re a theater critic!” Ouch! Larisher helps raise the profile of the imminent production in concert with the publicity-hungry production director Donald Sherman (Michael Stejskal).  

The playwright specifies just seven actors should play the 16 roles, and director Jason Palmer and the high-caliber cast carry this off wonderfully. Casting credits go to Teddy Boone. Particularly notable is Andrew Bosworth as the protesting preacher Reverend Dupree, and two of his nemeses: the playwright who has flown from New York into the fray, and company member Mickey Steadman, who will deliver the full monty. Bosworth plays the roles distinctively and we have no confusion.

Even more so for Mary Ann Bowman as the theater company board chair, the district attorney, and the over-the-top Nyla-Jean Geisy, a winged creature essential to the play within this play. Likewise for Gleaves, who carries off very well with the support of a good script four roles, including the TV host of “Night Line” and Franklin McManus, a highly effective lawyer given to flowery South Carolina colloquialisms.

Beyond its funny rendition of what it must have been like in Charlotte in 1996, “Southern Rapture” does something more. For me, it’s a reminder that we can recover from our seemingly intractable current state of social affairs. After all, we’ve done it numerous times in the last three decades, and even following the darkest of times in the 1950s with McCarthyism and the blacklisting of creatives. 

Back in the real Charlotte, “Angels in America” opened to record ticket sales, and the protests withered in the face of ticket-buyer preferences. Though the theater company that produced it saw its funding cut in retribution, a successor there commissioned this very funny “Rapture in America,” which feels cathartic all in all.

Now “Angels in America” is the stuff of celebrated revivals, and no one blinks an eye. So we do make it through these times of darkness, the forces of Steven Miller, Trad Wives and Andrew Tate notwithstanding. And we will recover from our current predicament too. 

Even with some clunkers among its running gags and jokes, “Southern Rapture” is highly recommended. It runs at Theater Wit through June 28, 2026.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Marriott Theatre, Chicagoland's longest-running musical theatre, presents A Little Night Music, a Tony Award-winning musical from Stephen Sondheim and Hugh Wheeler that explores the lush, witty, and poignant complexities of love, longing, and second chances. Directed by Nick Bowling (Marriott Theatre: The Sound of Music, Ragtime, Man of La Mancha; and recipient of eight Jeff Awards for outstanding direction), choreographed by Associate Artistic Director Katie Johannigman (Marriott Theatre: Titanic, The Magic School Bus), with music direction by Jeff Award winner Ryan T. Nelson, A Little Night Music previews June 17, and will run through August 9.

Love makes fools of us all. The Best Musical Tony Award-winning A Little Night Music is a sumptuous, sexy, laugh-out-loud masterpiece that will leave you thoroughly enchanted. Set in 1900 Sweden, A Little Night Music explores the tangled web of affairs centered around actress Desirée Armfeldt, and the men who love her. Amid a flurry of jealousy and suspicion, infinite possibilities of new romances and second chances bring endless surprises. Full of hilariously witty and heartbreakingly moving moments of adoration, regret and desire, this dramatic musical celebration of love features some of Stephen Sondheim's most popular songs, including the haunting "Send in the Clowns."

"When I first encountered A Little Night Music as a musical theater student in the late 1980s, I surprisingly connected deeply to a story about middle-aged lovers in turn-of-the-century Sweden," said Director Nick Bowling. "For many artists and audiences alike, this jewel-box musical remains one of the theatre's greatest achievements—not only among Sondheim's works, but of the entire musical theater canon. It is a privilege to return to this story which has captivated me for almost 40 years, and to do so alongside the extraordinary Alexandra Silber and Andrew Samonsky, leading an incredible cast and design team."

A Little Night Music stars Alexandra Silber as "Desirée Armfeldt" (Broadway: Fiddler on the Roof, Master Class; Marriott Theatre: The Music Man), Andrew Samonsky as "Fredrik Egerman" (Broadway: South Pacific, The Mystery of Edwin Drood, Scandalous; North American Tour: Parade, Come from Away), Carmen Roman as "Madame Armfeldt" (National Tour: Angels in America; Rivendell: Scientific Method; Old Globe: The Garden of Anuncia; Goodman: Brutality of Fact; Steppenwolf: Side Man; Northlight: Master Class), and Alan H Green as "Count Carl-Magnus Malcolm" (Broadway: Charlie and the Chocolate Factory, School of Rock, Sister Act, Play On!); with Veronica Garza as "Countess Charlotte Malcolm," Addie Morales as "Anne Egerman," Eldon Warner-Soriano as "Henrik Egerman," and Madison Uphoff as "Petra," alongside  Joel Gelman, Kelli Harrington, Jake DiMaggio Lopez, Michael Earvin Martin, Victoria Okafor, Olivia O'Sullivan, Colette Todd, with understudies Annabel Finch, Brian Hupp,  Adelina Marinello, Albert Sterner, and Ava Lane Stovall.

The artistic team features Associate Choreographer Joshua Kenneth Allen Johnson, Assistant Director Myesha-Tiara, Scenic Designer Regina García, Costume Designer Sally Dolembo, Wig, Hair & Makeup Designer Miguel A. Armstrong, Lighting Designer Jesse Klug, Sound Designer Michael Daly, Props Designer Amy Peter, Conductor Brad Haak, Intimacy Coordinator Kristina Fluty, and Stage Manager Katrina Herrmann.

A Little Night Music is scheduled to run Wednesdays at 1 p.m. and 7:00 p.m., Thursdays at 7:00 p.m., Fridays at 7:30 p.m., Saturdays at 4 p.m. and 8 p.m., and Sundays at 1 p.m. and 5 p.m., with select Thursday 1:00 p.m. shows. Call for dinner-theatre, student, senior, and military discounts. Free parking is available at all performances. To reserve tickets or become a Marriott Theatre subscriber, please call the Marriott Theatre Box Office at 847.634.0200 or go to www.tickets.marriotttheatre.com. To make a restaurant reservation or to purchase a Dinner Theatre Package, please call 847.634.0100 or visit www.marriotttheatre.com.

Following an acclaimed extended run at Raven Theatre, Dave Malloy's "unique, ravishing and resplendent" (Chicago Theatre Review) a cappella musical Octet transfers to Goodman Theatre for a two-week run this summer. Directed by Keira Fromm—Associate Director of The Goodman's Iceboy! or The Completely Untrue Story of How Eugene O'Neill Came to Write The Iceman Cometh—with music direction by Nick Sula (Kokandy Productions' Jekyll & Hyde) and choreography by Laura Savage (The Lord of the Rings International Tour), The Goodman's presentation of the Raven Theatre production will feature Raven's original cast—including Neala Barron (Porchlight Theatre's Fun Home), Elliot Esquivel (Lookingglass Theatre's White Rooster), Joryhebel Ginorio (Theo Ubique's The Secret Garden), Jordan Golding (A Christmas Carol), Teressa LaGamba (Paramount Theatre's Waitress), Ryder Dean McDaniel (Court Theatre's Taming of the Shrew), Sam Shankman (Court Theatre's Falsettos) and Grace Steckler (Writers Theatre's As You Like It).

The Goodman presents Raven Theatre's production of Dave Malloy's Octet in the 400-seat flexible Owen Theatre July 15 through August 2nd. For tickets ($44-$94, subject to change), call 312.443.3800 or purchase online at GoodmanTheatre.org/Octet. This project is partially supported by a grant from the City of Chicago Department of Cultural Affairs and Special Events (DCASE). This programming is also supported in part by a grant from the Illinois Arts Council.  

"I'm thrilled that Octet will receive an encore production this summer at the Goodman Theatre! Our whole team is stacked with the most generous and talented group of artists whose abundant love for the show is clear from the moment the first song begins," said Director Keira Fromm, who is also the associate director of The Goodman's upcoming world-premiere musical Iceboy! or The Completely Untrue Story of How Eugene O'Neill Came to Write The Iceman Cometh, starring Megan Mullally and Nick Offerman. "I'm overjoyed that the tiny ember I carried for this piece has caught fire and will be shared with so many others. It's a balm to put down your phone and be in the room with this incredible musical, and I can't wait for a wider audience to experience it."

"Octet has been a rare and remarkable experience here at the Raven, and we are so very excited to partner with The Goodman in creating a downtown extension for this production," said Raven Theatre Executive Artistic Director Jonathan Berry. "At its heart, Raven is always looking to build community, and this is a fantastic opportunity to share this production that we're so proud of with a wider audience."

In an anonymous meeting room on the North Side of Chicago, a group of people—always eight—gathers to sing. Best known for the Broadway hit Natasha, Pierre, & The Great Comet Of 1812, Dave Malloy's Octet uses chamber-inspired a cappella music to explore the total impact of life online. Hailed by The New York Times as "the most original and topical musical of the year" for its 2019 Off-Broadway premiere, this inventive and acutely relevant piece reflects the perils of the digital age.  

The Goodman Presents Raven Theatre's Production of Dave Malloy's Octet

Music, Lyrics, Book and Vocal Arrangements by Dave Malloy

Directed by Keira Fromm

Music Directed by Nick Sula

Choreographed by Laura Savage

Neala Barron...Jessica
Elliot Esquivel...Toby
Joryhebel Ginorio...Velma
Jordan Golding...Marvin
Teressa LaGamba...Paula
Ryder Dean McDaniel...Ed
Sam Shankman...Henry
Grace Stecklerr...Karly

CREATIVE TEAM

Scenic Designer...Milo Bue
Lighting Designer...Maximo Grano de Oro 
Co-Sound Designer...Christopher Kriz 
Co-Sound Designer...Hannah Kwak 
Costume Designer...Maegan Pate 
Props Coordinator...Paloma Locsin 
Master Electrician...Ruby Lowe 
Associate Scenic Designer...Wynn Lee 
Assistant Director and Dance Captain...Mads Wren 
Music Captain...Joe Giovannetti 
Assistant Master Electrician...Emmitt Socey 
Production Manager...Lucy Whipp 

Casting and Dramaturgy by Catherine Miller. JC Widman and Faith Locke are the Stage Managers.

Mia Chung’s Catch as Catch Can, which premiered with Page 73 in New York in 2018, arrives at Steppenwolf Theatre - one of Chicago’s most dynamic and daring artistic institutions - with a production that immediately embraces the play’s slippery, shape-shifting nature. Chung’s script thrives on emotional volatility and fractured identity, and Steppenwolf’s staging taps into that energy from the outset, preparing the audience for a world where the familiar can tilt, distort, and reassemble without warning.

Catch as Catch Can begins with the familiar comfort of kitchen-table talk between two New England mothers, Roberta Lavecchia and Theresa Phelan. Under Amy Morton’s direction, those early scenes feel lived-in and deceptively ordinary - two longtime friends trading stories, worries, and family updates with the shorthand of people who have known each other for decades. But as the play unfolds, that everyday warmth becomes the launching point for a story that veers into far more disorienting territory. The return of Tim Phelan unsettles the delicate balance between the Lavecchias and the Phelans, stirring up old assumptions, unspoken resentments, and long-dormant family myths. What begins as a simple homecoming slowly reveals itself as a catalyst for emotional slippage, where memories blur, loyalties shift, and the characters’ sense of who they are - and who they have been to each other - starts to fracture. Morton guides this progression from domestic realism to psychological unraveling with remarkable control, allowing the play’s humor, tension, and creeping dread to coexist in the same breath.

The production’s boldest device - three actors portraying all six characters - becomes the heartbeat of the evening. Gary Cole (as Roberta and Robbie Lavecchia), Audrey Francis (as Lon and Daniela Lavecchia), and Tim Hopper (as Theresa Phelan and Tim Phelan) deliver performances that are nothing short of remarkable. Morton directs them with a sculptor’s precision, shaping each transformation through voice, posture, and energy rather than costume changes or props. The actors rarely add so much as an apron, a pair of glasses, or a purse to differentiate roles; instead, they rely on the smallest shifts in breath, cadence, or physical weight. Even the simplest physical actions - threading a needle, folding laundry, lifting a heavy picture onto a wall, or a mother rolling out her famous meatballs - become character markers, subtle cues that signal who is speaking without ever breaking the flow of the scene. At times, it feels as though six fully realized people are occupying the room, even though only three bodies ever stand onstage.

After the opening scene, it took me a few minutes to recalibrate to the production’s rhythm, especially as the actors began switching characters with such speed and minimal visual cues. But that adjustment period is brief. Before long, the doubling feels not only natural but essential, a kind of theatrical language the production teaches you how to read. Once you settle into its cadence, the transformations become thrilling rather than disorienting, sharpening the play’s emotional stakes and deepening its sense of unease.

The rapid-fire switching becomes its own kind of theatrical whiplash. An actor may leap from one character to another every other sentence, often without a single visual clue, and Morton ensures each pivot lands cleanly without losing an ounce of emotional clarity. The play becomes a fault line in constant motion, where identities slide, collide, and splinter beneath the surface.

Gary Cole, Tim Hopper and Audrey Francis (L-R) in Steppenwolf Theatre's Catch As Catch Can. Photo by Michael Brosilow.

All three performers - Gary Cole, Audrey Francis, and Tim Hopper - are longtime Steppenwolf ensemble members, bringing a shared artistic vocabulary that sharpens every transformation onstage.

Cole toggles between Roberta’s brittle warmth and Robbie’s restless bravado with astonishing finesse. This production marks his first return to a Chicago stage in more than 25 years, and it is a triumphant homecoming. He is known to many for Office Space, Talladega Nights, HBO’s Veep, NCIS, and one of my favorite roles - Mike Brady in The Brady Bunch Movie and its sequel. Cole reminds audiences that his stage roots run deep. As Roberta, he carries a soft, fluttering concern that sits right behind the eyes; as Robbie, that same gaze sharpens into something quicker, hotter, and more impulsive. His ability to pivot between those energies with nothing more than a shift in breath or a recalibrated stance makes each transition feel both seamless and startling. It is a performance built on precision, but it never feels mechanical.

Francis brings an equally impressive duality to Lon and Daniela. In addition to being a Steppenwolf ensemble member, she now serves as the company’s artistic director alongside Glenn Davis, a role that underscores her influence on Chicago’s theatrical landscape. Known for standout performances in The Herd, Dance Nation, her work on Chicago Med, and directorial skill in You Will Get Sick, she grounds Lon with a quiet, blue-collar steadiness, a man who absorbs the world before reacting to it. Daniela, by contrast, is all edges and alertness, her movements tighter and her voice pitched with a nervous brightness that hints at deeper cracks. Francis masterfully switches entire gravitational centers. The clarity of her physical vocabulary makes each character instantly legible without a single costume change.

Hopper’s pairing may be the most haunting of the three. With Steppenwolf credits that include The Crucible, The Flick, and Buried Child, he brings a raw, unsettling honesty to both Theresa and Tim. His Theresa is a portrait of unraveling vulnerability, a woman whose emotional seams are beginning to split in ways she can barely articulate. His Tim, meanwhile, carries the quiet desperation of someone trying to hold himself together even as the ground shifts beneath him. Hopper plays both roles with a volatility that feels almost dangerous. The characters mirror and distort one another, creating an emotional echo that deepens the play’s sense of unease. Watching him slip between them is like watching a reflection break apart and reassemble in real time.

Together, these performances form the core of the production’s power. With Morton’s direction guiding every pivot, the trio creates the uncanny sensation that the stage is populated by twice as many people as are physically present. Their transformations are so quick and so clean that the audience must stay alert, tracking identities as they slide, collide, and reform. It is a feat of acting that is both technically dazzling and emotionally resonant, and it is the reason the play’s unstable world feels so alive.

As the story darkens - touching on mental health, racism, cultural tension, and the fragile scaffolding that holds families together - the doubling amplifies the instability. Chung threads moments of racial bias and coded language into the fabric of these families’ interactions, revealing how prejudice can hide inside the most casual exchanges and how easily it can rupture long-standing bonds. Morton understands that the play’s power lies in this slippage, and she allows the actors to push into the unsteady terrain without ever losing emotional truth. The result is a production that feels intimate yet vertiginous, a domestic drama that slowly cracks open into a haunting exploration of identity and the roles we inherit, perform, and sometimes cannot escape.

Andrew Boyce’s scenic design is a quiet marvel, giving the production a sense of dimensionality that feels both naturalistic and subtly disorienting. The main playing space is an open living room, flanked on one side by an entryway and a partial view into the kitchen, and on the other by a long hallway that suggests the deeper interior of the house. Just beyond the living room, another room is visible past a second hallway, creating the impression of a home that extends well beyond the edges of the stage. Boyce’s layout allows the audience to feel as though they’re peering into a fully lived-in environment, one with corners, thresholds, and unseen rooms that hold their own histories. Yuki Nakase Link’s lighting deepens this effect, subtly sculpting each corridor and doorway so the house seems to breathe with possibility - sometimes warm and inviting, sometimes shadowed with tension. It is a multidimensional design that grounds the play’s domestic realism while subtly reinforcing the sense that something inside this home - and inside these families - is evolving.

In their Artistic Director note, Glenn Davis and Audrey Francis frame Catch as Catch Can as a rare convergence of timing, artistry, and ensemble history - a production long delayed, now finally realized with the team that first set out to make it in 2020. They speak to the play’s uncanny pull, describing how Chung’s story has embedded itself in the company’s imagination, refusing to loosen its grip. For them, the doubling is not just a theatrical device but a test of the ensemble’s virtuosity, a chance for Steppenwolf to stretch its actors toward the edges of what performance can hold. And at the heart of their message is the idea that the play’s exploration of identity, home, and the selves we construct makes it a fitting capstone to the theatre’s 50th anniversary season - a reminder of how Steppenwolf’s long-standing commitment to family drama, artistic risk, and shared storytelling continues to shape its legacy.

Catch as Catch Can ultimately lands with the force of a quiet detonation, its emotional aftershocks lingering long after the final blackout. Morton and her trio of actors craft a world that feels both intimate and treacherous, a place where identity slips, refracts, and reforms in ways that are as unsettling as they are compelling. It is the kind of production that rewards close attention and invites conversation long after you’ve left the theatre - about family, perception, and the narratives we inherit without realizing it. Catch as Catch Can runs at Steppenwolf through July 12, with performances throughout the week, and it is very highly recommended for anyone who craves theatre that challenges, unsettles, and stays with you.

For tickets and/ or more show information, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Join the fun this summer as PlayMakers Laboratory (PML) celebrates a major milestone at That's Weird, Grandma's 25^th Birthday, marking a quarter century of the company's long-running original sketch comedy show. Directed by Program Director Brandon Cloyd, the family-friendly comedy extravaganza will play five performances only August 23 – September 6, 2026 at the Neo-Futurist Theater, 5153 N. Ashland Ave. in Chicago. Tickets go on sale Wednesday, July 1, 2026 at www.playmakerslab.org. The press opening is Sunday, August 23 at 2 pm.

That's Weird, Grandma's 25^th Birthday will feature current Company Members with PML emeritus members making cameo appearances throughout the run. The cast currently includes Company Members Linnaea Groh, Barry Irving, Lucas Johnson, Indi Gutierrez Marrero, Sam Nieves, Yongwoo Park, Lee Peters, Allison Sokolowski, Brad Stevens, Lex Mann Turner and Tyara Whitted, with emeritus Company Members Nancy Casas, Allison Grischow, Ricky Harris, Jasmine Hernri Jordan, Tom Malinowski, Kate Staiger, Mary Tilden and more!

That's Weird, Grandma features adaptations of stories written during PML's creative writing residencies in Chicago elementary schools. PML's ensemble of professional actors, comedians and musicians bring the young authors' stories to life as raucous sketches, songs and movement pieces, performing first for students in their schools and then for the public. These stories – from hilarious dialogues between unlikely characters to poignant pleas for social change, along with holiday-inspired stories – resonate with adults while celebrating the imaginations of young people.

Production team: Daniel Parsons (Stage Manager).

Performance Schedule:

Sunday, August 23 at 2 pm

Saturday, August 29 at 2 pm

Sunday, August 30 at 2 pm

Saturday, September 5 at 2 pm

Sunday, September 6 at 2 pm

Ticket Prices: adults: $26.06*; youth (aged 4 – 15) $15.76*; Children 3 and under: free **Ticket prices include a processing fee Tickets go on sale Wednesday, July 1, 2026 at www.playmakerslab.org.

About the Director

Brandon Cloyd joined PlayMakers Laboratory in 2007 and has been deeply involved in many facets of the company ever since. Prior to joining PML, Brandon graduated from Northwestern University with a Bachelor of Arts in Theatre and a minor in Business Institutions. Brandon has held many roles in PlayMakers Laboratory before becoming the company's Artistic & Program Director in September 2017. He served with PML as an actor, teaching artist, lead teacher, a member of Teacher Corps, as well as directing shows for schools and public performances of That's Weird, Grandma. Outside of PML, he worked as the Associate Director of Camp Echo, where he has spent 13 summers managing campers and staff at a co-ed sleepaway camp in Upstate New York. Brandon has worked with other theatre companies including Urban Theatre Company, American Theater Company, Filament Theatre, InGen Productions, ACLE's Teatrino in Italy and a founding director with Purple Crayon Players at Northwestern University. Brandon is also a former board member for the League of Chicago Theatres.

About PlayMakers Laboratory

For 29 years, PlayMakers Laboratory has served Chicago Public School students by providing a creative writing residency program aimed primarily at elementary schools. Our company of over 60 teaching artists utilize creative drama and storytelling to promote literacy and self-esteem during our in-school residencies and park district programming. Each year, our programs serve more than 4,000 young people across Chicago. In our six-week writing residencies, a whopping 88% of students improve writing scores by at least one level over the course of our residencies. Plus, 100% of classroom teachers report that our program supports their student's writing and improves confidence and self-esteem.

PlayMakers Laboratory is sponsored in part by Chicago Department of Cultural Affairs and Special Events, The Crown Family Philanthropies, The Field Foundation, The Mardi Gras Fund, Illinois Arts Council, Paul M. Angell Foundation, The Polk Bros Foundation, Siragusa Family Foundation, S&C Electric and generous individuals like you!

Nate Bargatze’s Big Dumb Eyes tour made its stop at the Allstate Arena in Rosemont with the steady, understated presence that has become central to his appeal. Bargatze continues to draw humor from the small missteps and everyday confusions that shape his storytelling, easing the audience into his rhythm rather than pushing for big moments. His unhurried delivery works surprisingly well in a venue of this size, creating a sense of shared focus that settles over the room as he builds each joke with quiet precision.

This powerhouse comedy tour is anchored by host Julian McCullough, whose easygoing charm and quick-hit crowd work set the tone for the night before the headliner ever steps onstage. He’s joined by a sharp trio of comics - Greg Warren, Gary Vider, and Jonnie W - each bringing a distinct comedic style that keeps the momentum building from set to set. Warren’s dry, story-driven humor, Vider’s understated oddball delivery, and Jonnie W’s musical-comedy flair create a well-balanced undercard that feels like a full evening of stand-up on its own. Together, they form a tightly assembled lineup that primes the audience perfectly for the main event.

Julian McCullough, Greg Warren, Gary Vider, and Jonnie W will all be making upcoming appearances at Zanies Rosemont, giving Chicago-area comedy fans several chances to catch them live. McCullough returns to the club on June 5–7, while Greg Warren is scheduled for a special event weekend on May 22–23. Jonnie W will headline Zanies Rosemont on July 26, and Gary Vider’s next Chicago-area dates are at Zanies Chicago on March 27–28, offering multiple showtimes across both nights.

Bargatze has been performing in arenas for some time now, and the format suits him more naturally than one might expect. The in-the-round staging keeps him accessible from every direction, while the large video screens ensure that even the most subtle expressions read clearly throughout the space. It is an effective setup for a comedian whose style relies on nuance rather than volume. In a venue as large as Allstate, laughter does not always erupt all at once - it spreads gradually, section by section, until the entire arena is moving with the same steady momentum.

A significant portion of Bargatze’s material continues to revolve around his family, with stories about parenting, marriage, and the everyday negotiations that come with trying to make sense of the world alongside the people closest to you. But he also branches into the absurdities of modern life, touching on everything from AI to self-driving cars to couples therapy - and even the baffling challenge of buying a horse, because, as he points out, who actually knows the price of a horse? These moments are not exaggerated or heightened for effect. Instead, he treats them with the same calm, observational tone that defines his work. The humor comes from the honesty of the situations and the quiet recognition they spark, especially for audiences who see their own households and daily frustrations reflected in his.

His Rosemont appearance is one stop in a long stretch of dates as the Big Dumb Eyes tour continues across major arenas nationwide. The upcoming schedule includes cities throughout the Midwest, East Coast, and South, each offering a chance for audiences to experience how his understated approach translates to rooms of this scale. At this point, Bargatze stands among the strongest stand-ups touring at the arena level, not because he relies on spectacle, but because his material remains consistent, grounded, and effective no matter the size of the venue.

In the end, the Allstate Arena stop underscored why Bargatze’s rise has felt so steady and assured. His comedy does not demand attention - it earns it through clarity, timing, and a genuine connection to the everyday experiences he describes. For a comedian whose style is built on understatement, filling an arena might seem counterintuitive, yet he makes the space feel surprisingly intimate. It is a testament to his craft and a clear sign that his place on the arena circuit is well deserved.

BrightSide Theatre’s The Producers storms into Meiley Swallow Hall with the kind of swagger only Mel Brooks can inspire: brash, brazen, and blissfully unconcerned with good taste. From the moment the lights rise, the show charges ahead with a manic momentum that feels both affectionately old school and sharply self-aware. It knows exactly what it’s here to do: go big, go bold, and never apologize for the mayhem.

Under the confident direction of Artistic Director Jeffrey Cass, this staging taps directly into Brooks’ outrageous, boundary-poking sensibility and never loosens its grip. Cass understands that The Producers thrives when its humor teeters on the edge, and he captures that gleeful imbalance with remarkable control. The original film premiered in 1967, the musical exploded onto Broadway in 2001, and if anyone wonders whether that brand of audacity still lands in 2026, the answer is an unequivocal yes. The Naperville audience laughed steadily from the first scene to the curtain call, proving that Brooks’ anarchic wit remains timeless.

BrightSide’s version brings the show’s wild premise to life with full comic force: washed-up Broadway producer Max Bialystock (Scott Kelley) and anxious accountant Leo Bloom (Michael Metcalf) concoct a get-rich-quick scheme to stage the biggest flop in theatre history. If the show collapses on opening night, they can pocket the investors’ money and disappear. Their hunt for guaranteed failure leads them to the worst script imaginable, the most misguided director in town, and a cast so spectacularly wrong that success seems impossible. But in classic Brooks fashion, the plan detonates in the most unexpected way, turning their surefire disaster into an accidental triumph and leaving the pair scrambling to survive the fallout.

That spirit of intentional ruin pulses through the musical numbers, each one another attempt to engineer catastrophe. “Springtime for Hitler,” the show-within-the-show’s notorious centerpiece, is crafted as an overblown, tasteless pageantry meant to repel audiences instantly. “Der Guten Tag Hop Clop” and “Haben Sie gehört das Deutsche Band?” push the absurdity even further, spotlighting a playwright and director whose delusions should have doomed the project. Even “Keep It Gay,” with its flamboyant insistence on excess, is part of Max and Leo’s strategy to stack the deck with choices so misguided they can’t possibly succeed. Ironically, the songs are so bold, so shamelessly theatrical, and so cleanly executed that the very elements meant to sink the show end up turning it into the hit they never wanted.

Scott Kelley’s Max Bialystock and Michael Metcalf’s Leo Bloom make a terrific duo, striking a lively balance between showmanship and panic. Kelley barrels through the role with larger-than-life bravado, while Metcalf’s tightly coiled nervousness plays off him beautifully. Their timing is crisp, their rapport effortless, and together they elevate every scheme, meltdown, and misstep.

Max Bialystock (Scott Kelley) and Company.

Amelia Tam is outstanding as Ulla, the blonde bombshell Max hopes to lure to his “casting couch”. She is an amazing dancer with an equally outstanding voice, commanding attention the moment she steps onstage with a blend of radiant charm and razor-sharp comedic instinct. Her Ulla rises far above the familiar Swedish ditzy-blonde trope, becoming a spark of vitality who shifts the temperature of every scene she enters. Tam mixes wide-eyed innocence with sly intelligence, making each line land with extra bite. Whether stretching a vowel for comedic payoff or launching into “When You Got It, Flaunt It” with fearless gusto, she turns Ulla into a character who is not only irresistible but essential to the show’s rhythm.

The supporting cast is uniformly strong, powered by an ensemble that moves with clarity (credit to choreographer Mary Grace Martens), hits its jokes cleanly, and fills the stage with infectious confidence. Cheryl Newman shines as one of Max’s elderly ‘investors,’ delivering sharp comedic work while also contributing behind the scenes as costume designer - a pair of responsibilities she handles with impressive finesse. Michael John Lynch brings delicious flair to Carmen Ghia, the impeccably mannered yet cutting assistant whose every gesture blends elegance and threat. Myles Mattsey is memorable as Franz Liebkind, the unhinged playwright whose patriotic fervor is both alarming and hilarious, while John B. Boss transforms director Roger DeBris into a gleaming spectacle of theatrical excess. Together, they form a gallery of eccentrics who keep the show’s momentum high and its humor constant.

All the while, Phil Videkis provides excellent musical leadership, guiding the orchestra with crisp pacing and keeping the score bright, tight, and perfectly attuned to the show’s comic sensibility while supporting Thomas Meehan’s book with well-judged musical choices.

The staging makes clever use of an economical but highly effective set designed by Ariel Mozes, shifting smoothly from location to location without ever feeling limited. What the physical scenery lacks in large-scale opulence, it compensates for with smart configuration and adaptability, allowing the story to move quickly while keeping the focus on the performers. Enhancing that versatility is a programmable LED backdrop that becomes one of the production’s most dynamic tools, transforming into windows, rainbows, bursts of color, or even spelled-out words that heighten key moments. Together, Mozes’ resourceful design and the vivid LED wall create a surprisingly rich visual world that expands far beyond the modest footprint.

BrightSide Theatre once again demonstrates a sharp eye for material, adding The Producers to its growing list of savvy, crowd-pleasing selections. This staging delivers everything a Mel Brooks musical should: big laughs, confident performances, and a joyful sense of mischief that never lets up. It’s a lively, high-spirited evening that embraces the show’s outrageous personality while still finding its own clever touches along the way. This musical comedy is highly recommended, playing through June 28th at the Theater at Meiley Swallow Hall, an ideal summer outing for anyone craving a night of bright, unapologetic fun.

For tickets and/or more show information, visit https://brightsidetheatre.com/producers/.

Those familiar with the Factory Theater space might feel themselves do a double take upon entering the theater for Two Out of Three Falls. Scenic Designer Manuel Ortiz completely transforms the space. The three-quarter thrust stage that has been there for years is gone – replaced by a wrestling ring that consumes an entire side of the theater. The ring is detailed, complete with lockers and wall decoration that completely transform that side of the space into a wrestling gym. To say that Ortiz outdoes himself in this endeavor is an understatement, because you might just find that the design is highly effective in drawing you into the thrilling vibe of the event.

Written by Bill Daniel, Two Out of Three Falls follows Johanna Goodish (Brittany Ellis), a wrestler struggling to step out of the shadow of wrestling legend King Kong Bruiser, also known as her father. Haunted by his literal ghost (Eric Frederickson), Goodish commits to the one act that she feels can set her free – challenging her father’s killer, Eduardo Quinones “El Moreton” (Sam Ramirez), to a wrestling match on live TV. If all goes according to plan, Quinones won’t live to see another day.

Directed by Ashley Yates, much of the production feels like a live wrestling match. As Goodish and her various opponents throughout the play take the ring, audience members at this Opening Night performance screamed and hollered. The design invites audiences to choose their opponent of choice, and you might just find that the intimate feel of the theater makes you feel like you are a part of the action. The work of Fight Designer Kate Lass and Wrestling Consultant Axel Rico shines in these scenes and certainly makes for an entertaining and lively evening.

The high-energy wrestling scenes act as a helpful contrast to some of the more intimate moments of the play – particularly within the relationship of Goodish and her manager, Meg Bishop (SaniaFaith). For so much of the story, Ellis brings a strong, confident character to Goodish. She is unafraid to fight back against her opponents, and she ensures that she is the last one standing at all costs. However, with Meg Bishop, we see a different side of Goodish. Ellis brings a quieter, more grounded character to these scenes. There is a vulnerability between Bishop and Goodish that you might just find helps us believe in this duo win. SaniaFaith and Ellis play off each other beautifully, bringing a genuine humor to the relationship that pushes it over the top.

The hype of the wrestling matches alone makes Two Out of Three Falls worth a watch. The stellar scenic design and strong ensemble make it a night of intrigue and fun.

Two Out of Three Falls runs through July 18 at the Factory Theater – 1623 W. Howard Street. For tickets and information, see the Factory Theater website.

RECOMMENDED

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Tim Rhoze, Fleetwood-Jourdain's Producing Artistic Director, today announced the cast and production team for the company's upcoming production of IN THE CONTINUUM. Rhoze will direct and design the set for the Pulitzer Prize-nominated play, which tells the parallel stories of two Black women - one in Los Angeles and one in Zimbabwe - who discover they are pregnant and HIV positive. Playing the two women are FJT veteran Tuesdai B. Perry and newcomer Jewell Redman. The production team, in addition to Rhoze as Director and Set Designer, includes Brenden Marble (Lighting Designer), Kate Parker-Barrows (Costume Designer), Forrest Gregor (Sound Designer), Sholo Beverly (Muralist), Shane Rogers (Technical Director), and Tara Malpass (Stage Manager). Shadana Patterson is Graphic Designer, and Bria Walker-Rhoze is Artistic Associate. 
 
IN THE CONTINUUM was written by the playwright and actress Danai Gurira (author of Broadway's ECLIPSED and cast member of HBO's THE WALKING DEAD) and the OBIE Award-winning actress and writer Nikkole Salter. It premiered at New York's Primary Stages in 2005 and was later produced at Chicago's Goodman Theatre, Washington D.C.'s Woolly Mammoth Theatre, and in Zimbabwe and South Africa. THE NEW YORK TIMES called it "A moving, smart, spirited and powerfully funny production."  

Tickets to IN THE CONTINUUM are $32.00, or $10.00 for students, and are available at www.fjtheatre.com. Premium Gold Membership cards, priced at $90.00 and including four reserved seats that can be used in any combination throughout the season, are also on sale at https://app.amilia.com/store/en/cityofevanston/shop/memberships/70643. The card also includes the added benefit of an automatic bonus seat, along with access to other exclusive specials during the season. 
 
LISTING INFORMATION
 
IN THE CONTINUUM 
by Danai Gurira & Nikkole Salter
Directed by Tim Rhoze
July 25 – August 9, 2026
Saturdays at 7 pm, Sundays at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $33.00, Students $10.00. On sale at www.fjtheatre.com
Phone 847-866-5914
 
IN THE CONTINUUM puts a human face on the devastating impact of AIDS in Africa and America through the lives of two unforgettably courageous women. Living worlds apart, one in South Central LA and the other in Zimbabwe, each experiences a kaleidoscopic weekend of life-changing revelations in this story of parallel denials and self-discoveries.
 
BIOS
Danai Gurira (Co-playwright, IN THE CONTINUUM) is an award-winning playwright and actress. As a playwright, her works include Broadway's ECLIPSED (NAACP Award; Helen Hayes Award: Best New Play; Connecticut Critics Circle Award: Outstanding Production of a Play), IN THE CONTINUUM (OBIE Award, Outer Critics Award, Helen Hayes Award), and THE CONVERT (six Ovation Awards, Los Angeles Outer Critics Award). Danai's play FAMILIAR received its world premiere at Yale Rep in 2015. She is a recipient of the Whiting Award, a Hodder Fellow, and has been commissioned by Yale Rep, Center Theatre Group, Playwrights Horizons, and the Royal Court. She is currently developing a pilot for HBO. As an actor, she has appeared in the films THE VISITOR, and MOTHER OF GEORGE. She also played Isabella in NYSF's MEASURE FOR MEASURE (Equity Callaway Award) and currently plays Michonne on AMC's THE WALKING DEAD. She holds an MFA from Tisch, NYU. She was born in the US to Zimbabwean parents and raised in Zimbabwe. She is the co-founder of Almasi Arts, which works to give access and opportunity to the African Dramatic Artist.
 
Nikkole Salter (co-playwright, IN THE CONTINUUM). This Los Angeles-born, OBIE Award-winning actress and writer arrived on the professional scene with her co-authorship and co-performance (with Danai Gurira) of the Pulitzer Prize-nominated play, IN THE CONTINUUM. As a dramatist, Ms. Salter has written eight full-length plays, been commissioned for full-length work by six institutions, been produced on three continents in five countries, and has been published in 12 international publications. Her work has appeared in over 20 Off-Broadway, regional, and international theatres. Ms. Salter is also the co-librettist with composer/lyricist Nolan Williams Jr. of the musical GRACE and made her directorial debut opening the 2023/24 season of Baltimore Center Stage with a production of LADY DAY AT EMERSON'S BAR AND GRILL. 
 
Tim Rhoze (Director, Artistic Director) Tim Rhoze has been the Producing Artistic Director of Fleetwood-Jourdain Theatre since 2010. His directing credits include: GEE'S BEND, THE BALDWIN | GIOVANNI EXPERIENCE, PASS OVER, HONEYPOT: BLACK WOMEN WHO LOVE WOMEN, UNTIL THE FLOOD, FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE/ WHEN THE RAINBOW IS ENUF, 1619: THE JOURNEY OF A PEOPLE, THIS BITTER EARTH, , THE LIGHT, AMERICAN SON, HOME, TWILIGHT: LOS ANGELES 1992, THE MEETING, FIRES IN THE MIRROR, BLACK BALLERINA (co-writer),  NUTCRACKER(ISH), CROWNS, HAVING OUR SAY, FROM THE MISSISSIPPI DELTA, WOZA ALBERT!, GOING TO ST. IVES, SINGLE BLACK FEMALE, A SONG FOR CORETTA, YELLOWMAN, SWEET, LADY DAY AT EMERSON BAR & GRILL, BEAR COUNTRY, NOBODY, FENCES, PIANO LESSON, AIN'T MISBEHAVIN, K2, THE GLASS MENAGERIE, and others. Tim is also the writer/director of WHY NOT ME? A SAMMY DAVIS JR. STORY, and MAYA'S LAST POEM, both produced at FJT; and BLACK BALLERINA, produced at FJT and Pittsburgh Public Theatre. He was also co-writer and director of THE BALDWIN | GIOVANNI EXPERIENCE and A HOME ON THE LAKE. His performances in August Wilson's PIANO LESSON (1997) and JOE TURNER'S COME AND GONE (2024) at the Goodman Theatre were nominated for Jeff Awards.
 
Jewell Redman (Nia and others), a Detroit native, recently made her Chicago performance debut in HEAVY (Nora) with Nonsense Productions. She's had an extensive history in performing at Michigan State University, which includes: A BEAUTIFUL DAY... GREAT LAKES (@), WAITING FOR LEFTY, and THE 39 STEPS. 
 
Tuesdai B. Perry (Abigail and others), previous FJT credits: HONEYPOT,  FOR COLORED GIRLS,  OBAMA-OLOGY, HOME, CROWNS, and THE NUTCRACKER(ISH). Hailing from Gary, Indiana, she holds a BA in Directing and Writing from Western Illinois University.  Tuesdai B. is an active director, choreographer, performer, and educator in the Chicagoland area.
 
ABOUT FLEETWOOD-JOURDAIN THEATRE 
 
Founded in 1979, Fleetwood-Jourdain Theatre is a professional, award-winning theatre company that has been thrilling audiences with over four decades of unique, inspirational, and invigorating Black American and African Diaspora-centered storytelling. The company has been honored by the Black Theatre Alliance/Ira Aldridge Awards and is frequently listed as a top-rated Chicago theatre company. From original plays to the best of Broadway, Fleetwood-Jourdain Theatre has remained committed to supplying the very best in theatre. "Umoja!! ....Working Together in Unity" is the foundation from which FJT began and continues to thrive!
 
It is our mission to present powerful, thought-provoking, Theater Arts programming with a commitment to diversity and creative excellence. We are dedicated to providing a nurturing and creative environment for directors, playwrights, actors, set, light, and costume designers. In this positive environment, they can further develop their creative skills and share their artistic expressions. The Fleetwood-Jourdain Theatre is funded by the City of Evanston and in part by the Illinois Arts Council, A State Agency.

Elmhurst Art Museum’s two new exhibitions feature a pair of artists with Midwestern roots whose outlooks and perceptions of the world lead in quite different directions.  Both of their creative paths are paved with output that prod our inquisitive instincts and ask our eyes to look a little closer.  One is unmatched in the way it provokes actual wonder. 

Jeannette Andrews was a young teenager from Wheaton and already enthralled with magic when she found herself in a contemporary art museum one day.  Her mind immediately saw parallels between what attracted her to the mystery and enchantment of magic and what was on the museum’s walls.   For her, the conceptual similarities between the two were so strong that she couldn’t fathom why no one was exploring their link.

The budding conjurer would go on to build a career that includes performative magic.  She also began seriously looking into the synergies and commonalities between contemporary visual art and the body of knowledge and practices that produce magic.  That interest and effort provide the foundation for Of Wonder, Mind and Magic, nine magic-focused installations that make up her first solo exhibition now running at the museum until late August.

All photos by Siegfried Mueller.

“Learning secret information that’s not easily found” is a powerful motivating force in Andrews’ life.  It’s led her to conduct exhaustive research into some of the most esoteric areas of magic.  A great deal of the work in her show also focuses on the physical sciences and deviations in how people believe they perceive the natural world and how they in fact do.  The magician/artist’s ruminations on a dense thicket of “what if” scenarios eventually culminate in either a performance piece or, in the case of Of Wonder, Mind and Magic, an art installation that focuses on what was once called the dark arts.

What is, remains is an example of how Andrews interweaves the properties of the physical world and that of magic.  An interactive or immersive piece that asks visitors to take specific actions while looking at a suspended sphere and its shadow, it’s a disappearing act that’s brought into an arts centric setting.  While following the instructions of a recorded voice, participating museum visitors will find the sphere disappears and reappears at will.

Awe inducing for its simplicity and the incredulity it triggers, Bottling the Impossible is, once you fully absorb its significance, a remarkable show of skill.  Riffing off the classic ship in a bottle conundrum, objects are displayed in a small Bulleit whiskey bottle with no obvious way for them to have gotten there.  A chess piece, a pocket mirror and a complete sealed deck of playing cards all sit benignly in their separate bottles; defying both logic and the natural order.  Andrews confessed it took more than two years of research and false steps before she was able to master this genuinely impressive challenge.    

Several of the other installations are more interactive with technology on hand to guide visitors on what to expect and do.   Andrews, who’s currently an artist in residence at Brown University, has enjoyed similar affiliations with other notable institutions including MIT and Harvard.  The breadth and penetrating quality of her work appeal to anyone who enjoys interacting with creatively unorthodox approaches to interesting and sometimes arcane concepts.

Near Eternity, the contributions of sculptor Jeremiah Hulsebos-Spofford, is inspired by the way time and the changes it brings to our lives impact how we view the past, present, future and ourselves.

Life can be viewed as a series of transitions and the ways we respond to them are endless.  Artists react through their work.  In Near Eternity, Hulsebos-Spofford’s low carbon sculptures are widespread.  They can be found gracing the interiors of the museum’s prestigious adjunct building, outdoors among the greenery of Wilder Park adjoining the museum and just inside the main entrance.  Notions of loss and mortality, contemplations on human vulnerability due to infirmity or age and the silent confusion and unanticipated emotions that accompany some of life’s more poignant passages are all represented in wood or polyester resin.

Several examples are found in McCormick House directly adjacent to the museum’s main building.  In it, Hulsebos-Spofford reimagines either familiar or iconic items and overlays empathetic sensibilities onto them.  In Hyperplexia: Splint, he takes an object used to brace injuries and produces a “meditation on support structures” that take in the emotional and architectural as well as the physical. 

In another room, Mies van der Rohe’s timeless Barcelona chair gets a similar treatment.  Elegant perfection gets a redo that emphasizes what it feels like to be susceptible or exposed to harm or injury.  All for the purpose of highlighting the “tension between preservation and decay”.

Temperamentally lighter and more playful works are in the park where an artistic homage to Mr. Coffee can be found along with a radically chill Shark Cat cast in bronze, fashioned after the social media craze of the same name.   

Like most of us, artists have many facets to their sensibilities.  Along with encouraging us to think deeper through art, Mr. Hulsebos-Spofford also derives a great deal of pleasure knowing artwork in public spaces can instigate instant and random joy.  A balance that makes a show of any kind a more complete and gratifying experience.

Of Wonder, Mind and Magic

Near Eternity

Through August 23, 2026

Elmhurst Art Museum

150 South Cottage Grove Ave.

Elmhurst, IL   60126

For more information on both exhibits:  https://elmhurstartmuseum.org