Displaying items by tag: Drury Lane Theatre

Chicago continues to produce some of the most exciting work in the country this Summer, offering a wide variety of plays and musicals, as well as comedy, dance, music, and more. To highlight these productions, The League of Chicago Theatres is publishing its Summer Theatre Guide, which showcases more than 100 productions; not just in Chicago's iconic theatre districts, but also across vibrant suburban communities. From Oak Park to Naperville, Glenview to Des Plaines, theatres across the region offer top-tier performances that make it easier than ever to experience the magic of live theatre close to home.

For additional details about this summer's performances and the Summer Theatre Guide visit the League of Chicago Theatres website, ChicagoPlays.com. Many summer shows will also be available at HotTix.org, Chicago's local, discounted ticketing service.

The following is a selection of notable work playing in Chicago this Summer, organized by location.

A selection of productions playing in theatres located Downtown are:

Brokeback Mountain

Chicago Shakespeare Theater

May 28 – June 28, 2026

When Ennis and Jack take jobs on the isolated Brokeback Mountain, all their certainties of life change forever as they flounder in unexpected emotional waters. This intense tale of a hidden love spans 20 years and is interwoven with soulful, original Country Western songs, performed live onstage.

Eugene Onegin

The Joffrey Ballet at Lyric Opera House

June 4 – 14, 2026

Set against the backdrop of 19th-century Russian society, this cautionary tale follows the enigmatic and aloof aristocrat after his fateful encounter with the earnest Tatiana. Richly layered and deeply human, Eugene Onegin explores the fragility of the human heart and how unspoken words can shape destinies.

Untitled Vampire Play

Lookingglass Theatre Company

June 4-July 12, 2026

This romantic-comedy-meets-horror-story world premiere by Kevin Douglas explores love, commitment, codependency...and, of course, vampires.

Champions of Magic

Studebaker Theater in the Fine Arts Building

June 6 – July 5, 2026

The production that critics have described as 'the most spectacular show,' 'two hours of mind-twisting, logic-defying entertainment' and 'the summer blockbuster of magic shows.'

SUFFS

Broadway In Chicago at CIBC Theatre

June 7– 19, 2026

Direct from Broadway comes the acclaimed Tony Award®-winning musical Suffs about the brilliant, passionate, and funny American women who fought tirelessly for the right to vote.

Kinky Boots

Broadway In Chicago at the James M. Nederlander Theatre

June 9 - 21, 2026

Kinky Boots follows the journey of two people with nothing in common—or so they think. As Charlie and Lola work together to turn a shoe factory around, this unlikely pair finds that they have more in common than they realized.

Iceboy!

Goodman Theatre

June 20 – July 26, 2026

Broadway's brightest star of 1938, Vera Vimm, is at the top of her game. But when she adopts a 40,000-year-old Neanderthal discovered frozen in the Arctic, the spotlight begins to shift. As Iceboy thaws, he unexpectedly becomes a theatrical sensation, inspiring Eugene O'Neill and challenging his legendary mother for center stage.

A Musical Tribute to John Williams & Steven Spielberg

Chicago Symphony Orchestra

June 23, 2026

Celebrate the legendary collaboration between composer John Williams and filmmaker Steven Spielberg. From Jurassic Park and Jaws to Indiana Jones and E.T. the Extra-Terrestrial, the scores born of this 50-year creative partnership have captured imaginations around the world.

Star Wars: A New Hope in Concert

Chicago Symphony Orchestra

June 25 – 27, 2026

Embark on an epic adventure to a galaxy far, far away with Star Wars: A New Hope! Experience the iconic film like never before as CSO performs John Williams' legendary Oscar-winning score live.

& Juliet

Broadway in Chicago at Auditorium Theatre

July 22 - August 2, 2026

Break free of the balcony scene and get into this romantic comedy that proves there's life after Romeo. The only thing tragic would be missing it.

Theatres are located in almost every neighborhood in Chicago.  A selection of productions playing throughout Chicago are:

Always...Patsy Cline

American Blues Theater

Playing through June 13, 2026

This musical play, complete with down home country humor and big-heart ed emotion, includes hits "Crazy," "I Fall to Pieces," "Sweet Dreams," "Walkin' After Midnight" and more!

LOKI-The End of the World Tour

Lifeline Theatre

Playing through June 13, 2026

In this World Premiere musical, Loki arrives at Asgard, bringing chaos, comedy, and three monstrous (maybe) children. In an us vs. them world, can we envision a new mythology?

The Targeted

A Red Orchid Theatre at Chopin Theatre

Playing through June 14, 2026

Welcome to the Solidarity and Truth Summit. A gathering of the most persecuted, tortured, and misunderstood people in the entire world. They call themselves Targeted Individuals, and they are victims of a vast and covert program of systematic torture, surveillance, and harassment by global intergovernmental powers.

OCTET

Raven Theatre Company

Playing through June 14, 2026

Hailed by the New York Times as "the most original and topical musical of the year" for its 2019 Off Broadway premiere, this inventive and acutely relevant piece reflects the perils of the digital age.

Antigone

Promethean Theatre Ensemble at The Den Theatre

May 31 - June 27, 2026

A timely production of the classic WW2 era adaptation made all the more relevant by recent local and national events.

Catch As Catch Can

Steppenwolf Theatre Company

June 4 - July 12, 2026

When a prodigal son returns to blue collar New England, his homecoming sets off a spiraling crisis for two families, threatening not only their relationships but their very identities. Spanning hilarity, stunning virtuosity and outright horror, this ferocious Chicago premiere—featuring an all-ensemble cast—must be witnessed to be believed.

As You Like It

Midsommer Flight

June 26 – August 2, 2026

Free outdoor performances of Shakespeare's As You Like It will be presented outdoors in six Chicago Parks District parks – Chicago Women's Park and Gardens, Gross Park, Nichols Park, Kelvyn Park, Winnemac Park, and Touhy Park. Banished from court by her uncle, Rosalind escapes to the Forest of Arden, where she disguises herself as man in order to win over her lover by trying to convince him he should forget her. Audiences are encouraged to come early and bring a picnic to enjoy this free programming.

Hair

Kokandy Productions at Chopin Theatre

July 2 - September 13, 2026

Exploring ideas of identity, community, global responsibility and peace, Hair remains relevant as ever as it examines what it means to be a young person in a changing world.

Marble
Gift Theatre at Copernicus Center

August 2 – August 30, 2026

Marble follows two married couples, Ben and Catherine, and their friends Art and Anne, whose comfortable lives begin to splinter after a shared dream triggers suspicion and desire.

A surreal and haunting exploration of two couples whose lives collide through shared dreams, this production anchors the company's homecoming to the neighborhood where it was founded.

Productions playing in the suburbs of Chicago include:

Nunsense
Drury Lane Theatre

June 10 – August 2, 2026

Get ready to laugh the summer away with nuns from the Little Sisters of Hoboken. This beloved revue, directed by E. Faye Butler, will have you in stitches as the five sisters stage a variety show fundraiser filled with outrageous musical numbers and zany comedy. 

A Little Night Music

Marriott Theatre

Playing June 17 – August 9, 2026

Set in 1900 Sweden, A Little Night Music explores the tangled web of affairs centered around actress Desirée Armfeldt, and the men who love her. Amid a flurry of jealousy and suspicion, infinite possibilities of new romances and second chances bring endless surprises. Stephen Sondheim's witty, brilliant masterpiece.

Leopoldstadt

Writers Theatre

June 4 - July 19, 2026

At the dawn of the 20th century, Vienna is the heart of European culture. While an extended family gathers in the elegant Merz home for the holidays, two brothers-in-law passionately debate their conflicting visions for the future of their family and the Jewish people–a tension that will echo through the generations that follow.

The Producers

BrightSide Theatre at Theatre at Meiley-Swallow Hall

June 12 – 28, 2026

Mel Brooks' outrageous musical comedy about two schemers trying to stage the biggest Broadway flop of all time—only to accidentally create a smash hit!

The Last Five Years

Oil Lamp Theater

June 6 - July 5, 2026

This widely beloved show takes audiences on the romantic rollercoaster of Jamie and Cathy as they fall in...and out of love over the last five years.

BEAUTIFUL: The Carole King Musical

Highland Park Players at McGrath Family Performing Arts

July 17 – 26, 2026

Before she was hit-maker Carole King—she was Carole Klein, a spunky, young songwriter from Brooklyn with a unique voice. Beautiful: The Carole King Musical takes you back to where it all began and takes you on the ride of a lifetime. 

For a comprehensive list of Chicago productions, visit the League of Chicago Theatres website, ChicagoPlays.com. Available discounted tickets will be listed at HotTix.org.

About Chicago theatre 

Chicago theatre is the leader in the U.S. with more than 250 theatres throughout Chicagoland, comprising a rich and varied community ranging from storefront, non-union theatres to the most renowned resident theatres in the country, including 6 which have been honored with Regional Tony Awards, and the largest touring Broadway organization in the nation. Chicago's theatres serve 5 million audience members annually and have a combined budget of more than $250 million. Chicago produces and/or presents more world premieres annually than any other city in the nation. Each year Chicago theatres send new work to resident theatres across the country, to Broadway, and around the world. For more information, visit www.chicagoplays.com.

The League of Chicago Theatres' Mission Statement

Theatre is essential to the life of a great city and to its citizens. The League of Chicago Theatres is an alliance of theatres, which leverages its collective strength to support, promote and advocate for Chicago's theatre industry. Through our work, we ensure that theatre continues to thrive in our city.

The Chicago theater community is grappling with the sudden loss of Matt DeCaro, whose death early Saturday came as a shock to colleagues and audiences alike. A cause of death has not been made public. Only hours before, he had taken the stage at the Goodman Theatre, performing the role of Sturdyvant in Ma Rainey’s Black Bottom during Friday night’s show. His unexpected passing led to the cancellation of Saturday’s matinee, while the evening performance moved forward as a tribute to his decades of work and the impact he left on the city’s artistic landscape.

DeCaro’s career stretched across more than four decades and reached nearly every major stage in Chicago. His long association with the Goodman Theatre included roles in Heartbreak House, The White Snake, The Cherry Orchard, Night of the Iguana, Boy Gets Girl, Camino Real, Romance, Richard II, Spinning into Butter, and The Play About the Baby. He moved fluidly between companies and styles, portraying Winston Churchill in Drury Lane’s The Audience, stepping into Doc’s role in Marriott Theatre’s West Side Story, and earning a Jeff Award for his performance in Cat on a Hot Tin Roof. His work extended across the region as well, with appearances at Chicago Shakespeare Theater, Victory Gardens, Licoln Center, the Guthrie, and Asolo Rep. Beyond his extensive Goodman history, DeCaro built a substantial body of work across the city, including a standout turn in Steppenwolf’s Men of Tortuga - recognized by the Chicago Tribune as one of 2005’s most memorable performances - and a role in Victory Gardens’ Symmetry, further underscoring his versatility and command as a character actor.

His screen résumé was equally wide-ranging, with roles in Prison Break, The Office, Curb Your Enthusiasm, Chicago P.D., ER, U.S. Marshals, and Richie Rich. Yet for many, it was his presence on Chicago stages that defined him - steady, generous, and deeply rooted in the craft. Among the roles that left a lasting mark on those who followed his work, DeCaro’s Big Daddy in Cat on a Hot Tin Roof at Drury Lane stands out as a personal favorite. The mix of authority and raw vulnerability he brought to the character made the performance unforgettable - the kind that lingers in your mind long after the production has ended.

As tributes continue to emerge, the sense of loss is felt not only by those who worked beside him, but by audiences who witnessed his final performance just one night before his passing - a testament to how fully he remained devoted to the work until the very end.

In losing Matt DeCaro, Chicago loses one of the quiet forces that helped shape its stages for decades. His work was never about spotlight or spectacle - it was about craft, commitment, and the kind of presence that made every production stronger simply because he was in it. Even as the community mourns, the stories he told and the characters he embodied continue to resonate, a lasting reminder of an artist who gave everything he had to the world he loved.

Drury Lane Theatre announces the appointment of Matthew D. Carney as its new Artistic Director. A longtime collaborator and key member of the artistic team at Drury Lane, Carney steps into the role following more than a decade of artistic contributions that have helped support the theatre's signature style and high standard of excellence.

Carney joined Drury Lane Theatre in June 2013 and, over the past 13 years, has served as Associate Artistic Director, Casting Director, and Company Manager. His extensive work with the organization includes directing the upcoming production of Buddy – The Buddy Holly Story, serving as Casting Director for more than 70 productions, and acting as resident director for the annual Theatre for Young Audiences production of A Christmas Carol. He has also worked as assistant director on productions including The 39 Steps, Steel Magnolias, Shrek, and Joseph and the Amazing Technicolor Dreamcoat, and as costume designer for The Gin Game. Carney holds a BFA in Theatrical Design and Technology focused in Costume Design from Wright State University.

Kyle DeSantis, President of Drury Lane Productions, welcomed Carney as the new Artistic Director, "When my grandfather first raised the curtain in 1949, he created something special: a place where families discovered the magic of live theatre, children experienced their first Broadway musical, and a passion for performance was handed down through generations. Matt is just the person to carry on the  Drury Lane legacy. I have worked with him for over a decade – his artistry and leadership never ceases to amaze me. I am looking forward to his continued transcendent journey with Drury Lane. I am elated to collaborate with him as he guides us into the next era of world-class theatre in Chicagoland!

"I am deeply honored to lead the next chapter in Drury Lane's story," said Carney. "I am excited by the opportunity to build on Tony DeSantis' legacy while embracing a fresh perspective for a new generation of theatre goers. My goal is to cultivate a space where artists feel inspired to tell classic stories in new ways, audiences feel welcomed and moved by their experience, and every production reflects the excellence Drury Lane is known for."

In his new role, Carney will oversee artistic programming and production at Drury Lane Theatre, helping to shape future seasons while continuing the organization's long-standing commitment to delivering world-class entertainment. Carney's appointment marks an exciting continuation of Drury Lane's tradition of artistic excellence and collaboration.

About Drury Lane Theatre    

Built from scratch. Built in Oakbrook. Built for you. 

Founded by Anthony DeSantis over 70 years ago, Drury Lane remains a family-run organization under the leadership of President Kyle DeSantis. Drury Lane Theatre continues as a major force in the Chicagoland theatre scene, producing world-class theatre in collaboration with some of the nation's leading actors, directors, and creative minds. Drury Lane Theatre produces the highest quality theatrical experience that immerses and supports artists and audiences in the exploration of what it means to be human and to experience the transcending power of the performing and visual arts. Drury Lane strives to create an environment in which every individual or group is welcomed, respected, supported, valued and able to fully experience and participate in this transformative art form. 

The theatre has staged more than 2,000 productions and has been nominated for over 360 Joseph Jefferson Awards. Drury Lane proudly employs thousands of professional actors, musicians, designers, and crew members to entertain upwards of nine million audience members and counting.

The 1950s is easy to idealize. Men styled tailored suits, women dazzled in pleated dresses, and everything glimmered like it was in a commercial. Life’s troubles were solved with a talk from pop or a hug from mom – or that’s how it seemed. Drury Lane Theatre’s Father of the Bride transports audiences to that romanticized time, and it’s a welcome trip!

Published in 1949, Father of the Bride was adapted for the stage and screen, including two beloved movies starring Hollywood heavy-weights Elizabeth Taylor, Spencer Tracy, and, later, Steve Martin in 1991. While a wedding-gone-wrong may be a familiar story, director Michael Heitzman infused Drury Lane’s rendition with charm, laughter, and sincerity, making it feel fresh.

The play follows Stanley Banks, whose one-and-only daughter prepares for her big day, but she just wants a simple ceremony. Then again, she does want to invite all of her friends… and wants a beautiful dress… and well, by the time everything adds up, the small affair balloons into a whopping headache for dad.

Joe Dempsey’s portrayal of Banks, the set-in-his-ways father, is spot on, and his ad-libbed groans and physical comedy can’t help but make you laugh and empathize with poor, ol’ dad. He balances his old‑school bravado with the teddy-bear-interior so well, creating the heart of the story and avoiding the tired “dumb dad” troupes.

Aurora Penepacker and Jake DiMaggio Lopez in Father of the Bride. Photo by Justin Barbin.

Also making up the family is Rachel Sullivan, who plays the mother, Ellie Banks, with a gentle, confident air, and sons Ben and Tommy are portrayed by Kyle Ringley and Charlie Long, who bring charismatic Leave It to Beaver energy.

Aurora Penepacker plays Kay Banks, the soon-to-be bride with all of the charm of Elizabeth Taylor, and Jake DiMaggio Lopez is her moonstruck, in-over-his-head fiancée, Buckley Dunstan. Their chemistry is fun to watch as every emotion ping-pongs around as their nuptials draw near.

The ensemble also includes some fantastic performances. Michele Vazaquez portrays the tightly wound secretary, Miss Bellamy, who delivers a hilarious meltdown when every member of the family sabotages her efforts to finalize a guest list. Ed Kross brings quirky comedy as the caterer, Mr. Missoula, who steamrolls the Banks (and jumps like Super Mario), and Maya Hlava as Peggy Swift is an overzealous girl-next-door who plots to catch the bouquet.

The original compositions composed by Curtis Moore also deserve a shout-out. They serve as the perfect soundtrack during sequences which showed seasons changing or wedding gifts flooding in and add that extra something that makes you feel like you’re watching your favorite black-and-white sitcom.

Comedy can be tricky to tackle, but Father of the Bride makes ever beat work. It’s whimsical, playful, and a reminder that when things go awry, those you love will always be there. Father of the Bride is an invitation to a pure, wholesome evening, and it’s an invite you should not pass up.

Father of the Bride runs through May 31 at Drury Lane Theater. Click here for tickets and more information.

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

Something wicked is winding its way through the velvet curtains of Drury Lane Theatre—and it reeks of roses, red wine, and murder. Dial M for Murder, the classic thriller originally crafted by Frederick Knott in 1952 and immortalized on screen by Alfred Hitchcock in 1954, returns to the stage with a razor-sharp adaptation by Jeffrey Hatcher that’s as stylish as it is sinister.

Set against the moody backdrop of 1950s London, the production invites us into the polished yet precarious world of Margot (Amanada Drinkall) and Tony Wendice (Erik Hellman) - a couple whose marriage gleams with charm but conceals a darker undercurrent. Beneath the tailored suits and cocktail-hour smiles lies a web of betrayal, manipulation, and a meticulously plotted murder that threatens to unravel with every twist of the telephone cord.

Hatcher’s adaptation breathes fresh life into the suspense, tightening the dialogue and sharpening the stakes while preserving the noir elegance of the original. The result is a theatrical experience that feels both vintage and vital - a slow burn that simmers into a full-blown psychological inferno.

Tony Wendice, a former tennis star turned calculating husband, discovers his wife Margot’s affair with mystery writer Maxine Hadley (Alexandra Silber). Rather than confront her, he plots her murder with chilling precision, believing one perfect move will reclaim his unraveling life.

But perfection proves elusive.

When the plan collapses, the story spirals into a maze of blackmail, disloyalty, and psychological warfare. Margot becomes both pawn and player, navigating a world where loyalties shift, truths blur, and every silence speaks volumes.

This isn’t just a thriller—it’s a taut exploration of control, vulnerability, and the artful menace of manipulation.

Alexandra Silber, Amanda Drinkall, Erik Hellman in Drury Lane Theatre's Dial M for Murder.

The players are sensational in the dialogue heavy, quick witted, edge-of-your-seat mystery thriller. Erick Hellman delivers a diabolical and shrewd Tony, Amanda Drinkall is delightful as Margot and Alexandra Silber is a true force as Maxine. Johnathan Weir is also tremendous as sleuthing Inspector Hubbard while Ian Paul Custer is perfectly cast as the Tony’s patsy, Captain Lesgate.

Wonderfully directed by Adam Immerwahr in his Drury Lane debut, this production of Dial M for Murder masterfully marries vintage intrigue with a brisk, modern rhythm. It’s not just a revival - it’s a reinvention – and Drury Lane Theatre is the perfect venue to stage this mystery thriller. The bones of Frederick Knott’s original mystery remain intact, but the pacing has been sharpened, the humor dialed up, and the twists recalibrated for a contemporary audience.

Visually, the production luxuriates in noir-inspired elegance, its seductive precision shaped by a powerhouse design team: Paige Hathaway’s scenic work evokes shadow and intrigue, Joshua Schmidt’s sound design hums with tension, Emma Deane’s lighting casts drama in every corner, and Nicole Boylan’s costumes wrap the cast in mystery and allure. Shadow-drenched lighting carves out tension in every corner, while period costumes evoke mid-century elegance tinged with menace. The sound design - subtle yet insistent - acts as an invisible character, underscoring moments of dread, desire, and deception. It’s a production that doesn’t just tell a story; it envelops the audience in its atmosphere.

The result is a theatrical experience that feels both timeless and timely - a stylish homage to Hitchcockian suspense, reimagined with the velocity and wit of modern storytelling.

At its core, Dial M for Murder is a taut exploration of trust fractured by ambition, love corroded by suspicion, and appearances polished to mask peril. The play doesn’t simply flirt with deception - it dissects it. Every gesture, every line of dialogue, is laced with the question: how far will someone go to preserve their illusion of control, or to dismantle another’s?

Dial M for Murder is a psychological chess match where secrets are currency, gaslighting is taken to the extreme and duplicity is both weapon and wound. As the characters maneuver through layers of manipulation and moral ambiguity, the audience is left to ponder not just who’s guilty - but whether anyone is truly innocent.

Running through October 26^th, this is a highly recommended thriller that you won’t want to miss. For tickets and/or more show information visit https://drurylanetheatre.com/dial-m-for-murder/.

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

Always...Patsy Cline is a poignant and entertaining jukebox musical that honors the legacy of iconic country singer Patsy Cline through the heartfelt story of an unexpected friendship, which is currently beautifully staged at the Drury Lane Theatre in Oakbrook. Conceived and written by Ted Swindley, the production is inspired by the real-life bond between Cline and Louise Seger, a devoted fan from Houston who first heard Cline on the radio in the late 1950s. Their connection sparked in 1961 when Seger met Cline before a performance, marking the beginning of a sincere pen-pal friendship that continued until Cline’s untimely death in a plane crash on the way to Nashville on March 5^th, 1963. Patsy Cline was just 30 when her life was cut short, right as she stood on the brink of what many believe could have been a long and illustrious career. Her star was still rising, leaving us to wonder just how far her extraordinary talent might have taken her.

Framed through Louise’s vivid recollections, the musical interweaves narrative and music, featuring over twenty of Cline’s signature songs such as “Crazy,” “Walkin’ After Midnight,” and “Sweet Dreams.” As Louise shares their story, Cline takes the spotlight to perform, offering a touching blend of live music and personal storytelling. The show captures not only the spirit of Cline’s music but also the deep emotional bond that fans can forge with their idols, making it a heartfelt homage to lasting friendship and musical legacy.

There’s a spark of something special from the moment Louise—punctual as ever—spots Patsy Cline sitting alone before the show. Summoning her trademark blend of boldness and charm, she approaches, introduces herself, and warmly invites Patsy to join her table with her family and boss. Cline’s easy reply, “Well, why don’t I just join you?” becomes the turning point that launches an unforgettable evening and the beginning of a heartfelt friendship.

From the moment Louise steps into the neon-soaked nightlife of Houston, Texas, Louise reveals she’s no mere admirer—she’s a woman with grit, savvy, and a spine of steel. That very night, she’s floored to find that country music icon Patsy Cline has arrived entirely on her own—no agent, no assistant, not even a friendly face in sight. It’s a glaring oversight, and Louise isn’t about to let it slide.

The real kicker? Cline is booked to sing for four uninterrupted hours. Outraged, Louise takes charge. She marches straight into the manager’s office, Cline trailing behind, clearly unaccustomed to someone going to bat for her. Louise doesn’t mince words. She calmly but firmly asks: at what time is Patsy expected to start each of her two sets? Her meaning is unmistakable—this isn’t one continuous gig; it’s two full shows, and the artist deserves to be treated—and paid—as such.

The bold move pays off. Cline walks away with double the fee and something just as valuable: a chance to rest her voice and spirit between sets.

But Louise’s backstage hustle doesn’t end there. By sunrise, she’s already secured Cline a slot on a local radio broadcast, giving the singer a quick burst of publicity in the regional market. And when it’s time for Cline to catch her flight, Louise is the one who sees her off, driving her to the airport like a trusted friend. In just 24 hours, Louise proves she’s more than a fan—she’s a fixer, a fierce protector, and someone who understands exactly what it means to lift up another woman.

Aja Alcazar takes center stage as the legendary Patsy Cline, and she doesn’t just step into the role — she owns it. With the grace of a seasoned storyteller and the vocal firepower to match, Alcazar channels the spirit of the Virginia-born country icon in a performance that’s nothing short of electric. Her portrayal is steeped in authentic country warmth, infused with a lively sense of sass and vulnerability that makes Cline feel both larger than life and achingly real.

From the moment she launches into the opening notes of “Walkin’ After Midnight,” Alcazar captivates the room, weaving through a powerhouse setlist that also includes timeless classics like “Your Cheatin’ Heart,” “I Fall to Pieces,” “She’s Got You,” and many more. Each song becomes a showcase not only of her vocal skill but of her ability to emotionally inhabit Cline’s journey — turning beloved hits into deeply personal moments. It’s a performance that doesn't just honor Cline’s legacy; it breathes new life into it.

Bria Sudia is equally impressive as boisterous uber fan Louise Sefer. Sudia is adorable, adding a ton of charisma and energy to the role is - and she is damn funny. Louise serves as the heart and storyteller of the production, guiding the audience through her memories with warmth and wit. Though she doesn't perform full songs, she livens the stage with colorful narration, sharp comedic instincts, and the occasional burst of humming or playful singing - especially in moments when Patsy's music stirs something deep within her.

Collette Pollard’s set design at Drury Lane conjures a warm, inviting honky tonk atmosphere, where a live band dressed in classic western attire strums away in the background. This rustic charm seamlessly blends with the intimate setting of Louise’s small-town kitchen, creating a space that feels both nostalgic and personal. Even before the first note plays, the allure sets in—with strands of vintage string lights draped above the stage, casting a nostalgic glow that instantly invites the audience into the world of the show.

Always… Patsy Cline offers a warm, nostalgic window into the golden era of late 1950s country western music, capturing the charm, grit, and heart of the time. But beyond the rhinestones and twangy guitars, the musical is a heartfelt tribute to one of the most iconic voices in American music history—a woman whose star burned brightly and far too briefly.

At its core, the show is also a celebration of human connection. It tells the improbable, yet true story of a friendship that bloomed between a legendary performer and an ordinary fan, offering audiences a touching reminder of how music has the power to bridge worlds. For anyone who has ever dreamed of meeting their idol, sharing a laugh, or swapping stories over coffee, Always… Patsy Cline is a beautiful, funny, and emotionally rich journey that brings that dream to life.

Always…Patsy Cline is being performed at Drury Lane Theatre through August 3^rd. For tickets and/or more show information, click here.

This delightful musical is highly recommended for all ages.

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

I thoroughly enjoyed Drury Lane's enchanting stage production of Disney’s The Little Mermaid from start to finish. While few are overly familiar with Hans Christian Andersen’s original, darker tale of ill-fated romance, the Disney animated film and this stage adaptation, with a book by Doug Wright and music by Alan Menken, lyrics by Howard Ashman and Glenn Slater, beautifully transform the fairytale into a heartwarming story of love and triumph for the heroine, Princess Ariel.

The mermaid Ariel, portrayed with sunny enthusiasm and skillful vocal stylings by Sarah Kay, is a Princess and the beloved daughter of King Triton, convincingly played by Anand Nagraj. Ariel is captivated by the world above the waves, yearning to experience the sunshine and the joy of walking through green fields. Her fascination with the human world deepens when she falls in love from afar with a human prince.

During a fierce storm, Ariel saves the Prince from drowning, and in that moment, she finds herself falling for him. The Prince, portrayed with sensitivity and earnestness by Patrick Johnson, is captivated by the voice of his rescuer, though he never sees her face as Ariel swiftly returns to the sea, hiding her mermaid identity.

The chemistry between Kay and Johnson enriches their characters, making their blossoming romance both believable and heartfelt. Kay's Ariel exudes innocence and curiosity, while Johnson's Prince captures sincerity and a deep longing to find the mysterious singer who saved his life.

King Triton, wary of humans and deeming them dangerous, has commanded his daughters to stay away from them. This forces Ariel to make a desperate deal with Ursula—her powerful, estranged, octopus-like aunt, who was once banished by King Triton, her brother.

Anand Nagraj as King Titan and Michael Earvin Martin as Sebastian. 

Ursula, portrayed by Sawyer Smith, casts a spell on Ariel, compelling her to give up her extraordinarily beautiful voice in exchange for a chance at love. Ariel must win the heart of the Prince, who must love her so deeply that he is compelled to kiss her. Only True Love's kiss can break Ursula's twisted spell. If Ariel fails to find true love and receive the Prince's kiss, she will be banished to the underworld, and Ursula will claim her soul. Sawyer Smith, as Ursula, is a showstopper! Smith's costumes, makeup and movements are menacing, powerful, yet glamorous all at the same time. Smith’s talent is fully on display during a commanding rendition of “Poor Unfortunate Souls.”

The cast delivers uniformly strong performances throughout. Matt Edmonds also stands out with his impeccable comic timing as Chef Louis, eliciting plenty of hearty laughs with his hilarious solo number “Les Poissons.” 

I valued the emphasis placed on the power of a single woman’s voice and the profound impact of a young woman losing her voice, especially in today’s context. It was heartwarming to see so many young girls in the audience, their faces glowing with delight. They were captivated by the show's humor and romance, yet also deeply moved to tears by the poignant theme of Ariel sacrificing her voice to win the love of a man.

This production, under the skillful direction of Scott Weinstein, with choreography by Kasey Alfonso and a vibrant set designed by Tijana Bjelajac, excels in providing delightful musical theater entertainment for both children and adults. It is truly a pleasure to watch.

Patrick Johnson as Prince Eric and Sarah Kay as Ariel.

The puppetry in this production was extraordinary, among the finest I've seen on a Chicago stage. For instance, the two eels, Ursula’s sinister accomplices, glide gracefully through the audience and across the stage with glittering lights encased in sheer black chiffon, creating an absolutely magical effect. The puppet characters were all exceptionally well played and designed. Notable performances include Sebastian (Michael Earvin Martin), Scuttle (Landree Fleming), Flounder (Maya Lou Hlava), Jetsam (Ryan Michael Hamman) and Flotsam (Leah Morrow). The impressive puppet design was crafted by Chicago Puppet Studio, Caitlin McLeod, and Zachary Sun. 

The set design, featuring the imaginative light projections by Anthony Churchill and the atmospheric lighting by Ryan O’Gara, brilliantly conveyed the sensation of being under the ocean. Their work uniquely and creatively transported the audience to an enchanting underwater world, making the experience both magical and mesmerizing.

The Little Mermaid is a fantastic ensemble piece, and the entire cast brings the house down with their rousing, colorful, and energetic group number in “Under The Sea.” This performance beautifully captures the splendor of the mermaid's underwater home and castle, making it a mesmerizing highlight.

I highly recommend this colorful, ingenious, and lively production for audiences of all ages who wish to experience one of their favorite Disney fairytales come to life! 

Disney’s The Little Mermaid is being performed at Drury Lane Theatre in Oakbrook through January 12th. For tickets and/or more show information, visit https://drurylanetheatre.com/the-little-mermaid/.

It’s hard to believe that Fiddler on the Roof turns 60 this year. It’s even harder to believe that the show, which opened on Broadway in 1964, can still take an audience by surprise. In continuous production around the globe, and with brides continuously walking down the aisle to “Sunrise, Sunset,” Drury Lane Theatre’s new version proves Fiddler’s mettle once again.

Director Elizabeth Margolius and choreographer Rommy Sandhu dispense with some of the standard staging choices, mostly without disturbing the spirit that animates the musical. Evocative tableaux replace folky dances right from the opening number. After Tevye (Mark David Kaplan) ushers us into Anatevka, lights come up on the townspeople in rows that initially suggest a church choir or a Greek chorus.

“Tradition” proceeds in that linear formation, bringing the village to life in a cluster rather than filling the full stage. Then, as Tevye narrates the action, the cast begins to sway and bob, the movement not of Christians or Hellenes but of worshipping Jews. Each group – the papas, the mamas, the sons, the daughters – has its verse, standing upright and illuminated while the others crouch. Roles are specified, expectations declared. Whether expressing the closeness of the community, fear of what lays beyond the shtetl or just the cold Russian climate, these people function as a bickering, intertwined unit.

At least, it starts that way. Jack McGaw’s set puts the flat façade of a house center stage, a piece of scenery that disappears, panel by panel, as the story progresses. With every personal encounter, traditions break down and push everyone towards the empty space of the future. Tevye tells Golde, “it’s a new world.” How comfortable was the old world? Projections, designed by Mike Tutaj, appear on screens throughout the show, and an historic photograph of a shabby shack reminds us that a poor man like Tevye had little in the way of comfort.

There are no props – no dairy cart beside Tevye during “If I Were a Rich Man” or a book for his daughter Chava to exchange with her non-Jewish suitor Fyedka. Though odd at first, it works especially well during “Sabbath Prayer” when the family gathers to light the shabbas candles. Instead of candlesticks, the screens that frame the action fill with images of flames. In group scenes such as this, the use of projections is stirring. During more intimate moments, when the faces of the characters are projected onto the screens, they seem less of an enrichment and more of a distraction.

Several cast members bring new attention to smaller roles, such as Joel Gelman as Lazar Wolf, the widowed butcher who sets his sights on Tevye’s first born Tzeitel. Yes, Lazar Wolf is too old and unrefined for the girl. But Gelman exudes such heartfelt joy at the prospect of marrying her, he inspires sympathy when the deal falls through. In the hands of Janet Ulrich Brooks, Yente the Matchmaker lands the laugh lines that have turned “yente” into a synonym for meddlesome gossip. But Brooks also conveys the loneliness of a woman who has no one to call her own.

What do the inhabitants of Anatevka have to call their own by the end? Not much. Their bickering, intertwined unit scatters in all directions as the Russian authorities confiscate their property. We know these people after 60 years of imagining that fiddler trying to keep his balance on a shaky roof. At Drury Lane Theatre, we meet them once again as tableaux of memory that reach through time and space.  

Fiddler on the Roof is playing now through March 24^th at Drury Lane Theatre in Oakbrook. Tickets are available at www.drurylanetheatre.com

I thoroughly enjoyed this colorful, sumptuous, and romantic production of Rogers + Hammerstein’s Cinderella at The Drury Lane Theatre from beginning to end.

Directed and choreographed with lively and complex numbers by Amber Mak, with musical direction by Carolyn Brady, I felt that the spirit and female empowering themes of the original Cinderella were kept intact. Cinderella is the unlikely and supernatural story of a girl who is treated like a house servant once her stepmother takes charge after her well-to-do father passes away. No longer protected by her father, Cinderella is at the mercy of her resentful stepmother and her two stepsisters. But much to the chagrin of the stepmother, Cinderella’s inner beauty and strong character does not go unnoticed by the kingdom’s prince, who is seeking a bride.

Lissa deGuzman as Cinderella is a genuine delight as the sensitive and "unique" Cinderella. deGuzman has a beautiful voice and really captures the innocence and ingenuity that Cinderella is supposed to exude. The chemistry between her and Prince Topher, played by Jeffrey Kringer, was palpable and they have several romantic embraces and kisses that might have fallen flat if not for their genuine chemistry onstage. Jeffrey Kringer is a multifaceted Prince with a strong masculine yet sensitive presence as the handsome but confused Prince who is forced by his Viceroy to choose a Queen to marry. Viceroy Sebastian is played with good humor by Jeff Parker.

What I liked about this version of the classic tale is that it included the extended storyline wherein Cinderella is not just a victim of her greedy stepmother and a discovery of the Prince, she actually helps the entire village and the prince resolve a longstanding situation regarding the growing starvation and taxation of his subjects and the Royal families reluctance to address these issues fairly until Cinderella asserts herself and is able to open the prince’s eyes. The prince then deems the kingdom as a village of the people and uses their voice to make decisions regarding its management. 

Cinderella's stepsisters, Gabrielle (Christine Mayland Perkins) and Charlotte (Alanna Lovely) were at first ugly on the inside though some people can change as seen by Gabrielle’s lovely extended storyline where she and her secret boyfriend, Jean-Michel (Christopher Llewyn Ramirez) a villager who cries for fairness among the people, end up helping Cinderella to escape the grasp of the abusive gold digger, Madame/Stepmother, masterfully played by Gisela Adisa. Gabrielle, spoiled and bratty at first, turns out to be very sweet and her evolving character is played with glowing depth by Christine Mayland Perkins, who also lands several funny lines to perfection. 

I also have to acknowledge the superb performance by veteran actress McKinley Carter as the Fairy Godmother named Marie. It isn't until Carter's appearance as the wise and beautiful Fairy Godmother who leaves her beggar woman rags behind and sings the song "Impossible" that the young cast seemingly melts into cohesion and radiates collectively.  At the same time, we as an audience then get our first glimpse of the magical power of falling into true love thanks to Carter’s majestic voice and sparkling smile, conveyed as only a mature award-winning actress can pull off. 

I really enjoyed the flowing and heartfelt group dance numbers by the talented ensemble cast including Emily Ann Brooks, Leah Casey, Sophie Liu David, Margot Frank, Dani Johns, Kevin Kuska, Austin Nelson Jr., Justin Payton Nelson, Nolan Robinson, Elizabeth Romero, David Sajewich, Brian Selcik, Andew Tufano, Shelbi Voss, Amanda Walker.

My favorite songs next to "Impossible" include the adoring duets between Prince Topher and Cinderella "Do I Love You Because You’re Beautiful”, “Now Is the Time” and (I Held You) "10 Minutes Ago," which had a great sense of youthful, loving urgency and graceful romance. I only wish they had included the Disney film song "So this Is Love,” as it is recognizable to audiences of any age and to me represents the ultimate love song between the Prince and new Princess that marks their first dance together as a newly smitten couple falling in love for the very first time. 

Riw Rakkulcon’s scenic design is a tiny bit dark but very large in its scope and complex changes. It is luxurious and grand when it needs to be so you really feel that the castle is a castle. I also enjoyed the way the carriage and horse men portrayed the journey to the castle as even Cinderella needs a ride to attend the ball. 

I loved the costumes by multi–Jeff Award-Winning Theresa Ham for everyone in the cast except perhaps for Cinderella. The unique classic style and colorful well-fitting gowns and tuxedos etc. for the ensemble were very well done and varied. The only problem I had with Cinderella's costume changes was with the big reveal when the Fairy Godmother tells her it is not impossible for her to attend the ball and gifts her with a ticket and gown. The effect to do this this was impressive, Cinderella spinning her way from rags to ball dress, though the dress could have been more fairytale-esque. However, to Ham’s defense, in order to make this "magical" change onstage in full view of the audience, Cinderellas magnificent ball gown needed to be hidden under her day dress and as such lacked the largesse and sparkling, puffy wedding gown feeling that little girls have come to expect from that scene. 

With plenty of humor, impressive special effects, brilliant set and costume design and led by sensational performances from Gisela Adisa, Lissa deGuzman, Jeffrey Kringer, McKinley Carter, Alanna Lovely, Christine Maryland Perkins and Jeff Parker, I highly recommend this lush and well-acted and beautifully danced and sung production of Cinderella for audiences of all ages. Rogers + Hammerstein’s Cinderella at Drury Lane is a show that will lift your heart for the holidays and make you believe that finding true love and making it work is most definitely possible! 

Rogers + Hammerstein’s Cinderella is being performed at Drury Lane in Oakbrook through January 7^th. For tickets and/or more show information, please click here.

Fall into the blazing ring of fire that is Johnny Cash’s scorching song catalogue at Ring of Fire: The Music of Johnny Cash at Drury Lane Theatre. Part biography, part music revue, and all entertainment, Ring of Fire will take you on a nostalgic, country music-filled journey through the life, times, and songs of American treasure Johnny Cash.

The original 2006 Broadway production of Ring of Fire lasted only 47 performances, likely because it was riding the coattails of the popularity of the 2005 Johnny Cash biopic Walk the Line starring Joaquin Phoenix, and the Broadway musical treats the same story and songs more shallowly and lightly. Drury Lane Theatre brings back this production in a new context, in a new decade, maybe when we need and miss the country music icon more than ever.

Erik Hellman, Roy James Brown, Ron E Rains, Elleon Dobias, Michael Potter. Photo by Brett Beiner

The modest hour and 45 minute run time consists mostly of music, impressively played live by the six-person cast and band, which was one of the biggest highlights for me. Ron E. Rains portrays an older Cash, narrating the story and exchanging meaningful glances with the younger Johnny, played by Michael D. Potter, as he goes through life making music, headlines, and mistakes. 

Using Cash’s songs, small costume and set changes, and short bits of dialogue, the show takes you through Johnny Cash’s life, from his childhood growing up on a farm, to hitting it big in the country music scene, to his drug addiction, to meeting his soulmate June Carter. 

Aja Wiltshire, Michael Potter. Photo by Brett Beiner

The only complaint I could see one having about the show – and maybe why it didn’t last long on Broadway – is how briskly it skims over the rich life story of Johnny Cash. It feels more like a musical review than a traditional musical. It’s even reminiscent of a similar musical, Million Dollar Quartet, about a recording session at Sun Studios with Cash, Elvis, Carl Perkins, and Jerry Lee Lewis that had a home in Chicago for many years in the early 2000s. If you like the music, you’ll be happy. But if you want a more traditional musical with plot and character-driven songs, this may not be the show for you.

Johnny Cash fans will love hearing both hits and deeper cuts from the Cash catalogue, like “Big River”, “Straight As in Love”, “Cry Cry Cry”, “Hey Porter”, “I Still Miss Someone”, “Five Feet High”, “Daddy Sang Bass”, “Get Rhythm”, “Folsom Prison Blues”, and dozens more. Female voices also shine with Aja Wiltshire as a brassy and sassy June Carter and Elleon Dobias as Cash’s heartbroken first wife Viv.

Ring of Fire: The Music of Johnny Cash is playing at Drury Lane Theatre through October 22, 2023. Tickets can be purchased on their website.