Items filtered by date: November 2007

Babes With Blades Theatre Company’s (BWBTC) announced today new production dates for the final production in its 2026 season, William Shakespeare’s King Lear, directed by Alison Dornheggen and fight choreography by Jess Pennachio, the new dates are now October 22 - November 21 in Theatre 3 at Theater Wit, 1229 W. Belmont. The running time, including intermission, is approximately two hours and 20 minutes. Preview performances are Thursday, Oct. 22 and Friday, Oct. 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 7:30 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Nov. 7 at 7:30 p.m. and Sunday, Nov. 8 at 3 p.m. and Thursday, Nov. 12 and Friday, Nov. 13 at 7:30 p.m. The sensory friendly performance is Sunday, Oct. 25 at 3 p.m. with the fully masked audience performance, Sunday, Nov. 1 at 3 p.m. There is no performance on Saturday, Oct. 31. Streaming dates for King Lear will be announced at a future date. Tickets are $28 for students and seniors, $37 for general admission and are on sale at the Theater Wit Box Office, 773-975-8150, or at BabesWithBlades.org. 

King Lear tells the complicated story of a king who divides his kingdom into thirds for his three daughters and the unforeseen struggles from this decision’s aftermath. His unraveling is parallelled by the nefarious journey of a jealous Edmund, who seeks to overtake his nobleman father’s affairs from his half brother. 

“I am thrilled that Babes are sinking their teeth into one of Shakespere’s most complex tragedies," said Artistic Director Hayley Rice. “A quote from King Lear is  “‘Tis the time’s plague when madmen lead the blind,” demonstrating, like so much of Shakespeare’s work, these themes are still painfully relevant today including greed, lust for power, the shortsightedness of our leaders and familial strife. We look forward to welcoming audiences to the final production in our 2026 season with this famous tragedy.”

With storefront theater veteran Lynne Baker (she/her) in the titular role of King Lear, the cast also includes Babes With Blades Theatre Company Ensemble MembersKim Fukawa (she/her, Oswald/Duke of Burgundy, Edgar U/S);Carrie Hardin (she/her, King Lear U/S); Jillian Leff(she/her, Duke of Cornwall); Morgan Manasa (she/her, Earl of Gloucester);Jennifer L. Mickelson (she/her, Duke of Albany/ensemble);Jennifer Mohr (she/her, Cordelia/Fool);Thomas Russell (he/they, Edmund) andKathrynne Wolf (she/her, Earl of Kent). They are joined by, in alphabetical order, Kim Boler (she/her, Goneril); Sarah Cushman (she/her, Goneril/Duke of Albany/ensemble U/S); Dani De la Rosa (she/her; ensemble/Edmund and Duke of Cornwall U/S); Stephanie Mattos (she/her, Edgar); Sophia Lanza-Weil (she/her, Earl of Gloucester/ensemble U/S); Madeline Meyer (she/her; ensemble/Oswald and Kent U/S); Rachel Sleek Bañuelos (she/her, Regan); and Brittani Yawn (she/her, ensemble/Cordelia and Fool U/S).

The production team includes BWBTC ensemble members Line Bower (they/them, technical director); Alison Dornheggen (she/her, director); Hayley Rice (she/her, text coach); Payton Shearn (she/they, production assistant) and Laura J. Wiley (she/her, lighting designer) as well as Adri Andreolas (she/her, assistant stage manager); Jessie Gowens (she/her, costume designer); Hannah Foerschler (she/her, sound designer); Tristan Hall (they/them, intimacy designer); Rose Hamill (she/her, production manager); Morgan Lazlo (they/them, scenic designer); Arielle Leverett (she/her, assistant director); Ryan Liddell (he/him, assistant fight choreographer); Elena Lindeman (they/she, props designer); Grace Elizabeth Mealey (she/her, stage manager) and Jess Pennachio (she/her, fight director).

ABOUT ALISON DORNHEGGEN, DIRECTOR

Alison Dornheggen has been working in the Chicagoland area as a director, actor, fight choreographer and administrator for more than 20 years. She received her degree in directing and acting from Columbia College Chicago and has been lucky to work with companies such as Chicago Shakespeare Theater, Idle Muse Theatre, Mercury Theater, A Red Orchid Theatre, Remy Bumppo Theatre Company, Oak Park Festival Theatre and The Factory Theater among others. She earned her MA in arts management, serving as the Theatre Graduate Fellow at American University in Washington DC and was privileged to work with the Washington Stage Guild, Ford's Theater, the Kennedy Center and award winning composer Peter Lerman. Dornheggen is also part of the theater department faculty at the Chicago Academy for the Arts and has been a proud ensemble member of BWBTC since 2003. 

ABOUT JESS PENNACHIO, FIGHT CHOREOGRAPHER

Jess Pennachio has a B.A in theatre performance from UNC Charlotte and completed the Actor’s Gymnasium Professional Circus Training Program focusing in partner acrobatics and juggling. She is a trained stunt performer and an advanced actor combatant with the SAFD. She has assisted stage combat classes throughout Chicago and across the country. She has worked with Babes With Blades, The Factory Theater, Collaboraction, Rough House, Chicago Danztheatre Ensemble and the Carolina Renaissance Festival. She is a fight choreographer for stage and screen as well as a makeup artist.

ABOUT BABES WITH BLADES THEATRE COMPANY

Babes With Blades Theatre Company, for more than 25 years and moving into the future, strives to develop and present scripts focused on complex, dynamic (often combative) characters who continue to be underrepresented on theatre stages based on gender. Babes With Blades Theatre Company uses stage combat to tell stories that elevate the voices of underrepresented communities and dismantle the patriarchy.

In each element of its programming, BWBTC embraces two key concepts:

1)     Folks of marginalized genders and underrepresented communities are central to the story, driving the action rather than responding or submitting to it and

2)     Everyone is capable of a full emotional and physical range, up to and including violence and its consequences.

The company offers participants and patrons alike an unparalleled opportunity to experience every person as heroes and villains; rescuers and rescues; right, wrong and everywhere in between: exciting, vivid, dynamic PEOPLE. It’s as simple and as subversive as that.

LAND ACKNOWLEDGEMENT STATEMENT:

Babes With Blades Theatre Company produces theatre in venues located on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa and Potawatomi Nations. Many other tribes such as the Miami, Ho-Chunk, Menominee, Sac and Fox also called this area home. This region that we now commonly refer to as “The Chicagoland Area”, has long been a center for Indigenous people to gather, trade and maintain kinship ties. Today, one of the largest urban Native American communities in the United States resides in Chicago. Members of this community continue to contribute to the life of this city and to celebrate their heritage, practice traditions and care for the land and waterways.

Babes With Blades Theatre Company’s (BWBTC) announced today new production dates for the final production in its 2026 season, William Shakespeare’s King Lear, directed by Alison Dornheggen and fight choreography by Jess Pennachio, the new dates are now October 22 - November 21 in Theatre 3 at Theater Wit, 1229 W. Belmont. The running time, including intermission, is approximately two hours and 20 minutes. Preview performances are Thursday, Oct. 22 and Friday, Oct. 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 7:30 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Nov. 7 at 7:30 p.m. and Sunday, Nov. 8 at 3 p.m. and Thursday, Nov. 12 and Friday, Nov. 13 at 7:30 p.m. The sensory friendly performance is Sunday, Oct. 25 at 3 p.m. with the fully masked audience performance, Sunday, Nov. 1 at 3 p.m. There is no performance on Saturday, Oct. 31. Streaming dates for King Lear will be announced at a future date. Tickets are $28 for students and seniors, $37 for general admission and are on sale at the Theater Wit Box Office, 773-975-8150, or at BabesWithBlades.org. 

Sometimes when we reach into the past to resurrect or revive an old story, we find it doesn’t age well. The subject matter could be problematic, the material divisive, the cultural context lost through the fabric of time. Without proper context we tend to view these historical pieces through a modern lens. We’re quick to criticism, condemn, or simply say the story doesn’t resonate with newer audiences. But once in a great while, we reach back in history and find a piece that doesn’t require adaptations, modernization of the old piece simply adding to the allure of the story. Give that narrative to visionaries and dreamers and you might just get a production that future generations will pull from the archives, not to resurrect or revive, but revere. That one is a great while is here today in Chicago with the Joffrey Ballet’s premiere of Liliom.

Joffrey Company Artists Victoria Jaiani and José Pablo Castro Cuevas. 

Inspired by Ferenc Molnár’s 1909 play, Neumeier’s adaptation follows the story of Liliom (performed by José Pablo Castro Cuevas), a charismatic but self-destructive carnival barker (think of the ringmaster-like man enticing people to attend the carnival with an eh ‘come one, come all!’ ‘come on down!’ flare). Liliom falling fiercely in love with Julie (performed by Victoria Jaiani). Their whirlwind romance is eventually unraveled by pride, poverty, rage, and poor choices made under societal pressures. Set amid the dreamlike, faded glamour of an American amusement park during the Great Depression, passion turns toward crime—and ultimately, tragedy. Granted a chance to return to Earth after death, Liliom confronts the consequences of his choices and attempts one final act of grace. What remains is a stark reckoning with guilt and the fragile possibility of redemption.

In the resurrection of this play, and subsequent adaptation of the ballet, conversation, and coverage around Liliom. The history of the origin of the production isn’t all that complicated. The original stage production was written by Hungarian dramatist Ferenc Molnár in the early 1900s. That script became inspiration for Roger and Hammerstein’s 1945 musical Carousel and was made into a major motion picture in 1956 complete with a dreamlike ballet sequence. In 2011 the Hamburg ballet developed an adaptation of Liliom with legendary composer Michel Legrand. Since then no one has staged the ballet. The Joffrey ballet is the first American ballet company to bring the production to life and under the stewardship of choreographer John Neumeier has created a masterpiece that requires no comparisons or ties to its predecessors.

This ballet is unlike anything you’ve seen before. Neumeier and the Joffrey ballet bring a dark yet whimsical artistry to the stage and that duality is carried effortlessly throughout the production; the charismatic yet dark lead coupled with a naïve yet loyal woman, the balloon man symbolizing the ever present death holding colorful balloons that navigate through busy crowds and emerge in dark corners, the amusement park offering escapism and joy juxtaposed against the poverty of the great depression, the soft and classical orchestra contrasted with scatting jazz, the soft and delicate lines of traditional ballets melding seamlessly with the sharp angles of modern contemporary movement, heaven and hell, right and wrong, light and dark, the duality is what draws you in and never lets you go. The choreography, the music (two full bands!) the set designs, the dancing, Liliom is a feast for the eyes and a balm from the banal. The Joffrey Ballet has truly outdone itself and its safe to say it is Neumeier’s most profound artistic endeavors. The emotional depth and theatrical nuance he brings with his staging is articulated and crafted into the smallest details. Everything is intentional, everything is layered and structured and deep, with deeper meanings, foreshadowing, illusion, and mystic that adds to the beauty of this ballet.

There are still some theatergoers that will focus in on a single element of the production and completely write this off. That’s the mistake we can make when we resurrect or reimagine a piece from the past. Hey, even Shakespeare has critics. But when we focus in a single element we dislike, that is there for character and plot development to move the story forward we lose sight of the thousands of other details that make the production unproblematic. Liliom is layered, lovely, and lasting in a way that future generations will look back and admire with awe, not condemnation and judgement. Let’s hope this production does become an annual performance for not just the Joffrey but all ballet companies looking to bring beauty and light into the dark. So come one, come all, and get your tickets for Liliom, now playing at the Lyric Opera (20 N Wacker Dr, Chicago) through September 27th. You don't want to miss this one, folks!

Fleetwood -Jourdain Theatre, an 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, has announced the cast and production team for the final production of its 2026 season. THE NICETIES, a two-character play by Eleanor Burgess, follows a 20-year-old Black college student in a meeting with her white professor to discuss the student's term paper about slavery's effect on the American Revolution. The paper's thesis is that the revolution would not have succeeded without the contributions of black slaves. The professor disagrees, and what begins as a polite clash in perspectives explodes into an urgent debate about race, history, and power. 

Fleetwood-Jourdain Producing Artistic Director Tim Rhoze, who will direct the play and design the set, announced his cast today. Appearing as the student, Zoe, will be Georgerinna Farley, whose stage and television credits include IN THE CONTINUUM for Pegasus Theatre and SEND HELP for AMC Networks.  Janine, the professor, will be played by Jesi Mullins, who is currently appearing in ADVANCE MAN for Strawdog Theatre Company, and has extensive television credits that include CHICAGO MED. THE NICETIES will be performed at the Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center, 927 Noyes Street in Evanston, from October 31 through November 15. 

The world premiere of THE NICETIES, directed by Chicago's Kimberly Senior, was co-produced during the 2018-2019 season by the Huntington Theatre Company in Boston, Massachusetts; Manhattan Theatre Club in New York, New York; and McCarter Theatre Center in Princeton, New Jersey. THE NEW YORK TIMES said it was "a bristling, provocative debate play about race and privilege in the United States, and it begs to be argued with." DC THEATER ARTS called it "a brilliant and important play." 
 
The production team for FJT'S THE NICETIES, in addition to Rhoze as Director and Set Designer, includes Brenden Marble (Lighting Designer), Rick Sims (Sound Designer), Kate Parker-Burrows (Costume Designer), Shane Rogers (Technical Director), Phil Timberlake (Vocal Coach), Bria Walker-Rhoze (Artistic Associate, Dramaturg), Tara Malpass (Stage Manager), and Joe Ciresi (Assistant Stage Manager).
 
Tickets to THE NICETIES are $33.00, Seniors $22.00, Students $10.00  at the box office on the day of performance with ID. Tickets are on sale at www.fjtheatre.com.
 
LISTING INFORMATION
 
THE NICETIES
by Eleanor Burgess 
Directed by Tim Rhoze
October 31 – November 15, 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
 
Zoe, a Black student at a liberal arts college, is called into her white professor's office to discuss her paper about slavery's effect on the American Revolution. What begins as a polite clash in perspectives explodes into an urgent debate about race, history, and power.
 
BIOS

Eleanor Burgess (playwright). In addition to THE NICETIES, Eleanor Burgess' plays include WIFE OF A SALESMAN, START DOWN, CHILL, SPARKS FLY UPWARD, and GALILEE, 34.  Her work has been produced at theaters across the United States, including Manhattan Theatre Club, South Coast Rep, Geffen Playhouse, McCarter Theatre Center, Huntington Theatre Company, Writers Theatre, Milwaukee Rep, Merrimack Repertory Theatre, Geva Theatre Center, InterAct Theatre, Portland Stage, the Alliance Theatre and the Contemporary American Theatre Festival, as well as the Finborough Theatre in London. She has also written for film and television, including work on PERRY MASON for HBO, WE CRASHED for Apple TV+, INTERVIEW WITH THE VAMPIRE for AMC, and screenplays for Bad Robot, Amblin, and Anonymous Content. Originally from Massachusetts, she studied history at Yale College and Dramatic Writing at NYU/Tisch.
  
Tim Rhoze (Director, Artistic Director) Tim Rhoze has been the Producing Artistic Director of Fleetwood-Jourdain Theatre since 2010. His directing credits include: IN THE CONTINUUM, 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.
 
Georgerinna Farley (Zoe) is an actor in the Chicago area who is passionate about real, raw, and authentic stories. She holds an MFA in Acting from The Theatre School at DePaul University, as well as a BA in Theatre Performance from Rhode Island College, where she became a part of the Lin-Manuel Miranda Family Fellowship. Her work spans across stage and screen, including SEND HELP (AMC Networks), IN THE CONTINUUM (Abigail) at Pegasus Theatre, JULIUS CAESAR (Mark Antony), and RENT (Mimi Marquez). 
 
Jesi Mullins (Janine) is delighted to make her Fleetwood-Jourdain debut! Theatre: ADVANCE MAN (Strawdog Theatre), RACECAR RACECAR RACECAR (Bramble Theatre Company), A CHRISTMAS CAROL (Metropolis), FAIRVIEW (Definition Theatre), MARYS SEACOLE (Griffin Theatre), THE SECRETARIES (First Floor Theater), BACHELOR - THE UNAUTHORIZED PARODY MUSICAL, LOVE ACTUALLY? THE UNAUTHORIZED MUSICAL PARODY (Apollo Theater), MACBETH (Spectrum Shakespeare), EXIT THE KING, NEIGHBORHOOD 3: REQUISITION OF DOOM (The Theatre School at DePaul). TV: CHICAGO MED (NBC). Film: NOTHING'S GOING ON WITH ME AND SANDRA (Big C Creative), RETURN TO START (908 Media). Co-host of FYI: The Murphy Brown Podcast (featured on CNN's TV ON THE EDGE). MFA, The Theatre School at DePaul University. Jesi is a certified actor combatant and dialect coach.
 
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.

The Goodman wraps its 2025/2026 Centennial Season, an unprecedented line-up marking the 100^th anniversary of Chicago's flagship not-for-profit theater, as the most successful in its history. Today, the theater released its "A Century of Impact" report, detailing milestone programming and attendance figures (a full annual report, including audited financials, will be published at year's end).  Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, the season drew more audiences than ever, topping 300,000—with 57% attending The Goodman for the first time—to 4,000 performances and events. The works in the 15-production season, curated by Booth, earned widespread critical and audience acclaim: 11 extended productions, 290 sold-out performances, while the world-premiere musical Iceboy! Or, The Completely Untrue Story of How Eugene O'Neill Came to Write The Iceman Cometh became the theater's all-time best-attended, best-selling production. Attendees hailed from 61 countries beyond the U.S. with audiences from 5,837 unique zip codes.

In addition, the Goodman broke new ground transforming a 15,000 square-foot, in-the-raw space for Theater of the Mind, Academy, Grammy and Tony Award-winning artist David Byrne's immersive work, drawing 63% first-time Goodman attendees. Chicago resident magician Dennis Watkins continued into his third year at The Magic Parlour, in partnership with The Goodman and Petterino's, hosting 163 sold-out performances and expanding his roster by welcoming nine guest artists. Beyond the stage, The Goodman offered 100 Free Acts of Theater—a year-long collaboration with 48 community partners at creative organizations in all 50 Chicago wards—drawing more than 20,000 people, presented in partnership with the Department of Cultural Affairs and Special Events (DCASE). Expanded Theater for the Very Young programming drew nearly 5,000 children and caregivers, with nearly 13,000 people of all ages engaging in free and low-cost Education and Engagement programming. Goodman Theatre Centennial Season leadership included Chair of The Goodman Board of Trustees is Marsha Cruzan; Women's Board President is Diane Landgren; and Kelli Garcia as President of the Scenemakers, The Goodman's young professionals board.

"One hundred years ago, Chicago gave us a stage. Over the past century, this city has given us so much more—welcoming generations of artists with bold ideas, filling our theaters with laughter, applause and conversation, challenging us to tell stories that reflect who we are, who we've been and who we might yet become," said Booth and Collins in a joint statement. "There are many ways to measure success; for us, it's ultimately about impact. We're proud to have reached more audiences through more programming in more communities this year than ever before. As theater leadership, we deeply feel the gratitude and responsibility that comes with a 100-year legacy. We look to continue The Goodman's story in our second century with the greatest ambition to deepen our reach, welcome more voices, and build stronger connections."

PRODUCTIONS, EVENTS AND OFFERINGS IN THE CENTENNIAL SEASON 

ALBERT THEATRE (856-SEAT PROSCENIUM STAGE) PRODUCTIONS

Ashland Avenue 
By Lee Kirk, Directed by Susan V. Booth 
Starring Jenna Fischer 
September 6 – October 5, 2025 (extended through October 19) | A World Premiere

A Christmas Carol (48^th annual production) 
By Charles Dickens, Directed by Malkia Stampley 
Starring Christopher Donahue as Ebenezer Scrooge 
November 15 – December 31, 2025

Holiday
Adapted by Richard Greenberg, Based on the play by Philip Barry, Directed by Robert Falls
January 31 – March 1, 2026 (extended through March 8) | A World-Premiere Adaptation 

August Wilson's Ma Rainey's Black Bottom 
Directed by Chuck Smith, Associate Director and Music Director Harry J. Lennix 
March 28 – April 26, 2026 (extended through May 3)

Iceboy! or, The Completely Untrue Story of How Eugene O'Neill Came to Write The Iceman Cometh 
Music by Mark Hollman, Lyrics by Mark Hollman and Jay Reiss, Book by Erin Quinn Purcell and Jay Reiss 
Directed by Marc Bruni, Choreographed by JoAnn M. Hunter 
Starring Megan Mullally and Nick Offerman 
June 9 – July 19, 2026 (extended through August 16) | A World-Premiere Musical

OWEN THEATRE (350-SEAT FLEXIBLE STAGE) PRODUCTIONS

Revolution(s) 
By Zayd Ayers Dohrn, Music and Lyrics by Tom Morello, Directed by Steve H. Broadnax, III 
October 4 – November 9, 2025 (extended through November 23) | A World-Premiere Musical

New Stages Festival (21^st annual event) January 11 – 18, 2026 
FEAST! by Calamity West, Directed by Susan V. Booth  
Pennies by Hansol Jung, Directed by Patricia McGregor 
This Part of His Life Blooms by Christina Anderson, Directed by Malkia Stampley 
The Audience Unseen by Ike Holter, Directed by Gus Menary, Dramaturgy by Sarah Slight

The Brief Wondrous Life of Oscar Wao 
By Marco Antonio Rodriguez, Adapted from the novel by Junot Díaz, Directed by Wendy Mateo 
February 21 – April 5, 2026 (extended through April 12) | A World-Premiere Adaptation

Covenant 
By York Walker, Directed by Malkia Stampley 
May 2 – 31, 2026 (extended through June 7) | A Chicago Premiere

Raven Theatre's production of Dave Malloy's Octet 
Directed by Keira Fromm 
July 15 – 26, 2026 (extended through August 2)

TJ and Dave 
Starring TJ Jagodowski and David Pasquesi, with special musical guest Ike Reilly 
July 30-31 and August 1

THEATER FOR THE VERY YOUNG PRODUCTIONS

Splish Splash: A Day on the Lake 
Directed by Ellie Levine and Jamal Howard, created in collaboration with students from Total Child Preschool 
February 28 – March 15, 2026 (extended through March 22)

The Lizard y El Sol 
Presented as part of the Chicago Park District's Night Out in the Parks Series, supported by the Mayor's Office and the Chicago Department of Cultural Affairs and Special Events (DCASE) 
Co-Directed by Jamal Howard and Raquel Torre 
July 22 – August 9, 2026 (extended through August 15)  
Appeared at 12 Chicago Parks District locations and four (4) Chicago Public Libraries

OFF-SITE PRODUCTIONS

Theater of the Mind
Created by David Byrne and Mala Gaonkar, Directed by Andrew Scoville  
Appearing at 333 N. LaSalle in an open run (performances began March 11, 2026)

Dennis Watkins' The Magic Parlour  
Produced in partnership with Goodman Theatre and Petterino's
Appearing at 50 W. Randolph in its third season, in an open run (tickets on sale through December 31)

EVENTS AND PARTNERSHIPS

100 Free Acts of Theater  
In partnership with the Chicago Department of Cultural Affairs and Special Events (DCASE) 
Summer 2025 – Summer 2026

Sweetest Season: A Gathering of Indigenous Creativity 
In partnership with Gichigamiin Indigenous Nations Museum 
August 15

THEATER FOR A LIFETIME

The Goodman's Education and Engagement programs cater to theatergoers at every stage of life. During the Centennial Season, nearly 13,000 people participated in nearly 200 free and low-cost programs, workshops and performances—including 4,490 children and caregivers through Theater for the Very Young, more than 4,800 students and teachers through school-based programming and nearly 900 older adults through GeNarrations. Goodman Education and Engagement programs include:

For Young Children & Families – Second Saturdays; Theater for the Very Young 
Students & Teachers – Pages; School Matinee Series; Stage Chemistry 
Teens – Musical Theater Intensive; PlayBuild Youth Intensive; Teen Studio; Youth Arts Council 
Adults – ACTivation; CONTEXT; GeNarrations

CENTENNIAL SEASON SUPPORT

The Goodman hosted two major fundraisers that together raided $1.6 million in support of the theater's Education and Engagement programs. In October 2025, stage and screen star Jenna Fischer shared her thoughts about formative experiences in the arts at the annual Education and Engagement Benefit, co-chaired by Elizabeth Balthrop and Anne Van Wart; Kathleen Cowie and Melissa Donaldson were Education and Engagement Committee Co-Chairs. In May 2026, Emmy, SAG and Critics Choice Award nominee Tituss Burgess dazzled audiences with a live show, followed by dinner and dancing at the Goodman Gala. The event was co-chaired by Wendy Krimins, Heather Poladian and Heather Zimmerman with Trustee Co-Chair Troy Zimmerman and Benefits Events Leadership Chair Joan E. Clifford, Board of Trustees Past Chair and Life Trustee.

The Goodman is grateful to its Centennial Season Sponsors, including Leading Sponsors Paul M. Angell Family Foundation; Allstate Insurance Company; Helen Gurley Brown BOLD Circle; Chicago Department of Cultural Affairs & Special Events; Chicago Department of Planning and Development; Edgerton Foundation New Play Award; Julius N. Frankel Foundation; Illinois Office of Tourism; JPMorgan Chase & Co.; The Elizabeth Morse Charitable Trust; Elizabeth Morse Genius Charitable Trust; Northern Trust Bank; Alfred P. Sloan Foundation; and The Shubert Foundation. Additional Support by Abbott Labs; BMO; Illinois Arts Council; National Endowment for the Arts; Petterino's; PNC; Polk Bros Foundation; Pritzker Pucker Family Foundation; and The John D. and Catherine T. MacArthur Foundation. Individual Sponsors include Susan and James Annable; Roger and Julie Baskes; Joan and Robert Clifford; Patricia Cox; Julie M. Danis and Paul F. Donahue; Christopher C. Dewey; Shawn M. Donnelley and Christopher M. Kelly; Paul Dykstra and Spark Cremin; Albert and Maria Goodman; The Kenneth Sawyer Goodman Family; Elaine R. Leavenworth; Carol Prins and John Hart; Alice and John Sabl; and Kimbra and Mark Walter. Impact Sponsors include Marsha Cruzan and Tom McGinnis; Drs. Robert and Frances Del Boca; David and Alexandra Fox; Diane Landgren; and Lorrayne and Steve Weiss.

ABOUT THE GOODMAN

Since 1925, The Goodman has been a theatrical home for artists and a gathering space for Chicagoland, where bold stories spark connection, conversation and change. Now, as it enters its second century, The Goodman builds on that legacy with an eye toward the future. Under the leadership of Walter Artistic Director Susan V. Booth and Executive Director John Collins, the theater continues to champion new work—following hundreds of plays developed and a national reputation for commissioning and premiering original stories by living writers—while reimagining classics and produce large-scale musicals.

But The Goodman's reach today extends beyond its home in the heart of the Loop. From the intimate magic of The Magic Parlour, now in its third year, to the boundary-pushing world of Theater of the Mind—an immersive experience that blurs the lines between science, storytelling and sensation—and from citywide initiatives like 100 Free Acts of Theater to partnerships with artists and companies across Chicago and around the world, The Goodman is expanding what theater can be, and where it can live.

At its core, The Goodman is driven by a belief that a more empathetic, more connected city is built one story at a time. Generation-spanning productions and programs offer theater for a lifetime—from babies and young children to teens, adults and seniors—including Theater for the Very Young (ages 0–5) and the beloved annual A Christmas Carol, which has welcomed audiences for five decades. Education and Engagement programs, led by Clifford Director Jared Bellot and based in the Alice Rapoport Center, use the tools of theater to spark imagination, reflection and belonging—reaching thousands each year, the majority from underserved communities.

With nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman remains a defining force in American theater—and the first to produce all 10 plays of August Wilson's American Century Cycle. The theater also frequently serves as a production partner—from national and international companies to Chicago's Off-Loop theaters—to help amplify a wide range of theatrical voices.

Founded by William O. Goodman and his family in memory of playwright Kenneth Sawyer Goodman, the theater carries forward a legacy of artistic ambition and civic generosity. With the help of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—that spirit continues to shape its future as The Goodman expands its impact across Chicago and beyond. Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Christopher Way is president of the Scenemakers Board for Young Professionals.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

The greatest holiday show south of the North Pole returns for its 9th year with another brand spankin' new wintertide wonder! Award-winning comedy icons, writers, actors, and drag queen powerhouses BenDeLaCreme & Jinkx Monsoon are coming back to town with the wildly successful, internationally acclaimed, The Jinkx & DeLa Holiday Show (BenDeLaCreme Presents). Directed, produced, and written by BenDeLaCreme, this year's show will tour 30 cities across the U.S. and Canada from November 6 - December 30 in major theaters. 

Tickets are on sale now at JinkxandDeLa.com. VIP Packages, including a photo opportunity with the stars, are only available to purchase separately at JinkxandDeLa.com with proof of ticket purchase.  

Throughout the show's 9-year history, Jinkx and DeLa have met sentient Christmas treats, twisted space-time with Dickensian Ghosts, ventured to the Nutcracker's Land of Sweets, as well as survived immaculate conceptions, A.I., body swaps, and elf attacks. You never know what wild and unexpected sleigh ride these queens have in store. Whatever the twists and turns, fans can expect another year of over-the-top camp spectacle, side-splitting gags, brand new songs, heartfelt storytelling, thrilling dance numbers, and iconic costumes. Hailed by Entertainment Weekly as "the reigning queens of Christmas," this show is not only a moment of respite, but a celebration of community, at a time when we need it most of all.

This year, fans will also get the chance to bring the magic of the Jinkx & DeLa Holiday Show home with the forthcoming book, HOW THE QUEENS MADE CHRISTMAS: A Raunchy Holiday Romp for Festive Adults! written by BenDeLaCreme. Publishing on October 20th via Chronicle Books, HOW THE QUEENS MADE CHRISTMAS follows the adventures of the two queens as they find themselves mysteriously trapped in a book with only one way out: together! Through rhyming text and candy-colored illustrations, they spar through the challenge of creating a winning Christmas story—dashing through double entendres and many costume changes along the way. Bright, bawdy, and heartwarming, the book captures the subversive joy of the beloved queer holiday tradition for those who want to experience that very special Jinkx and DeLa cheer any time of year. HOW THE QUEENS MADE CHRISTMAS will include a bonus section of behind-the-scenes photos and lyrics from three of Jinkx and DeLa's singable original songs. Also publishing at the same time, a new book of twelve pop-out hanging ornaments featuring sassy holiday tips and quips to countdown the season in style.

BenDeLaCreme says, "This year marks our 8th touring production, and my relationship with the 'Jinkx & DeLa Holiday Show' feels just as fresh as it did when we started back in 2018. It's no easy feat to mount a brand new show every year but we owe it to our audiences who continue to return and bring new folks along the way. For the past 9 years, 'The Jinkx & DeLa Holiday Show' has given back to us what we hope to give out every holiday season: joy, community, lots of laughter, and a space to uplift each other. I love what I get to do as an entertainer, writer, director, producer, and now author, but it means nothing without the connection we have with our community. That connection is what drives us, and will continue to as we approach next year's 10th anniversary."

Monsoon adds, "Nine years, where does the time go?! You'd think it would feel like a daunting task, but every year, around this time, DeLa and I start getting excited that our time together is coming again. Somehow, every year, our amazing company makes something spectacular that exceeds even our own expectations — then we get to share it with our community at a very meaningful time. What a great way for a witch to spend the solstice."

The Jinkx & DeLa Holiday Show is written by BenDeLaCreme with additional writing by Jinkx Monsoon, directed by BenDeLaCreme, and produced by BenDeLaCreme Presents (a company comprised of producers BenDeLaCreme, Kevin Heard, Gus Lanza, and Associate Producer Jin Moon). This year's tour marks the dynamic duo's 8th live holiday show production, following the massive success of seven previous holiday tours, and cult-classic holiday film The Jinkx & DeLa Holiday Special in 2020. Since its inception, The Jinkx & DeLa Holiday Show has premiered a brand new show every year – a major achievement for two drag artists who tour annually at this scale.

For more information, visit jinkxanddela.com and follow on Instagram and TikTok. 

December 6 - Chicago, IL – Auditorium Theatre

“Great Balls of Fire!” Chicago audiences have just one last chance to catch Paramount Theatre’s immersive musical Million Dollar Quartet, returning more than two years after its smash hit debut for a final run and holiday season comeback, October 7, 2026 - January 3, 2027.

Four legends. One night. Music history made. Don’t miss this last chance to experience one of the most popular jukebox musicals of all time. Four incredibly talented actor/musicians bring Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley back to life as they navigate the intricacies of fame, while delivering incredible, up-close performances of some of the best songs in rock ‘n’ roll history, including “Blue Suede Shoes,” “Folsom Prison Blues,” “I Walk the Line,” “Hound Dog” and “Great Balls of Fire.”  

Paramount’s radically intimate restaging of Million Dollar Quartet was custom built for Paramount’s new 99-seat Stolp Island Theatre so audiences can say “I was there!” Starting October 7, performances are Wednesday at 1:30 p.m. and 7 p.m., Thursday and Friday at 7 p.m., Saturday at 2 p.m. and 7 p.m., and Sunday at 1 p.m. and 5:30 p.m. Exceptions: No show Thursday, November 26 (Thanksgiving). Added matinee Friday, November 27 at 2 p.m. No shows December 24 or 25 (Christmas Eve and Christmas). Show time Thursday, December 31 (New Year’s Eve) is at 2 p.m.

Paramount’s Stolp Island Theatre is located at 5 E. Downer Place, Suite G, in downtown Aurora, with restaurants and easy, affordable parking just a short walk away.

All seats are $87 when purchased in person. Additional fees apply for phone and online orders. For tickets and information, visitParamountAurora.com, call (630) 896-6666, or stop by the Paramount Theatre box office, 23 E. Galena Blvd., Monday–Saturday, 10 a.m. to 6 p.m., and until show time on show days. Note: Tickets and group outings make excellent holiday gifts.

Tis' the season for laughter and cheer! The Second City is decking its holiday lineup with shows for every sense of humor; including two hilarious holiday shows that promise big laughter for all ages. Whether you're craving a nostalgic night out or starting a new holiday tradition, The Second City makes any winter outing merry and oh, so bright.

Make hilarious holiday memories with The Second City. Save 25% on tickets to Not Today, Santa and Pandemonium, Please Hold in December if booked between September 17 and October 9. Use code HOLIDAY2026 at checkout.

For showtimes and tickets please visit secondcity.com or call our box office at (312) 337-3992. The Second City is located at 1616 N. Wells Street.

The Second City's Holiday Lineup
Not Today, Santa
November 25 – December 28, 2026
Tickets start at $45.

Not Today, Santa is The Second City's ultimate holiday comedy celebration, featuring a merry mix of fan-favorite sketches, sharp satire, and festive fun. Packed with laughs for anyone who has survived a family holiday gathering, this seasonal revue is the perfect holiday outing for friends, families, and office parties alike.

Rudolph Runs Wild
November 27 – December 27, 2026
Tickets are $30.

Share silliness this holiday season with Rudolph Runs Wild, a jolly extravaganza for kids, parents, grandparents, aunts, uncles, and reindeer of all ages! Featuring a fun and festive blend of family-friendly songs and sketches from The Second City's rich comedy archives, fresh new material written specifically for young audiences, and – of course – the ridiculous improv hijinks The Second City is world famous for. Brighten your winter with this one-of-a-kind interactive theatrical experience offering audience members, young and old, the chance to enjoy the comedy fun both from their seats and by joining The Second City performers onstage!

Also Playing at The Second City
Searching for mistletoe free options? We get it! Beat the Scrooge accusations by seeing Second City's hit revues Pandemonium, Please Hold and Reality Detox: The Improv Experience. It's the perfect date night plan without the holiday overload. Turn bah humbug into a night full of laughter with these hit shows.

Pandemonium, Please Hold
Open Run
Tickets start at $40.

The Second City's 114th Mainstage Revue Pandemonium, Please Hold is a loud, fast, and gloriously unhinged night of comedic mayhem. The Second City's six-person cast cranks the amps and stage dives headfirst into the chaos with blistering sketch comedy, unpredictable improv, explosive live music, and absolutely zero chill. Cathartic and wildly funny, brace for pandemonium and join us for a night of full-volume hilarity. Come scream into the abyss with us.

Reality Detox: The Improv Experience
Open Run
Tickets start at $40

Reality Detox: The Improv Experience is a high-energy night of improvisation from The Second City, with a few sketch surprises mixed in along the way. Built fresh each night and shaped by the people in the room, every performance is different from the last. Funny, fast, and wildly unpredictable, it's a chance to escape reality and enjoy a night of laughter. Come be part of the comedy magic.

About The Second City

The Second City opened its doors in 1959 as a small comedy cabaret and has since grown to become the world's most influential name in improv and comedy. Second City's stages, Touring Companies, and Training Centers across North America have proudly been the launch pad for many of the funniest names on the planet, including John Belushi, John Candy, Steve Carell, Stephen Colbert, Chris Farley, Tina Fey, Keegan-Michael Key, Eugene Levy, Tim Meadows, Bill Murray, Mike Myers, Suzy Nakamura, Catherine O'Hara, Amy Poehler, Gilda Radner, Sam Richardson, Joan Rivers, Amber Ruffin, Robin Thede and Steven Yeun, among many more.

Kokandy Productions’ Jekyll & Hyde, now presented by Broadway In Chicago at the Broadway Playhouse, arrives with the momentum of a bona fide Chicago phenomenon. After its run at Chopin Theatre was extended again and again - an almost unheard of feat for an intimate, homegrown musical - the show has now been picked up for a full commercial engagement, marking a major leap for the company and a testament to the production’s electric word of mouth. It is worth noting just how rare this is: Broadway In Chicago almost never transfers storefront productions, making this pickup one of the most significant Chicago theatre success stories in recent memory. Conceived for the stage by Steve Cuden and Frank Wildhorn, this staging proves how a storefront success can scale beautifully without losing its bite.

This reimagined take on The Strange Case of Dr. Jekyll and Mr. Hyde, drawn from Robert Louis Stevenson’s classic story, uses Leslie Bricusse’s book and lyrics to follow Dr. Jekyll, a brilliant yet splintering scientist whose compassion fuels his most dangerous ideas. He turns to self‑improvement experiments - attempting to isolate and remove the darker impulses that plague human behavior. Only after the town council votes down his proposal to move forward does Jekyll test his theories on himself, unleashing a violent alter ego - Mr. Hyde - that refuses to stay contained and seeks revenge on those who dismissed his ideas as reckless.

While Jekyll’s experiments drive the plot, the production grounds his unraveling in two sharply drawn relationships: his earnest, hopeful romance with Emma and his complicated, magnetic connection with Lucy. Emma represents the future he’s desperate to protect, while Lucy embodies the vulnerability and desire he can’t fully control. Together, they give the story its emotional spine, showing how Jekyll’s transformation fractures not just his identity, but the lives of the women who care for him.

Kokandy dives into the duality with sharp humor, vivid theatricality, and a pulsing score that turns the transformation into both a spectacle and a psychological spiral. As Jekyll’s world cracks - friends endangered, morality blurred, identity slipping - the production keeps the tension taut, balancing gothic thrills with a surprisingly human core.

(center) David Moreland and the cast of Kokandy Productions’ production of Jekyll & Hyde.

What makes this staging stand out is its inventiveness: clever staging, bold physicality, and a cast that commits fully to the grotesque and the gorgeous – and, wow, can they sing. It’s no surprise audiences kept returning at Chopin, pushing the run far past its original closing date. That groundswell of audience demand is precisely what caught Broadway In Chicago’s attention - a level of traction strong enough to propel a storefront musical into a full commercial engagement. Seeing it now elevated to the Broadway Playhouse feels like the rare occasion when Chicago’s storefront originality gets the larger platform it deserves. In fact, upon entering, guests are handed stickers to mark how many times they’ve seen the show. Whether it’s their first visit or their seventh - the highest number I spotted - theatergoers wear it proudly, a small but telling sign of the cult‑like enthusiasm surrounding this production.

Directed by Producing Artistic Director Derek Van Barham, this production thrives on a razor‑sharp sense of style and drive. Van Barham shapes Jekyll & Hyde with the confidence of someone who knows exactly how to blend horror and heart into one seamless theatrical rhythm. A kinetic drive and deft wit run through the score thanks to Nick Sula’s music direction, ensuring crisp transitions and character‑focused vocal work. With a rare 15‑piece live orchestra on stage, the production’s musical power hits with a fullness and immediacy that elevates every passage. Brenda Didier’s choreography is the secret weapon — precise, playful, and radiating personality, it turns the show’s physicality into storytelling and amplifies the divide at the center of Jekyll’s collapse.

Kokandy’s ensemble fires on all cylinders, creating a production that feels both wickedly fun and sharply realized. David Moreland anchors the show with a riveting, shape‑shifting performance as Dr. Henry Jekyll and Mr. Edward Hyde, his vocal work and physical transformations giving the story its ferocious pulse. Moreland delivers a performance of remarkable physical and emotional intensity, one that stands out among the strongest I’ve seen. With visceral depth and vocal heat, Ava Lane Stovall shapes Lucy Harris into a woman suspended between danger and desire, her performance threading vulnerability through every moment of volatility. She makes Lucy’s internal tug of war feel immediate, giving the role a current that’s both seductive and unsettling. Meanwhile, Emily McCormick’s Emma Carew delivers a beautifully grounded counterbalance, her warm, expressive songs reinforcing the production’s moral center and offering the steadiness Jekyll’s world so desperately lacks.

(center) Ava Lane Stovall with (left to right) Quinn Kelch and Ismael Garcia and (below) Quinn Simmons in Kokandy Productions’ production of Jekyll & Hyde.

As Simon Stride and Spider, Quinn Kech moves effortlessly between clipped propriety and feral swagger, pairing sharp character work with vocals that cut cleanly through the score. A steady moral throughline comes through in Kevin Webb’s Gabriel John Utterson, his warm baritone and grounded presence giving the story its emotional ballast. Nathan Calaranan brings a dignified, resonant authority to Sir Danvers Carew, shaping each turn with clarity and restraint. Around them, the ensemble meets the material with full‑throated commitment - singing with power, acting with specificity, and charging every scene with the kind of collective intensity that makes this production feel larger than its footprint. Led by Jeff Award winners Moreland, Stovall, and McCormick, the ensemble’s collective impact makes this Dr. Jekyll & Mr. Hyde feel vividly, thrillingly alive. The extended applause throughout the night were frequent and fully deserved.

The reimagined score is one of the production’s greatest triumphs, built on Frank Wildhorn’s music, yet reshaped into something leaner, sharper, and far more theatrical. Kim Scharnberg’s orchestrations give the music its dark, muscular edge, while Jason Howland’s arrangements sharpen its modern undercurrent. The orchestrations feel slyly contemporary and richly atmospheric, giving the story a sonic identity that matches Kokandy’s confident staging. Sula ensures every number lands with intention, whether it’s a brooding solo that tightens like a vice or an explosive ensemble sequence that floods the stage with adrenaline. And the vocal performances? They’re extraordinary – out of this world, presented with a clarity and force that elevate every musical moment.

The set evokes the grit and pressure of 1880s London without ever changing, a circular playing space with elevated risers that let the cast surround the action and heighten every moment of tension. Scenic designer Sotirios Livaditis, U.S.A., builds a world that’s intentionally fixed yet remarkably flexible, giving the ensemble multiple levels and angles to push the story forward. G. “Max” Maxin IV’s lighting and Matt Reich’s sound design sharpen that sense of immersion, shaping mood, focus, and dramatic impact from scene to scene. This talented design team gives us a unified environment that feels alive in its stillness - a single space that transforms through performance rather than mechanics.

Jekyll & Hyde comes highly recommended, not only for its inventive reworking but for the sheer theatrical command Kokandy brings to the Broadway Playhouse stage. Presented by Broadway In Chicago, the production (already extended) runs through November 8, 2026 at the Broadway Playhouse at Water Tower Place, with a runtime of 2 hours and 35 minutes including an intermission. It’s a bold, stylish, and wildly entertaining take on a classic tale - one that proves Kokandy’s storefront artistry can thrive beautifully on a commercial stage. I walked away from this production genuinely amazed, struck by how fully Kokandy has transformed a familiar title into something fresh, fearless, and alive. It’s a milestone not just for Kokandy, but for Chicago theatre itself - a reminder that the city’s most daring work can rise all the way to the downtown marquee.

https://www.broadwayinchicago.com/shows/jekyll-hyde/

A Red Orchid Theatre is pleased to announce full casting for its Chicago premiere of Will Arbery's politically-charged drama Heroes of the Fourth Turning, directed by Ensemble Member dado*.

The talented line-up includes Ensemble Member Kirsten Fitzgerald* with Magdalena Dalzell, Isa Grofsorean, Beck Nolan and Nate Santana.

Launching A Red Orchid's 34^th Season, exploring the theme of "world on fire," Heroes of the Fourth will play October 29 – December 6, 2026 at 1531 N. Wells St. in Chicago's Old Town neighborhood. Single go on sale Tuesday, September 29, 2026 at aredorchidtheatre.org or by calling (312) 943-8722. Season subscriptions are currently available.

About the Production:

It's nearing midnight in Wyoming, where four recent graduates have gathered to celebrate their beloved mentor and professor Gina, newly inducted as president of their tiny Catholic liberal arts college. The reunion spirals into spiritual chaos, clashing generational politics and a vicious fight to be understood. Offering grace and disarming clarity, this haunting play speaks to the torn heart of a country at war with itself.

The production team includes Ensemble Member Grant Sabin* (Scenic Designer), Madeleine Shows (Costume Designer), Josiah Croegaert (Lighting Designer), Ethan Korvne (Composer & Sound Designer), Eel Black (Props Designer), Chels Morgan (Violence & Intimacy Director), Omar Fernandez (Assistant Director), JC Widman (Stage Manager), Kira Nutter (Production Manager), Tom Daniel (Technical Director), Faith Locke (Assistant Stage Manager) and Duncan Hon (Master Electrician).

*Denotes A Red Orchid Theatre Ensemble Member

PRODUCTION DETAILS:

Title: Heroes of the Fourth Turning

Playwright: Will Arbery
Director: Ensemble member dado*
Cast: Ensemble Member Kirsten Fitzgerald* (Gina) with Magdalena Dalzell (Emily), Isa Grofsorean (Teresa), Beck Nolan (Kevin) and Nate Santana (Justin).

Understudies: Rachel Ives (Emily & Teresa), Kyle Ringley (Justin & Kevin) and Sarafina Vecchio (Gina).

Location: A Red Orchid Theatre, 1531 N. Wells St., Chicago

Dates: Previews: Thursday, October 29 at 7 pm, Friday, October 30 at 7 pm, Sunday, November 1 at 3 pm, Thursday, November 5 at 7 pm and Friday, November 6 at 7 pm

Opening: Sunday, November 8 at 6 pm

Regular run: Thursday, November 12 – Sunday, December 6, 2026
Curtain Times: Thursdays and Fridays at 7 pm; Saturdays 3 pm & 7 pm; and Sundays at 3 pm. Please note: there will not be performances on Saturday, October 31 at 7 pm (Halloween) or Thursday, November 26 (Thanksgiving); there will be an added Industry Night performance on Monday, November 23 at 7 pm.

Tickets: Previews: $33 – $44*. Regular run: $55*. Access, student, senior, and group discounts available. Single tickets go on sale Tuesday, September 29, 2026 at aredorchidtheatre.org or by calling (312) 943-8722. Season subscriptions are currently available. *Ticket prices include a processing fee.

About the Artists:Will Arbery (Playwright, Heroes of the Fourth Turning, he/him) is a playwright and screenwriter from Texas. His play Heroes of the Fourth Turning premiered at Playwrights Horizons in 2019 and was a Pulitzer Prize finalist and the winner of an OBIE, Lucille Lortel and New York Drama Critics Circle Award, among other honors. It was named one of the "new canon" plays by American Theatre. Other plays include: You Hateful Things (upcoming London premiere), Spite House (upcoming New York premiere), Corsicana (Playwrights Horizons), Evanston Salt Costs Climbing (The New Group), Plano (Clubbed Thumb) and Wheelchair (3 Hole Press). He was the recipient of a Whiting Award in 2020. Will wrote on the fourth season of Succession, for which he won the WGA Award for Episodic Drama. He is the creator of two upcoming shows with FX: Seven Sisters (starring Elizabeth Olsen) and The Marriage Plot (starring Sadie Sink). Texas Monthly flagged him as one of the most influential cultural figures of the past 50 years out of Texas, and The New Yorker has called him the playwright of the moment.dado (Director, Heroes of the Fourth Turning, she/her) last directed the world premiere of JoJo Jones' Veal at A Red Orchid, and before that Six Men Dressed Like Joseph Stalin by Dianne Nora. In 2025 dado directed Lobster by Kallan Dana for the Wirtz Center at Northwestern and Dance Nation by Clare Barron for UIC, where she currently serves on the faculty. Other projects dado has directed are Revolt. She Said. Revolt Again. by Alice Birch with The Feast Collective, Right Now by Catherine Anne Toupin (Facility Theatre), Anny Ouyang Moench's In Quietness at A Red Orchid and The Lover by Harold Pinter (with Yasen Peyankov at Facility Theatre). She has also directed The Ruse of Medusa by Erik Satie (Facility Theatre) and Killing Game by Eugene Ionesco (A Red Orchid). Next spring she will direct The Cherry Orchard for UIC's mainstage.Kirsten Fitzgerald (Gina, she/her) is a proud member of the Ensemble at A Red Orchid Theatre and has served as the Artistic Director since 2008. As an actor Kirsten has originated roles in the world premieres of The Targeted, The Cave, Grey House, Traitor, Pilgrim's Progress, Weapon of Mass Impact, and more at A Red Orchid; Swing State, I Hate It Here (Goodman); Lettie, Appropriate (Victory Gardens); Mary Page Marlowe, The Qualms (Steppenwolf). TV: Dark Matter, Shining Girls, Somebody Somewhere, The Exorcist, Sirens, The Big Leap, Chicago Med/Fire/Justice, Underemployed, ER. Film: Rain Reign, Widows, Working Man. Directing credits include Birds of North America (Jeff Award for Best Production and Best Director of a Play-Midsize) and The Moors (Jeff Award for Best Production and Best Director of a Play-Midsize) at A Red Orchid, the world premiere of Gorgeous by Keiko Green at Raven Theatre and Dance Nation at Northwestern University's Wirtz Center. Kirsten is represented by Grossman & Jack Talent.Magdalena Dalzell (Emily, she/her) is so excited to make her Red Orchid debut! Recent acting credits include The Seagull (Red Theater), Beatrix Potter Holiday Tea Party (Chicago Children's Theatre), Meet Me at Dawn, Fefu and Her Friends and Eurydice (Snails on a Bike), and Chicago P.D.. She is a founding ensemble member of Snails on a Bike, a site-specific and found space theatre collective, and the bookstore manager at The Understudy. Magdalena studied theatre and Russian language and literature at Northwestern University, as well as the Moscow Art Theatre School. Rep: Talent X Alexander | IG: @maggie_.grace.

Isa Grofsorean (Teresa, she/her) is an actor hailing from Ann Arbor, Mi and is thrilled to be making her debut at A Red Orchid Theatre! Credits include: Strawdog Theatre Company, The Guthrie Theater, Montana Shakespeare in the Schools, Theatre L'Homme Dieu, The Gremlin Theatre and Summit Theatre Project. She is a graduate of the University of Minnesota-Guthrie Theater BFA Actor Training Program. 

Beck Nolan (Kevin, he/him) is a Chicago-based actor making his Red Orchid debut. Theatre: Keerah, Television: Widows Bay, Win or Lose, Too Much. Film: Mouse, System of Colors, Big Time, Slay, Line Cooks, Good Guy with a Gun. Beck is a graduate of The Theater School at DePaul University.

Nate Santana (Justin, he/him) is an Artistic Collective Member at Teatro Vista Productions and Artistic Affiliate at American Blues. Directing credits: Romeo and Juliet, American Jornalero (Teatro Vista); Lobby Hero (Jeff Award Best Director and Best Play – Shattered Globe). Selected acting credits: Taming of the Shrew (Court); Things with Friends (American Blues); Ironbound (Raven) The Thanksgiving Play, Ironbound (Steppenwolf); Legend of Georgia McBride (Northlight); Balm in Gilead, Golden Boy (Griffin); The Abuelas, White Tie Ball, Momma's Boyz (Teatro Vista); The Rainmaker (BoHo); References to Salvador Dali Make Me Hot (Phoenix). Television credits: Chicago Med, Chicago PD, Suits and The Exorcist.  

Production sponsors: Terrance and Carol Coleman and Dawn and Jim Kink.

About A Red Orchid Theatre:A Red Orchid Theatre has served as an artistic focal point in the heart of the Old Town community of Chicago since 1993 and was honored with a 2016 MacArthur Award for Creative and Effective Institutions. Over the past 33 years, its Resident Ensemble has welcomed into its fold an impressive array of award-winning actors, playwrights and theatre artists with the firm belief that live theatre is the greatest sustenance for the human spirit. A Red Orchid is well known and highly acclaimed for its fearless approach to performance and design in the service of unflinchingly intimate stories.A Red Orchid Theatre is: Karen Aldridge, Lance Baker, Kamal Angelo Bolden, Esteban Andres Cruz, Dado, Mike Durst, Sherman Edwards, Myron Elliott, Jennifer Engstrom, Kirsten Fitzgerald, Joseph Fosco, Steve Haggard, Levi Holloway, Mierka Girten, Larry Grimm, John Judd, Karen Kawa, Karen Kessler, Travis A. Knight, Danny McCarthy, Shade Murray, Brett Neveu, Sadieh Rifai, Grant Sabin, Michael Shannon, Guy Van Swearingen, Doug Vickers and Natalie West.Sponsor Information:A Red Orchid Theatre remains grateful for the support of our board, donors and loyal audience who continue to champion our ambitious and powerful storytelling. These sponsors help to create a platform for our talented Ensemble to reach new audiences, and ensure that we remain a source for honest, compassionate, and aesthetically rigorous theatre-making.A Red Orchid Theatre's 34^th Season is sponsored by The Bayless Family Foundation and Heidi Hoblit Graham. Heroes of the Fourth Turning is sponsored by Terrance and Carol Coleman and Dawn and Jim Kink.Interested in sponsoring a production? By partnering with us as a sponsor, you will help to take our work to the next level of artistic excellence, while also receiving deeper access to our artists and the creative process. To learn more, please contact Development Director Stephanie Shum at This email address is being protected from spambots. You need JavaScript enabled to view it. or (312) 943-8722.