Items filtered by date: June 2026

Chicago is well-known for its hidden gems: speakeasies hidden behind working laundromats, restaurants located down darkened alleyways, and even theatres located in basements and converted houses. One such innocuous playhouse resides in a small, transitioned home studio, just west of the Uptown neighbourhood. Like any hidden gem in Chicago, looks can be deceiving, and the hyper-intimate 25-seat theatre that is Open Space Arts is playing anything but small as they put on the Chicago Premiere of DORIAN.

DORIAN is a thrilling, queer-forward remix of Oscar Wilde’s timeless tale, brought to life in this bold and visually stunning stage adaptation by Phoebe Eclair-Powell and Owen Horsley. In a world obsessed with beauty and power, what happens when someone is given the chance to remain perfect—forever? This modern interpretation dives headfirst into vanity, desire, and the danger of refusing to age, illuminating the darkest corners of our obsession with self-image and fame. DORIAN fuses gothic horror, biting satire, and cabaret flair into an unforgettable night of theatre.

Similar to the space it was performed in, DORIAN, directed by Aaron Holland, is one of those surprise gems woven into the fabric of the city’s neighbourhoods. The play dramatises the story of Oscar Wilde’s novel THE PICTURE OF DORIAN GRAY in the present-day club scene, where Dorian, the main protagonist, Basil, an artist who idolises Dorian, and Henry, the aristocratic antagonist, gallivant around late 1800s London in search of art, beauty, and just a smidge of hedonism. The minimalist-maximalism of the Open Arts Space is expertly utilised by the play’s performers, Luke Gerdes as Dorian, Bosie, and others, Anthony Kayer as Henry Wotton, Oscar Wilde and others and Brian Kulaga as Basil, James, and other characters. The three performers bring the hedonism and exuberance of Wilde’s Victorian London to the modern stage with wickedly witty dialogue and a reverence for the late author. DORIAN juxtaposes THE PICTURE OF DORIAN GRAY alongside the historical record of Wilde’s prosecution and conviction for the “gross indecency” of his relationship with the much younger Lord Alfred “Bosie” Douglas in 1895, at the height of his literary success. The two stories intertwine beautifully, with plenty of camp and sass like The Victorian Homosexual Quiz, blended with respect and reverence that Wilde himself would applaud. The performances of Gerdes’ Dorian and Kayers’ Wilde are shockingly tender, perfectly capturing the drive and desire for beauty and youth that both the author and fictional protagonist sought in Victorian London.

DORIAN is as relevant and relatable today as it was in Victorian times. The play features many of the same challenges, vices, and themes that modern-day audiences can relate to. Told with poetic prose and perfectly picturesque poses, this production is a rare gem in the Chicago theatre scene. Just as our protagonist, Dorian Gray, or the author himself, Oscar Wilde, would do, we must covet and hold on to our Chicago gems, appreciate and admire them. Youth, beauty, art, and productions are all fleeting in their world, and DORIAN is no different. DORIAN will play through December 14 at Open Space Arts (1411 W. Wilson, Chicago). Tickets are $30 and are on sale now at www.openspacearts.org.

"The course of true love never did run smooth." No, wait, that’s from A Midsummer Night's Dream

"I do desire we may be better strangers." Mmmm … closer, but this one’s As You Like It

" Many a good hanging prevents a bad marriage".  A worthy sentiment, but it appeared in Twelfth Night, not …

“Thou and I are too wise to woo peaceably.” Aha! There we go … Benedick says this to Beatrice during one of their incessant arguments in MUCH ADO ABOUT NOTHING. And if you don’t believe me, you can hear it yourself at Chicago Shakespeare Theater – and I very highly recommend you do just that! And don’t dawdle – when I was there last Sunday it was sold out.

A quick-and-dirty rundown of the story:  the beautiful Hero (Mi Kang) has just fallen ass-over-teakettle in love with the courageous young soldier Claudio (Samuel B. Jackson), who reciprocates immediately and enthusiastically. Accompanying Claudio is his senior military officer, Hero’s father Don Pedro (Debo Balogun); also aristocratic soldier and avowed bachelor Benedick (Mark Bedard). Benedick is an Old Family Friend who’s maintained a long-standing verbal battle with Hero’s shrewish [get it? shrewish? nod, nod, wink, wink] cousin Beatrice (Deborah Hay). There’s no questioning the authenticity of their dissension, but from the outset we sense the infatuation lurking just under their squabbles and know that this will be mined for all its chucklesome gold. After all, the most perennial subject of comedy is love, as the Bard knew very well.

Tom Piper does a fabulous job with the set, creating an ethereal fantasy world in the beautiful courtyard of nobleman Leonato (Kevin Gudahl). Lavish garlands festoon balconies and arches, defining the ambience without distracting from the action. A tree stands prominently at stage left and comes into frequent use; there’s even a swing! Several characters have occasion to hide behind its trunk and even up in its branches (clearly a very sturdy piece, that tree). Piper’s choice to design costumes in contemporary style provides another discordance to mirror the ever-present yet ever-changing infighting among the characters.

British actress Selina Cadell directs, exhibiting her long experience with and conspicuous mastery of both Shakespeare and comedy. The story is told cleanly; the pacing is perfect and miraculously the cast has thoroughly conquered iambic pentameter – though a screen displayed open captioning I didn’t need it – every line is intelligible.

The characters interact with the audience throughout. Realism is interchanged with physical comedy, as when Hay ‘hides’ within the audience by shielding her face with a program (and helping herself to her seat-neighbor’s drink!), and Bedard vows ‘I will live a bachelor’ to a member of the audience, shaking his hand on it. Though this physical contact with the characters was limited to the fortunate attenders in front-row seats, the cast regularly invited collusion from the audience as a whole. At one point they convince the audience is to join them in singing ‘hey, nonny’ and there were amazingly few holdouts. I almost never sing along but I did this time!

Bob Mason built a remarkably diverse cast. Between Debo Balogun as Don Pedro, Samuel B. Jackson playing Claudio and Jaylon Muchison taking several comic roles, this production is an excellent showcase for the Black male actors in Chicago.  

Traditionally Shakespeare’s romantic dyads are played by blooming fledgling players –cute kids. Mason choosing fully grown Bedard and Hay as Beatrice and Benedick deepens everyone’s experience. It’s unfair to ask adolescents – kids! – no matter how talented, to develop characters as complex as Hamlet, and inexperienced comediennes fall too easily into Three Stooges-ish slapstick.

It requires a woman well past menarche to fathom Beatrice’s temperament. She’s not so much choosing between different men as she is wondering aloud whether she needs a man at all. She pretty much decides ‘not’, a decision that the majority of modern women can at least understand, if not agree with. A woman must have traversed the estrogen-saturated third and fourth decades of life before she can begin to discern what an equal relationship is, let alone how to construct one.   Beatrice trusts that Benedick will help ease her pain, but it takes a terrific actor to convince the audience to trust him. Benedick in turn must check his Italianate machismo at the door and demonstrate his own vulnerability, not only to Beatrice but to a house full of cynical, overeducated twenty-first century women. Luckily these two actors are exceptionally skilled.

Act Two is markedly darker: Don Pedro’s illegitimate brother Don John (Erik Hellman) is a fellow with an axe to grind. Why? Maybe because he’s illegitimate, a motive as common as it is irrational; any road, his motives are unimportant to the basic story. Suffice to say he has it in for his legit sibling and maliciously chooses to attack him through young Hero. He plots with Borachio (Yona Moises Olivares) and Conrade (Colin Huerta) to disseminate a false story that Hero has been unfaithful to her fiancé Claudio, who’s unfortunately a gullible twit and falls for these unsubstantiated rumors.  

Fortunately, Hero’s suffering is (at least partially) balanced by the clodhopping Dogberry dropping one hilarious malapropism after another. I always have one favorite character (yeah, I’m a bad mom) and in this piece my pick of the litter is Dogberry, particularly as so wonderfully played by Sean Fortunato. Fortunato’s long face and longer body seem custom-designed for the rollicking physical comedy of this wonderful role (though actually he has a phenomenal range). Dogberry’s performance was enhanced by the antics of his constable Verges (Jaylon Muchison), who literally and hilariously dogs Dogberry’s footsteps, resulting in several collisions.

We all know a Dogberry – the nincompoop who sucks up with highfalutin’ speeches that lavishly display he has no clue what the hell he’s talking about. I can’t resist including a quote (no spoiler, promise!) from Dogberry’s account to his boss: “Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.” You have to pay attention though, as many of his drollest maxims are far briefer.

Unexpected but welcome was original music composed by Eliza Thompson, with cast members playing accordion, saxophone, drum, flute, banjo, and guitar. Sound designer Nicholas Pope used excerpts of Thompson’s score to indicate the passage of time between scenes, with lighting refinements imbued with the prevailing comedic zeitgeist – though how one makes lighting funny is a mystery to me. Fortunately, light designer Jason Lynch knows how.

MUCH ADO ABOUT NOTHING is the original romcom and this production channels the spirit of the classic 1940s romantic comedies. Rosalind Russell / Cary Grant and Katharine Hepburn / Spencer Tracy stem from Beatrice and Benedict as directly as the Sharks and the Jets are drawn from the Capulets and Montagues. The characters and their adventures are, after all, timeless. With uncanny prescience MUCH ADO ABOUT NOTHING examines major twenty-first century courtship issues: the disproportionate consequences for women, differentiating between humor and ardor, finding balance in inherently unbalanced relationships, even cyber-bullying! I’m not a Shakespeare scholar but I’m willing to bet the man never so much as sent a text message.

MUCH ADO ABOUT NOTHING is arguably Shakespeare’s best comedy, and Chicago Shakespeare Theatre delivers just that, secured by the warmth, maturity and phenomenal talent of the cast. It’s good solid unadulterated Shakespeare and, though the physical comedy is uproarious, the shenanigans never overshadow the linguistic magnetism. This production of MUCH ADO ABOUT NOTHING is totally irresistible!

VERY HIGHLY RECOMMENDED

Running until December 11 at Chicago Shakespeare Theater 800 East Grand Avenue Chicago

Goodman Theatre’s 2025 production of A Christmas Carol delivers a reimagined yet reverently faithful vision of Charles Dickens’ enduring holiday masterpiece. Directed by BOLD Artistic Producer Malkia Stampley, the staging infuses fresh energy into the familiar tale, striking a delicate balance between honoring tradition and embracing innovation.

Charles Dickens’ A Christmas Carol follows Ebenezer Scrooge, a cold-hearted miser who scorns Christmas and human kindness. On Christmas Eve, he is confronted by the ghost of his former partner, Jacob Marley, and guided by three spectral visitors - the Ghosts of Christmas Past, Present, and Yet to Come. Their haunting revelations force Scrooge to witness his own failings, the hardships of others, and the bleak destiny awaiting him. Awakened to the power of compassion and generosity, he greets Christmas morning as a transformed man - joyful, benevolent, and fully embracing the spirit of the season.

At the center of this transformation is Christopher Donahue, returning to the role of Ebenezer Scrooge with a performance that brims with nuance. Donahue embodies the character’s frosty detachment and biting cynicism with precision, while gradually revealing the vulnerability and humanity that make Scrooge’s redemption so powerful. His portrayal anchors the production, ensuring that audiences experience not only the spectacle of Dickens’ ghosts and festive scenes, but also the emotional depth of one man’s journey from isolation to generosity.

Surrounding him is an ensemble that blends the wisdom of seasoned Goodman veterans with the energy of exciting newcomers, forging a dynamic interplay that keeps the production alive and ever-evolving. Their chemistry, paired with imaginative staging and subtle special effects, ensures that longtime patrons experience the story anew while first-time audiences are swept into its magic.

Beyond the performances, the production dazzles with fresh choreography, inventive musical direction, revitalized design elements and special effects that elevate the performance. The stage becomes a canvas of contrasts: the eerie, otherworldly visitations of Marley and the Ghosts unfold with haunting theatricality, while the warmth and intimacy of the Cratchit household radiate joy and tenderness.

Every moment is meticulously layered with detail, reminding us that Dickens’ tale is more than a seasonal tradition—it is a living parable of generosity, compassion, and the enduring bonds of community.

(L-R) Jon Hudson Odom, Ella Boparai, Carmelo Kelly, Viva Boresi, Bethany Thomas, A’mia Imani, Henry Lombardo, Sól Fuller and Helen Joo Lee.

For close to fifty years, Goodman Theatre’s A Christmas Carol has stood as a defining ritual of Chicago’s holiday season—a theatrical gathering place where generations of families, friends, and theatergoers return year after year. More than just a retelling of Dickens’ classic, the production has become a civic tradition, woven into the fabric of the city’s winter celebrations.

This year’s staging carries that legacy forward with renewed vitality, reminding audiences why the story continues to resonate across centuries. At its core, A Christmas Carol is not simply the tale of Ebenezer Scrooge’s redemption; it is a parable about the power of empathy, generosity, and human connection. Goodman’s production magnifies those themes by transforming the theatre itself into a communal space - where laughter, music, and the haunting presence of Dickens’ ghosts converge to awaken the spirit of compassion.

The endurance of this holiday cornerstone lies in its dual nature: it is both deeply personal, charting one man’s journey from isolation to belonging, and profoundly collective, celebrating the bonds that unite a community. Each performance becomes a reminder that the true gift of the season is not material wealth, but the shared warmth of kindness and fellowship.

The cast assembled for Goodman Theatre’s A Christmas Carol is nothing short of outstanding. Christopher Donahue, stepping into the role of Ebenezer Scrooge after Larry Yando’s celebrated tenure, delivers a performance that is both commanding and deeply human. His portrayal captures the character’s sharp edges and biting cynicism, yet gradually reveals the warmth and vulnerability that make Scrooge’s transformation so moving - you can’t help but be won over by him. Donahue was nothing short of electrifying, also bringing a masterful sense of graceful physical comedy to the role. He embodied the rakish, childlike exuberance and sheer JOY that floods Scrooge when he discovers it’s not too late to transform his life.

One of the evening’s biggest laughs came as Donahue realized that only a single night had passed with the spirits—despite their showing him years of missteps and warning that he must change his ways immediately or face a hated death and generations of sorrow. The audience roared, and I’ve never heard such sustained laughter in this production before. It was pure delight.

Ella Boparai brings a radiant charm to Tiny Tim, embodying the innocence and hope that anchor the story’s emotional core. The ensemble as a whole is vibrant and cohesive, each member contributing to the production’s energy and richness.

Among the spirits, Bethany Thomas shines with grandeur and generosity as the Ghost of Christmas Present, while Daniel José Molina delivers a chilling, spectral presence as the Ghost of Christmas Future. Lucky Stiff rounds out the trio with a compelling and evocative Ghost of Christmas Past, guiding Scrooge through memories with both tenderness and gravity.

 (L-R) Christopher Donahue and Daniel José Molina.

Jon Hudson Odom brings remarkable depth to Bob Cratchit, embodying Dickens’ humble clerk with a warmth and sincerity that make him the beating heart of the production. His performance captures Cratchit’s quiet resilience and steadfast kindness, elevating the role from supporting character to emotional cornerstone. Odom’s nuanced portrayal balances gentle humor with the weight of hardship, reflecting the struggles of working families while never losing sight of Cratchit’s unwavering optimism.

In scenes with the Cratchit family, Odom radiates tenderness and devotion, particularly in his interactions with Tiny Tim. The father-son bond he conveys is both poignant and inspiring, a reminder of the fragile yet enduring hope that sustains the family through adversity. His presence underscores the stark contrast between Scrooge’s cold isolation and the Cratchits’ warmth, amplifying the play’s central themes of compassion, perseverance, and the transformative power of love.

Together, this company breathes fresh life into Dickens’ timeless tale, ensuring that every scene resonates with theatrical magic and emotional depth.

I wholeheartedly encourage audiences to experience this beloved Goodman holiday tradition - an annual production that never fails to capture the true spirit of the season. For anyone eager to embrace the warmth, wonder, and festive magic of Christmastime, A Christmas Carol at Goodman Theatre is the perfect way to step into the holiday “spirit.”

A Christmas Carol is being performed at Goodman Theatre through December 31^st. For tickets and/or more show information, visit https://www.goodmantheatre.org/show/a-christmas-carol/.

Join Hell in Handbag Productions for its 2025 benefit, The Handbag Follies, featuring dinner, drinks, entertainment, a raffle, silent auction and more on Sunday, December 7, 2025 from 5:30 – 9 pm at Ebenezer Lutheran Church, 1650 W. Foster Ave. in Chicago's Andersonville neighborhood. Tickets ($104 general admission, $129.75*) are available here. *Prices include processing fees.

Handbag celebrates its 24^th year with a very abbreviated production of Follies – performed Hell in a Handbag style! Watch as aging showgirls, draped in sequined desperation, reunite to belt out twisted parodies of Stephen Sondheim's most iconic numbers including "I'm Still Here," "Losing My Mind," "Broadway Baby," "Beautiful Girls" and other favorites  It'll be the hits you love and a show you'll desperately try to forget (with apologies in advance to the spirit of Mr. Sondheim).

The entertainment line-up features ensemble members David Cerda, Sydney Genco, Caitlin Jackson, Ed Jones, Lori Lee, David Lipschutz, Stevie Love, T.J. O'Brien, Michael Rashid, Danne W. Taylor and Robert Williams, along with some surprise guests.

All proceeds benefit Hell in a Handbag Productions. From camp classics to bold new works, the Handbag ensemble is committed to celebrating the city's diverse community through the lens of the ridiculous, the theatrical and the wonderfully queer.

About Hell in a Handbag Productions

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

Next to death and taxes, Chicagoans can count on their favorite theater companies doing holiday shows in the last few weeks of the year. For their part, Glenview’s Oil Lamp Theater presents Joe Landry’s radio play adaptation of It’s a Wonderful Life. With their charming downtown Glenview location, Oil Lamp’s production of It’s a Wonderful Life: A Live Radio Play feels atmospheric, Glenview is a great stand-in for Bedford Falls.

It’s a Wonderful Life is typically devised as a “live radio play” – meaning, you the audience are watching a cast of actors, playing voice actors, putting on a fictional radio drama broadcast. Landry’s script has become one of the most produced holiday shows in the country, and it’s for good reason. His script stays faithful to the Frank Capra film but also allows theatre companies to add their own flavor to the plot.

Director Lauren Katz’ production injects a much-appreciated sense of humor. The radio players often merely serve as vessels for the characters of It’s a Wonderful Life, but here they’re given more dimension, and their individual talents are showcased in cute jingles and a stirring rendition of ‘Silent Night’ from Halli Morgan.

(L to R) Chase Wheaton-Werle, Carolyn Plurad, Nathaniel Thomas, Rami Halabi and Halli Morgan in IT’S A WONDERFUL LIFE: A LIVE RADIO PLAY from Oil Lamp Theater.

A fun element of radio style plays is that actors perform multiple parts in rapid succession. Chase Wheaton-Werle switches between roles as seamlessly as a chameleon, while Nathaniel Thomas’ boyish earnestness makes him a perfectly sincere George Bailey. It’s also cool to see how old-time radio sounds were made, and Corey L Mills plays the “foley artist” with a great sense of comedic timing.

Landry’s script is malleable so that it always feels unique to the companies who have made this show their yearly tradition. Katz and cast bring a few new plot points that help thicken the story up. Though, It’s a Wonderful Life is a timeless classic film, it’s exciting to see what new directors bring to stage versions. There’s a quirky edge to Oil Lamp’s production that gives audiences a few surprises while staying true to the heart of this enduring classic. 

Recommended.

Through December 28 at Oil Lamp Theatre. 1723 Glenview Road. 847-834-0738

We often forget that The Taming of the Shrew is, at its core, a play within a play - a bit of theatrical mischief in which characters watch other characters pretend. Marti Lyons’s ambitious new adaptation for Court Theatre not only remembers this but revels in it. She reframes Shakespeare’s battle-of-wills as a private, immersive experience for five elite guests - figures who could easily have wandered off the set of Succession—invited to indulge in a curated world of erotica, fantasy, and power play. This is not like any production of Shrew I have ever seen. And I love it.

Lyons taps into the erotic charge embedded in Shakespeare’s text. For Lyons the struggle between Kate and Petruchio isn’t a patriarchal lesson but a provocation - an invitation to consider what people consent to in the privacy of their desires, even when those desires run counter to their public personas. In fantasy, we try on identities we might never inhabit in daylight. Could Kate, in this telling, actually be exercising her agency by consenting to a submissive role in her intimate life while fiercely maintaining her autonomy in her public life? The question lingers.

The production openly engages with bondage, discipline, dominance, submission and S&M,  - not as taboo spectacle but as a consensual system built on trust, communication, and negotiated power. This is especially evident at Petruchio’s house.  Instead of treating Kate’s submission as Shakespeare’s dreaded moral, Lyons reframes it as a conversation about desire and embodiment. The cast leans into this with a refreshing clarity: pleasure, not punishment, drives the story. Power is a game, and everyone in the room is choosing to play.

By foregrounding the play-within-the-play structure, Lyons opens a fertile space not only to re-engage with the text but to ask ourselves uncomfortable, thrilling questions about love and control, submission and domination, agency and desire. It is rare for a Shrew to feel so sensual and so intellectually alive.

Much of the production’s force comes from its ensemble. As Katherina, Melisa Soledad Pereyra embodies fire, humor, and hunger—a woman who knows her own body and mind. Her chemistry with Jay Whittaker’s Petruchio is the engine of the evening: two equals circling, sparring, testing limits until the battle between them becomes a dance. Netta Walker’s Bianca is no docile ingénue; she claims her place with confident wit. Samuel Taylor, Nate Santana, and Dexter Zollicoffer bring sharp comedic flavor to Hortensio, Lucentio, and Gremio, while Ryder Dean McDaniel anchors Tranio with duplicitous cunning. The supporting cast - Alex Weisman, Monica West, and others - soften and sharpen the edges of the world as needed.

The design team conjures a world where erotic imagination thrives. Jackie Fox’s scenic design refashions Court Theatre into a sensuous playground of marble black-and-white tiled floors, sculpted statues, expansive botanical murals, and imposing wooden doors. Kotryna Hilko’s costumes heighten the atmosphere with daring textures - leather for Petruchio, jewel-toned gowns for the women, jacquard damask for the aristocrats - each piece balancing revelation and restraint, structure and seduction. Every visual element underscores Lyons’s central argument: desire is a kind of performance, and every performance is a negotiation of power.

This Taming of the Shrew pulses not with brute domination but with the sensual, exacting choreography of consent. Lyons doesn’t blunt the play’s jagged edges; she sharpens them into tools of erotic inquiry. Her staging invites us to feel the heat of what is given freely, the tautness of what is deliberately withheld, and the exhilaration of boundaries tested - then mutually defined.

Court Theatre’s production doesn’t simply reinterpret Shrew; it challenges us to reinterpret ourselves. By grounding the story in erotic power exchange and consciously negotiated dynamics, Lyons’s adaptation pushes us to confront the desires we rarely articulate. What do we relinquish willingly? What pleasure do we find in surrender? And what power do we claim by choosing when—and to whom—we yield? In Lyons’s hands, the theatre becomes a chamber of self-interrogation, where the line between performance and private longing thins, and we’re invited to examine the fantasies that shape us as intimately as any script.

HIGHLY RECOMMENDED

When: through Dec 14TH

Where: Court Theatre, 5535 S. Ellis Ave.

Running Time: 2 hours, 30 minutes 15 minute intermission

Tickets: $60 - $90.00 Student, Group and military discounts available

773-753-4472

www.courttheatre.org

Safe to say Steppenwolf’s revival of Peter Shaffer’s Amadeus is “fetes and fireworks”. Robert Falls makes his directorial debut at Steppenwolf after recently retiring from his role as Goodman Theatre artistic director. To say his new production of Amadeus makes a splash would be an understatement. Falls brings his signature vision to the still new in-the-round stage at Steppenwolf for a thrilling evening of theatre.

Even in the so-called peak of Broadway attendance, very few straight plays ran for three months let alone three years. Amadeus opened on Broadway in 1980 starring Ian McKellen, Jane Seymour and Tim Curry (as Mozart) where it ran for three years. It went on to win several Tonys and was eventually adapted into an Academy Award winning film in 1984. Since plays don’t last long on Broadway, it begs the question: what about Peter Schaffer’s play resonated with audiences? The film has also attracted a considerable cult following.

Pete Shaffer uses the rivalry between Italian composer Antonio Salieri and young Mozart as an allegory for professional jealousy and intergenerational conflict. The dastardly Salieri is played by Steppenwolf ensemble member Ian Barford while his counterpart is played by David Darrow. Though Shaffer admits to inventing many of the details of his play, his version turns the music world of 1700s Europe into a kind of rock ‘n roll. When we think of the classic composers, we think of them as we think of their music–mild, inoffensive, something to put on in the background to get work done. Amadeus portrays Mozart as an enfant terrible: a womanizer and drunkard. His wild lifestyle is likely what led to his most important operas, even if they were mostly lighthearted comedies. Shaffer makes classical music cool by bending the lore to fit his own artistic agenda.

David Darrow, Jaye Ladymore and ensemble member Ian Barford in Steppenwolf Theatre Company’s production of Amadeus.

Robert Falls’ revival feels as fresh as when it opened over 40 years ago. While the movie is known for lavish sets and costumes, Steppenwolf’s production is somewhat modest. Minimalism only adds to the cool factor here. One of Falls’ innumerable talents as a director is creating visual splendor. Together with longtime scenic collaborator Todd Rosenthal, Falls’ shows audiences countless moments of theatrical magic. Steppenwolf’s choice to present this play in the round is a wise one that affords the cast an opportunity to move in and around the audience.

Falls has gathered a wonderful cast. While the headliner here is Mozart, the real star of the show is Salieri. The villain begins the show as the main character and in his lengthy confession we see he is more often the tormented one even though he’s in the position of power. Barford’s performance is less delicate than how this part has traditionally been approached. His hulking figure in period dress only adds to his threatening persona that feels more masculine than intellectual. Darrow on the other hand plays the clown well in the first act but leaves audiences devastated by the conclusion. His indefatigable energy is a lot of fun to watch.

Steppenwolf’s Amadeus is as exciting as the news that Robert Falls switched houses to direct it. In many ways it feels way less stuffy than some of his most impressive work at Goodman. Though this production is basically perfect, there’s a bit of grit left on it and it’s all the better for it.

*Extended through January 25th

The Ensemble Español Spanish Dance Theater’s 50th Anniversary Celebration was a gorgeous tribute to the history, culture and romance of Spanish dance. From the moment the dancers stepped onstage I was immediately drawn in by the burst of color, the pulse of the music and the intricate, lightning-fast footwork.

The celebration took place at the Auditorium Theatre in downtown Chicago on Saturday, November 15th at 7:30 p.m. The evening was led by Dame Libby Komaiko Legacy Artistic Director Irma Suárez Ruiz, Executive Director Jorge Pérez and Associate Artistic Director José Torres.

The show opened with a slideshow of Spanish artwork glowing across the backdrop, which then transitioned smoothly into the first dance. Women glided across the stage with scarves swirling around them as the men tapped their heels in perfect rhythm. It was the kind of opening that instantly set the tone for the night.

A live band added an incredible layer of richness. Acoustic guitar, percussion and an emotive vocalist brought the music to life in a way recordings never could. The dancers clapped, tapped and interacted with the music, weaving it into the fabric of their movement. José Moreno’s voice was especially memorable. His singing filled the auditorium and transported me straight to what felt like a summer night in Madrid.

As the show moved through a variety of pieces, I found myself constantly amazed by the beauty and passion onstage. There wasn’t much in terms of staging or decoration, and it honestly wasn’t needed. The dancers were the artwork. The crowd clearly agreed, cheering, clapping and shouting “jaleos” of encouragement throughout the night.

The ensemble moved easily between styles, from fiery flamenco to graceful classical and folkloric suites, plus a bold new work that managed to feel both modern and rooted in tradition. The live music elevated every moment.

One piece that really stood out to me began in a dramatic way. A bright light beamed out into the audience while the stage remained hidden behind a black screen. Slowly a silhouette of a solo dancer appeared and began moving to a flamenco piece performed live behind him. When the screen finally rose and the light shifted, he burst into sharp, precise movements, clapping and striking the floor with the heels of his boots. The crowd erupted when he finished.

The costumes throughout the night were another highlight. Layered skirts, red flowers, elegant high-waisted pants and rich colors brought the dances to life. Castanets clicked rhythmically in the dancers’ hands. Everything felt thoughtfully chosen and rooted in tradition.

Another favorite moment for me was a duet performed by what seemed to be two older dancers. Their chemistry and elegance were magnetic. The woman wore a stunning blue-green gown with a long-ruffled train that she incorporated into the choreography. The dance began gently, then grew in intensity as the music picked up tempo. It was romantic, soulful and beautifully paced. The audience couldn’t help but call out “Ole!” and “Bravo!”

The auditorium was filled with a wonderfully diverse audience, from young kids to older adults and people from all kinds of backgrounds. Everyone came dressed for the occasion and I even spotted a few Spanish-inspired outfits in the crowd. Floral hair clips, flowing skirts, colorful scarves and flower pins added to the festive atmosphere and made the whole night feel even more celebratory.

One thing I did miss was having a more detailed program. It would have been helpful to see a breakdown of each dance, the performers in each piece and the titles of the songs that were played. With so many talented dancers and musicians onstage, a clearer program would have made it easier to recognize who was who and to remember the music afterward. It felt like a small but meaningful detail that could have added even more depth to the experience.

The finale closed the night with a burst of energy. It mirrored the show’s opening with images of Spanish art and then shifted into a large group number. The women wore bright red dresses with yellow underskirts reminiscent of the Spanish flag, while the men wore sleek black suits with red trim. What started as a slow, deliberate piece exploded into fast spins, clapping and zapateado footwork. When the show ended, the entire crowd rose to their feet for a long and well-deserved standing ovation.

What sets Ensemble Español apart isn’t just the talent onstage. It’s the mission behind it all. For 50 years they have been educating, building community and preserving Spanish dance traditions through their youth company, education programs and partnership with NEIU. They don’t just perform this art form. They protect it and pass it on. That heart and purpose shine through every performance.

This anniversary celebration felt like both a homecoming and a fresh beginning. Ensemble Español doesn’t just perform Spanish dance. They live it, breathe it and make it feel alive for modern audiences. Even though this was their only show for the anniversary, I absolutely recommend seeing any of their future productions. It’s a must for dance lovers, cultural enthusiasts or anyone who appreciates the power of movement and music.

For anyone thinking about seeing Ensemble Español, they’ve announced their upcoming Flamenco Passion 2026 series. Performances will take place June 12, 13 and 14 at the North Shore Center for the Performing Arts. The celebration continues June 15 through 20 with Spanish dance classes, seminars, workshops, community performances and a symposium at Northeastern Illinois University and the Old Town School of Folk Music. More details for events will be announced on their website https://ensembleespanol.org/events.

Santa Fe-based Theater Grottesco's new show, produced with Fay|Glassman Duo of Urbana, IL, is having its Chicago premiere at the Facility Theater on California near Division, brings a new approach to the performance and script design. The one-hour “Action at a Distance. . .in 2025” consists of six different plays, all performed simultaneously by the troupe of four actors. Devised by Lisa Fay and Jeff Glassman, “Action at a Distance” is probably unlike anything you will have experienced; it was for me.

The plays involved are these:
1. A family with a crying child frantically prepares to evacuate their home in advance of a hurricane.
2. An international human rights lawyer flees her international arms-dealing partner.
3. A filmmaker interviews a doctor who volunteered at the Occupy Wall Street tent camp in 2011.
4. A union local hosts an address by a revolutionary Venezuelan union leader.
5. An artist prepares a gallery installation of the UN negotiator's office for the 1948 Palestine Mandate, just before the negotiator’s assassination by the Stern Gang.
6. A financial mogul is unnerved by a rock, with a photo attached, smashing his window.

Each of these descriptors, provided by Fay|Glassman, suggest provocative and even enticing drama. They are not, however, played in a sequence of say, six 10-minute plays performed consecutively. Instead, all six are performed at once. Perhaps to ease the audience into what is without question a jarring experience, the performance begins with a clearly identifiable scene from the fifth play in the series.

In this one, the Artist (Apollo Garcia Orellana) is arranging the installation of the UN negotiator’s desk. A kaffiyeh scarf on a coat rack cues us to the scene as the Artist types words that would have appeared in the typewriter moments before the negotiator was assassinated. The Artist is carefully arranging the negotiator's books, sets his chair at the angle it occupied, while another character, perhaps his spouse (Elizabeth Glass), nibbling on a sandwich, nitpicks at his work and intimates the futility of the project as a whole.

“You’re doing a whole installation about Palestine and you’ll never get another grant,” the spouse declares, to which the Artist retorts, “It’s genocide.” He encourages her to find something to occupy herself, as she devilishly rearranges the gloves on the desk each time the Artist places them just so - a subtle skirmish between the two.

Soon enough two new actors enter the scene, and we can determine we are witnessing play number three, the camera-toting Documentarian (Danielle Louise Reddick) interviewing the Volunteer Doctor (John Flax) about his time in the 2011 Occupy Wall Street demonstrations. The characters offer exposition by self-description. If I recall accurately, the Artist is still upstage, doing some stage business from his scene, while the Documentarian and Doctor deliver their lines stage front. “When did you first get involved in Occupy Wall Street,” the Documentarian queries. The Doctor later reveals, “My mother told me that racism was the best way to control white people.”

That scene dissolves as Reddick now becomes an adult trying to comfort and distract an unseen child as her family prepares to evacuate before a hurricane. A suitcase is rolled into the action and the rest of the company joins a flurry of angst-ridden preparation flavored with recrimination and peremptory orders as they all prepare to flee.

Soon Reddick introduces an unseen speaker to an unseen audience. “Everyone, this is Dr. Lenzo, from Venezuela,” and we know the address by a revolutionary Venezuelan union leader has commenced - the fourth of the plays. And so on until all six plays are in motion on stage.

Striking lines jump out from the individual plays, and at times all the players are involved in a scene in which the dialog has meaning for all of them. “Would you take that out in the hall please?” On the whole, “Action at a Distance. . .in 2025” has no obvious meaning, and seems like a jumble of vaguely related utterances that finally give way to a single, diminishing spotlight on a one actor, and then darkness.

It was only in the discussion with the cast and the co-creator of the script, Jeff Glassman, that some light was shed on what the viewers had witnessed We learned that half the play is partly unscripted, and that the occasions in which an actor is playing to an invisible person are called “manifested absences.” Glassman declares that never happens in theater, though that is patently incorrect, and the one-sided phone conversation is a familiar example.

The six plays run largely independent of each other, except for two occasions when the action of all of them converge. Garcia Orellana holds up a color coded timeline, explaining, “There are two places where we all land on the same page.” This timeline reflects the acting and directorial planning to keep the action straight. 

The effect, regardless of the intellectual construct behind it, seems Dada-esque. Though in some respects the show is engaging, it wasn’t particularly enjoyable or satisfying for me.
An over-arching theme for the stories is one of failure, Glassman says.“It points at the fact that there are many failures around us that are compounded. There’s no excuse for it.” Viewing “Action at a Distance . . .in 2025” requires real effort from an audience member, and certainly the activation of their imagination. “In order to get out of that [failure],” Glassman says, “we have to use imagination.”

As to the style and structure of the show, Glassman poses a question. “Why is theater about one person going through life?” In other words, why is it about a protagonist encountering obstacles and reaching some kind of resolution, along a linear timeline? Why not dispense with timeline, and allow multiple themes to be expressed simultaneously on stage in a play?
“Dance, music, have done that,” Glassman says. Why not theater?

Here's why. Music is purely aural, dance is visual and aural. Humans can hear and see multiple themes running simultaneously and register them in a wide panorama of experience that affects us non-verbally. Plays use words. The words don’t have meaning when they aren’t delivered in a reasonably sequential manner. They just become a word salad. We come away with very little.
Theater Grottesco describes this as “immersing audiences in a constantly shifting mosaic of interactions and emotions,” and “much like the bustle of a crowded airport, ‘Action at a Distance’ captures the unpredictability within human connections.” Somehow, I think sitting in the concourse of Terminal 1 is more enjoyable than this Facility Theater show.

Perhaps Glassman’s approach would have validity if it were used for a single play, not six of them at once. For me, it was an interesting thought experiment, and it will be intriguing to see if anything comes from any quarter of the theater world, in the development of this approach. “Action at a Distance” runs through November 16, 2025 with performances at 3 pm and 8 pm.

Million Dollar Quartet Christmas brings the legends back together - Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins - for a high-energy holiday jam at Sun Records in Memphis, Tennessee. Packed with rock 'n' roll hits and festive favorites, this jukebox musical delivers a nostalgic blast of seasonal cheer. Now staged in the round at Marriott Theatre, it’s a toe-tapping celebration you won’t want to miss.

This thrilling holiday musical whisks audiences back to December 4, 1956, inside Memphis’s iconic Sun Records studio, where the birth of rock ‘n’ roll gets a festive twist. Framed as a lively holiday reunion of Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins, the show plays like a jukebox time capsule - glittering with tinsel, rhythm, and seasonal joy. The studio glows with holiday charm - garlands strung, mistletoe dangling, and a decorated tree tucked in the corner - as four rock ‘n’ roll legends reunite to trade stories, revisit Christmases past, and muse about the road ahead. Their banter is light, their bond electric with nostalgia, and every song reverberates with the unfiltered energy of icons at the height of their powers.

Framed as a rockin’ ride through Christmas past, present, and future, the show fuses tender reflections with turbo-charged takes on holiday favorites and golden-age rock hits. Each legend infuses the stage with their signature sound, transforming timeless tunes into pulse-pounding celebrations of the season - and the rebellious heart of rock ‘n’ roll.

Million Dollar Quartet Christmas at Marriott Theatre ignites the stage with a high-voltage blend of rock ‘n’ roll swagger and holiday spirit. Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins deliver powerhouse performances that showcase their iconic styles while wrapping the season in nostalgic charm. Alongside the show’s signature hits, audiences are treated to festive favorites like “Blue Christmas,” “Santa Claus Is Back in Town,” “Boogie Woogie Santa Claus,” “Run, Rudolph, Run,” “God Rest Ye Merry Gentlemen,” and a rollicking mashup of “Rockin’ Around the Christmas Tree” and “Jingle Bell Rock.”

This cast doesn’t just shine - they explode off the stage. Million Dollar Quartet Christmas blazes to life with a powerhouse ensemble that doesn’t imitate rock ‘n’ roll royalty—they channel them. With razor-sharp musicianship, magnetic charisma, and a sleigh-load of seasonal swagger, these performers ignite a musical storm that’s both heartwarming and high-octane. It’s not just a performance - it’s a full-blown holiday revival of rhythm, soul, and rock ‘n’ roll cheer.

Let’s raise the curtain on this extraordinary cast - each performer a vital spark in the blazing brilliance of Million Dollar Quartet Christmas.

JP Coletta plays Jerry Lee Lewis and detonates onto the stage with a performance that’s equally volcanic and virtuosic. From the moment his fingers hit the keys, it’s clear we’re in for a wild ride: he attacks the piano with manic glee and devilish precision, channeling the raw, unfiltered spirit of rock’s original wild child. Every note ricochets with rebellion, every flourish drips with swagger, and every sideways grin feels like a wink to chaos itself. Coletta’s portrayal is a masterclass in musical mayhem - blistering, magnetic, and utterly irresistible. By the end, the piano’s smoking, the audience is beaming, and the ghost of Jerry Lee is surely somewhere backstage, grinning in approval.

As Carl Perkins, Trevor Lindley Craft brings a cool, soulful swagger, anchoring the show with crisp guitar licks and vocals laced with rockabilly grit. He’s the ensemble’s steady heartbeat - cutting through the chaos with finesse, style, and a quiet confidence that keeps the rhythm grounded. Whether trading riffs or harmonizing with the quartet, Craft exudes the kind of understated charisma that lets the music speak volumes.

Michael D. Potter steps into Johnny Cash’s boots with quiet power and commanding presence. His voice rolls in low and steady, like distant thunder on a Tennessee night, and his portrayal hums with authenticity. Potter doesn’t overplay the legend - he funnels him, letting the stillness between notes carry as much weight as the music itself. Stoic yet stirring, he draws the audience in with a magnetic gravity that feels both timeless and true.

Colton Sims doesn’t just impersonate Elvis Presley - he inhabits him with velvet vocals and hip-shaking bravado along with a gaze that could melt vinyl. From his first entrance, Sims radiates the kind of stage command that made Elvis a cultural phenomenon. His voice smolders, his movements sizzle, and his charisma is pure dynamite. It’s a performance that balances swagger with sincerity, capturing the King in all his electrifying glory.

As Elvis’ girlfriend Dyanne, Teah Kiang Mirabelli is a revelation. She infuses the stage with elegance, wit, and vocal brilliance, elevating every scene she’s in. More than just a supporting role, Mirabelli brings emotional depth and radiant charm, offering a counterpoint to the testosterone-fueled jam session. Her solos soar with precision and passion, and her presence adds a layer of warmth and complexity that rounds out the show’s dynamic pulse. Mirabelli is especially adorable during her cute, mandolin-playing Hawaiian themed number “Mele Kalikimaka”.

Ross Griffin grounds the show with quiet intensity as Sam Phillips, the visionary behind the music and the man holding the emotional reins. His performance is taut, urgent, and deeply human - a portrait of ambition, loyalty, and the weight of legacy. Griffin narrates the story; he lives in its tension, embodying a producer torn between past glories and future dreams.

Rounding out the ensemble with flair and finesse are Jed Feder as Fluke and Cody Siragusa as Brother Jay. With razor-sharp timing, rhythmic fire, and a dash of comic mischief, they keep the backbeat tight and the energy sky-high. Whether laying down grooves or landing punchlines, they’re the unsung heroes who make the whole jam session sing.

Together, this cast absolutely ignites. Every note, every gesture, every glance is charged with passion, precision, and holiday joy. It’s a Christmas musical miracle wrapped in tinsel and rock 'n' roll. The actors’ live musical performances - executed with impressive skill - infuse the production with an electrifying energy. With guitars in hand, a stand-up bass thumping, and drums driving the rhythm, the stage often pulses with the raw excitement of a live concert.

Under the spirited direction of Scott Weinstein, this holiday edition of Million Dollar Quartet strikes a joyful chord between festive fun and nostalgic reverence. Weinstein orchestrates the production with a keen sense of pacing and emotional texture, allowing the show to glide effortlessly from quiet, intimate moments to full-throttle rock ’n’ roll revelry. Whether it’s a tender ballad shared under the glow of Christmas lights or a raucous jam session that rattles the rafters, each scene is staged with precision, heart, and a wink of holiday mischief. The result is a dynamic, feel-good celebration that honors the legends of Sun Records while wrapping the audience in the warm glow of seasonal spirit.

Before the curtain rises, treat yourself to a festive feast at Embers Christmas Grille, the seasonal pop-up nestled inside the Lincolnshire Marriott Resort - just steps from the theater. Offered Wednesday through Friday, this holiday dining experience features a three-course prix fixe menu for $49 per person, served with a generous helping of cheer. Each dish is playfully named and thoughtfully crafted, blending seasonal inspiration with upscale comfort. With options spanning beef, chicken, and fish, the menu offers a whimsical twist on traditional holiday fare - perfect for theatergoers looking to savor the spirit of the season in style.

Million Dollar Quartet Christmas is holiday fun at its fullest.

Highly recommended.

For tickets and/or more show information, visit https://www.marriotttheatre.com/show/million-dollar-quartet-christmas.