Displaying items by tag: Chicago events

Opera Festival of Chicago opens its 2026 festival season with Very Verismo!, that includes a VIP reception and a captivating concert celebrating the richness and beauty of Italian opera through works by leading verismo composers. The concert takes place Saturday, June 13 at 7:30 p.m. at the Jarvis Opera Hall in the Holtschneider Performance Center at DePaul University School of Music, 800 W. Belden Ave. Single tickets are $150. VIP tickets are $250 and include an exclusive pre-show reception beginning at 5:30 p.m., drinks and hors d’oeuvres, access to a silent auction and opportunities to meet festival artists. Tickets are $25 – $91 for the two mainstage productions in Opera Festival of Chicago and information are available at OperaFestivalChicago.org.

This special concert features headlining artists from the 2026 Opera Festival of Chicago season, an organization devoted to presenting world-class productions of rarely performed Italian opera masterworks while fostering a vibrant and accessible operatic culture in Chicago. The evening features music by renowned verismo composers including Puccini, Leoncavallo, Mascagni and Giordano, performed by an exceptional lineup of artists.

Soprano Alexandra Razskazoff, a Grand Finals winner of the 2022 Metropolitan Opera Laffont Competition, has been praised by The New York Times as a “richly faceted, slinky soprano” and by Opera News for a voice that is “rich, distinctive of timbre, penetrating, and possessing a lovely bloom on top.” She is joined by dramatic soprano Zhanna Alkhazova, heralded by Opera News for her “bright, sword-flashing sound”; tenor Nathan Granner, acclaimed for his “marvelous intensity” (Gramophone) and described as “a stirring tenor of equal parts metal and warmth” (Opera News) and baritone Franco Pomponi, praised by the Chicago Tribune as “the real article, a baritone with a warm focused tone and a genuine feel for true Italian legato singing.”

The Opera Festival of Chicago 2026 will also present two Mainstage productions: 

La Bohème (New Production) by Giacomo Puccini

Friday, June 26 at 7:30 p.m., Wednesday, July 1 at 7:30 p.m. and Sunday, July 5 at 2 p.m.

George Van Dusen Theatre, North Shore Center for the Performing Arts, Skokie

Directed by Sasha Gerritson

Conducted by Emanuele Andrizzi

La Bohème tells the story of young artists navigating love, friendship and poverty in 1830s Paris. The production stars Alexandra Razskazoff (Mimì), Nathan Granner (Rodolfo), Joe Lodato (Marcello), Catherine Antonia Samartin (Musetta), Jonathan Wilson (Schaunard), Anthony Reed (Colline) & William Powers (Benoit & Alcindoro).

Widely regarded as one of the greatest operas ever written, La Bohème follows a group of young artists struggling to survive in 1830s Paris. At its center is the poetic love story between Rodolfo and Mimì, unfolding against themes of poverty, friendship and the fleeting nature of life. Puccini’s unforgettable score captures universal emotions of joy, loss and heartbreak.

Adriana Lecouvreur (New Production) by Francesco Cilea

Sunday, June 28 at 2 p.m. and Friday, July 3 at 7:30 p.m.

George Van Dusen Theatre, North Shore Center for the Performing Arts, Skokie

Directed by Shifra Werch

Conducted by Emanuele Andrizzi

Adriana Lecouvreur is a verismo masterpiece exploring love and rivalry within the world of the 18th-century Comédie-Française. Set at the Comédie-Française, the opera follows the celebrated actress Adriana Lecouvreur as she becomes entangled in a tragic love triangle with a noble soldier and a vengeful princess. The cast includes Zhanna Alkhazova (Adriana), Jeremy Brauner (Maurizio), Franco Pomponi (Michonnet), Viktoria Vizin (Principessa di Bouillon), Chris Filipowicz (Principe di Bouillon) and David Cangelosi (L’Abate di Chazeuil). The opera has not been staged in Chicago in more than 70 years, when legendary soprano Renata Tebaldi sang the title role.

Both mainstage productions, La Bohème and Adriana Lecouvreur, feature the Opera Festival of Chicago Orchestra and Chorus.

Cast and creative teams are subject to change. 

ABOUT OPERA FESTIVAL OF CHICAGO

The Opera Festival of Chicago is dedicated to presenting world-class productions of rarely performed Italian opera masterworks while cultivating a vibrant and accessible operatic culture in Chicago. By celebrating Italy’s rich artistic heritage and nurturing the next generation of performers, the Festival aspires to become America’s leading hub for Italian opera, bringing exceptional artistry, cultural depth and homegrown talent to the forefront of the city’s cultural landscape.

Opera Festival of Chicago performances have been broadcast on WFMT, WETA, and other classical radio stations across the United States and internationally. The company has received critical recognition from local and national media, including Opera News and Chicago Classical Review. Its production of Il prigioniero by Luigi Dallapiccola was selected by the Chicago Tribune as one of the city’s best opera productions of the year.

If you’ve ever worked in an urban coffee shop, chances are you’ve encountered at least one ultra-paranoid kook who believes the government is spying on them. Often they’re filling out long journals or manifestos. Or perhaps that one crazy uncle we all seem to have who believes in way too many conspiracy theories. These loveable, but disturbed weirdos commonly refer to themselves as “targeted individuals.” 

Hanna Kime’s new play The Targeted makes its world premiere at A Red Orchid Theatre. In it, she empathetically explores the lives of these folks and what draws them to their beliefs. Though it is at times humorous, Kime’s play is not exploitative. Rather, she builds an entire ecosystem for not only those affected by this kind of thinking, but the ways in which others profit from it. 

Grace Dolezal-Ng directs a bonafide dream cast of some of Chicago’s best actresses. They turn the main stage at The Chopin into a woodsy, weekend retreat called The Solidarity and Truth Summit. Rhonda (Kirsten Fitzgerald), Didi (Natalie West) at first seem very nice and chummy when welcoming newcomer Sherry (Sadieh Rifai), but as the weekend wears on, fractures begin to form. Rhonda is immediately mistrustful of Mia (Stephanie Shum), another newbie who is very upfront about not being a believer in government tracking conspiracies; she’s only there to support her misguided younger brother Eric (Glenn Obrero). The power structure becomes more complicated once the organizer of the summit, Jeff (Lawrence Grimm), starts giving whacky lectures.

In 95 minutes of quick-moving scenes, each character reveals how this affliction has sabotaged their personal lives. At the beginning, you can almost convince yourself these people are normal, just with some strange ideas. Sadieh Rifai plays Sherry with such naive conviction that you can’t imagine a simple, suburban housewife could ever be tempted by this rabbit hole. Through her character, Kime makes a thinly veiled parallel to the “Q-Anon” to “Trad Wife” pipeline. In contrast, Kirsten Fitzgerald’s Rhonda is hard as nails and her desire to control the weekends’ narrative speaks directly to just how dangerously persuasive conspiratorial ideology can be.

The central storyline presents itself in the relationship between Eric and Mia though. As a non-believer, Mia is outnumbered and it’s not long before she begins questioning her own sanity. Stephanie Shum plays the voice of reason with a quintessential authority. Her character’s demand for truth shows how frustrating independent thinking can feel in group settings.

While there is certainly a rubber-necking quality to the topic at hand, Kime never treats her characters as some sort of Netflix documentary sideshow specimens. Natalie West plays one of the weirder believers but her quirky softness makes her one of the show’s most endearing characters, even if she is hawking metaphoric snake oil for a living.

In the end, Kime lets the audience make up their own mind as to whether these folks actually believe what they’re talking about, or whether they’re just extremely lonely. It’s hard to criticize conspiracy theorists in an era in which almost every aspect of our federal government seems to be conspiring against its people. Kime builds a case for compassion with The Targeted.

Through June 14 at A Red Orchid Theatre. At Chopin Theatre. 1543 W Division St. 773-278-1500.

AstonRep Productions, the theatre and film production company that has produced over 30 stage productions in Chicago, has announced it will be the first company in the US to bring Liisa Repo-Martell's adaptation of Chekhov's UNCLE VANYA to audiences. Repo-Martell's script, which was first produced by Toronto's Crow's Theatre in 2022, has been praised for its contemporary and colloquial language. The Toronto online arts magazine INTERMISSION said, "it is delicate and wholly faithful to Chekhov's story... relatable and even startlingly contemporary, affirming the timelessness of the themes Chekhov explored in his writing." The Crow's Theatre production was remounted in 2024 at Toronto's CAA Theatre and was named one of the top ten productions of the year by both THE GLOBE AND MAIL and THE TORONTO STAR. AstonRep's production will be directed by Derek Bertelsen, who recently helmed the revival of the hit comedy FULLY COMMITTED at The Den Theatre and has directed many of AstonRep's productions.  Bertelsen was co-founder/artistic director of The Comrades theater company from 2016-2020. UNCLE VANYA will open to the press on June 19 at 7:30 pm, following a preview on June 18, and play through July 5, 2026, at the Edge Off-Broadway, 1133 W. Catalpa Ave., Chicago.

Bertelsen's cast will feature Rian Jairell in the title role of Vanya – a bitter and broken man who wonders what he might have done with his life if he had not committed to managing the family estate. Jairell's previous roles with AstonRep include Ariel in THE PILLOWMAN and Jerry in BETRAYAL. The beautiful Helena, who captivates all the characters, will be played by Andi Muriel, seen recently in THE TOTALITY OF ALL THINGS for Redtwist Theatre and THE IMPORTANCE OF BEING EARNEST for Strawdog Theatre. Robert Tobin, who was Founder and Artistic Director of AstonRep Theatre Company, will be Astrov, a neighbor and overworked country doctor who feels ruined by provincial life. Tobin's recent credits include ARMS AND THE MAN for Forest Theatre Company and THE PILLOWMAN with AstonRep. Another PILLOWMAN castmate, Natalie Hurdle, will play Sonya, who has loyally steadfastly worked to maintain the estate, and is deeply attracted to Dr. Astrov.

Cast as Vanya's mother Maria is Mary Mikva (of TIME IS A COLOR AND THE COLOR IS BLUE  for Avalanche Theatre). Geoff Issac, seen recently in MURDER ON THE ORIENT EXPRESS for Deerfield Theatre, will be the pompous and egotistical failed scholar Serebryakov. Liz Cloud (of AstonRep's BURIED CHILD) will be the nurse Marina, and Mike Rogalski (ELEKTRA – Forest Theatre Company) will play Telegin, an impoverished landowner who works on the estate.

The UNCLE VANYA production team will include Jeremiah Barr (set, lighting and properties design), Natalie Shoch (costume design), Samantha Barr (lighting design), Melanie Thompson (sound design), Bethany Hart (assistant director and vocal coach), and Nevaeh Mansur (Stage Manager). 

Tickets to UNCLE VANYA are $25.00 and will be on sale beginning April 25 at www.astonrep.com or by phone at or (312) 620-4583.

UNCLE VANYA
by Anton Chekhov
US Premiere of the new adaptation by Liisa Repo-Martell
Directed by Derek Bertelsen
June 18 – July 5, 2025
Regular run Thursdays-Saturdays at 7:30pm, Sundays at 3pm
Edge Off-Broadway
1133 W Catalpa Ave, Chicago, IL 60640
Tickets- $25, available beginning April 25 at  www.astonrep.com or (312) 620-4583

At a remote country estate in the final days of Czarist Russia, Vanya and his niece Sonya have spent years sacrificing everything to keep the family farm afloat. Their quiet routine is shattered when Sonya's aging father returns with his much younger wife, stirring up long-buried desires, resentments, and regrets. As tensions rise and futures feel increasingly uncertain, the family is forced to confront the lives they've lived—and the ones they never will. This new adaptation by Liisa Repo-Martell provides an up-close encounter with a classic of world drama that every theatre lover must see.

Two actors.
One has rehearsed the play.
The other has neither seen nor read it.

A different performer joins the show each night. The play is as new to them as it is to you. The result is unpredictable and ephemeral. An Oak Tree is a meditation on identity, loss, and a reminder that theatre exists only in the moment it’s shared.

We're especially excited about this production and the spontaneity it offers - no two performances will unfold the same. We've ensured that each guest performer knows absolutely nothing about the play's narrative or characters before their performance. They discover the play in real time, at the same moment that the audience does.

For this production, we've partnered up with a new theatre company, Theatre Arcana, to produce the show. The show features Theatre Arcana's artistic director, Riles August Holiday, as our main actor, and many members of their ensemble will appear as guest performers throughout the run.

Here is a breakdown of our performance schedule, including which guest actors will be performing in each show:

Fri, June 19, 7:30PM: RENZO VICENTE
Sat, June 20, 2:30PM: AUDREY ROMERO
Sat, June 20, 7:30PM: SUZY KRUECKEBERG
Sun, June 21, 2:30PM: CAITLIN FRAZIER

Thurs, June 25, 7:30PM: HANNAH LOESSBERG
Fri, June 26, 7:30PM: CAMERON BROWN
Sat, June 27, 2:30PM: ALEX ALBRECHT
Sat, June 27, 7:30PM: ZIARE PAUL-EMILE
Sun, June 28, 2:30PM: BRADY MAGRUDER

Thurs, July 2, 7:30PM: FABIAN GUERRERO
Friday, July 3, 7:30PM: GRACE TAYLOR
Sun, July 5, 2:30PM: JIM IORIO

The show runs 70 minutes with no intermission.

You can find out more about the production at our website.

Marking Rocky’s 50th anniversary, Rocky in Concert arrived at the Auditorium Theatre in a highly anticipated Auditorium Philms presentation featuring the Chicago Philharmonic Orchestra performing Bill Conti’s score live. The setup is simple but effective: the film plays above the stage while the Philharmonic brings new clarity and presence to a soundtrack audiences know by heart. What emerges is a familiar story given a fresh sense of scale, where the music’s live energy adds texture without overwhelming the film’s grit, humor, and underdog charm.

At its core, Rocky remains one of the most enduring underdog stories in American cinema. The film follows Rocky Balboa, a small-time Philadelphia boxer and part-time debt collector who drifts through life with more heart than opportunity. When heavyweight champion Apollo Creed needs a last-minute opponent for a New Year's Day exhibition bout, he plucks Rocky from obscurity as a publicity stunt, figuring that "the Italian Stallion" makes for a good headline. What begins as a novelty match becomes a personal turning point: Rocky trains with a new sense of purpose, steadied by the quiet support of Adrian, the shy pet-store clerk who becomes the emotional anchor of his climb. The plot is simple, but its sincerity, its belief in small steps, second chances, and self-respect, has kept it resonant for fifty years.

The film's cast is a major reason it works as well as it does. Sylvester Stallone's performance is unvarnished and deeply human, capturing Rocky's mix of awkwardness, humor, vulnerability, and stubborn grit. Talia Shire brings a gentle, lived-in warmth to Adrian, charting her transformation from withdrawn to self-possessed with remarkable subtlety. Burt Young's Paulie is volatile but never one-note, and Burgess Meredith's Mickey, raspy, relentless, and unexpectedly tender, became one of the most iconic mentors in film history. Carl Weathers, as Apollo Creed, delivers a charismatic, razor-sharp performance that elevates the film's stakes; he is not a villain, but a showman whose confidence forces Rocky to rise to the moment.

Behind the scenes, the story of how Rocky came to be is almost as compelling as the film itself. Stallone wrote the screenplay in just a few days after watching the 1975 Muhammad Ali vs. Chuck Wepner fight, where Wepner, a heavy underdog, managed to knock Ali down and go nearly the full fifteen rounds. United Artists loved the script but wanted a bankable star in the lead; they offered Stallone a substantial sum, with reports ranging from $250,000 to $350,000, for the screenplay alone. At the time, Stallone was nearly broke, living in a small apartment with his wife and dog, and had only a handful of minor acting credits. Turning down that kind of money was, by any rational measure, a terrible idea. But he refused to sell unless he could play Rocky himself. Eventually, the studio relented, slashing the budget to under $1 million and agreeing to cast Stallone on the condition that the production stay lean and fast.

The gamble paid off beyond anything anyone expected. Rocky became a critical and commercial phenomenon, winning three Academy Awards, including Best Picture, and launching Stallone's career. But the deeper truth is that the film's authenticity is inseparable from Stallone's insistence on embodying the character he created. Rocky Balboa was not just a role; he was a reflection of Stallone's own belief that the long shot is still worth taking.

When Rocky reached the 1977 Academy Awards, it proved just as formidable as its title character, earning ten nominations and walking away with three major wins. The film claimed Best Picture, Best Director for John G. Avildsen, and Best Film Editing, beating out heavyweight contenders like Network and Taxi Driver. Sylvester Stallone received nominations for both Best Actor and Best Original Screenplay, a rare double honor that underscored how deeply his creative fingerprints shaped the film. Talia Shire, Burgess Meredith, and Burt Young all earned acting nominations, and Bill Conti’s propulsive score was recognized as well. For a low‑budget production made on less than a million dollars, Rocky’s Oscar run remains one of Hollywood’s most remarkable underdog victories.

The Chicago Philharmonic Orchestra, led by conductor James Olmstead, played Bill Conti’s legendary Rocky score with a precision and vitality that made the music feel newly alive. Those familiar fanfares, string surges, and brass punches carried a thrilling immediacy when performed by musicians you could actually watch working – bows flying, percussionists locking in the heartbeat of the training montages, trumpets cutting cleanly through the hall. Part of the fun for the audience was seeing just how much craft goes into a soundtrack they’ve heard for decades; every cue landed with crisp timing, and the orchestra’s energy fed directly into the crowd’s excitement. What emerged was more than accompaniment – a full‑scale performance that underscored just how essential the score is to the film’s spirit.

For all the strengths of the orchestra and the film, the evening wasn’t without a few technical hiccups. The film wasn’t cued up at the start, so the orchestra began playing before the movie rolled, leading to an awkward pause before things fully got underway, and once the screening began, the movie’s volume sat noticeably low for the first five to ten minutes. The fix came in the opposite direction, with the sound pushed so high that the dialogue became distorted, making it difficult to catch some of the film’s key lines or even hear the ringside announcers clearly calling the big fight finale. The imbalance proved distracting, especially in an otherwise strong presentation. Still, having seen other Auditorium Philms productions, I’m comfortable chalking this up as an outlier. Their track record is solid, and one uneven sound mix doesn’t diminish the ambition or appeal of the series.

Outside of the technical issues, one programming choice stood out as particularly curious: the musical director’s decision to feature “Eye of the Tiger” both after intermission and again at the end of the film. It’s an undeniably crowd‑pleasing anthem, but it belongs to Rocky III, not the 1976 original, and for Rocky loyalists it felt like an odd fit within a celebration of the first film’s legacy. With Bill Conti’s score already doing the heavy lifting, the addition of a theme from a later sequel created a momentary disconnect in an otherwise faithful presentation. However, many audience members cheered on the Survivor hit, so even if purists bristled, the moment still connected with a good share of the crowd.

Bottom line: even with a few mishaps and an unexpected music choice along the way, as someone who counts Rocky among my all‑time favorite films - a movie I revisit a couple of times each year - seeing it paired with a live orchestra was an experience that felt both familiar and entirely new. Hearing the Chicago Philharmonic bring Bill Conti’s music to life in real time added a dimension I didn’t know I was missing, and it made this 50th‑anniversary screening feel genuinely special. Auditorium Philms’ “In Concert” productions have already built a strong track record with their film‑in‑concert events, including recent presentations like Raiders of the Lost Ark and Harry Potter and the Order of the Phoenix. Their upcoming slate is just as appealing, with titles such as Top Gun: Maverick, Edward Scissorhands, and Home Alone 2: Lost in New York on the horizon.

In the end, Rocky in Concert proved that when a timeless film meets a live orchestra, the result is a reminder of why these stories stay with us.

To find out more about upcoming events at The Auditorium Theatre, click here.

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

Timeline Theatre unveils their chic, new Uptown home with its inaugural production–Henrik Ibsen’s ever-relevant “An Enemy of the People”. A streamlined text by acclaimed playwright Amy Herzog cuts right to the bone in this fast-paced version straight from Broadway.

It shouldn’t come as a surprise that Timeline chose to open their new space with Ibsen’s classic play about a town that prioritizes economics over public health. History continues to repeat itself. Whispers of AI data centers seemed to be on everyone’s lips during the intermission as the modern day parallel is impossible to ignore. Timeline, who is known for their dramaturgical installations by Maren Robinson, doesn't shy away from the ugly reality that our Great Lakes are under attack from the tech billionaire class who aim to guzzle ungodly amounts of our fresh water. 

The play begins on a chipper note, an economically downtrodden town brims with excitement for their new spa and resort that is sure to boost local prospects. That is until plucky Dr. Thomas Stockmann (Will Allan) makes a chilling discovery about the contaminated water source. At first his friends at the local newspaper are behind his decision to inform the townspeople, but as his brother Peter, the mayor (Behzad Dabu), becomes involved support begins to waver. Soon his adult daughter Petra (Campbell Krausen) is his only ally. 

Petra Stockmann (Campbell Krausen, background from left), Hovstad (Grayson Kennedy), and Captain Horster (Charles Andrew Gardner) watch attentively as Dr. Thomas Stockmann (Will Allan, foreground) reviews shocking scientific revelations.

Herzog’s version is more akin to a chamber play than Ibsen’s, perhaps less grand in scale but certainly easier to digest. She also inserts some modern political flourishes that give more depth to the female protagonist Petra. With a slimmer cast and script, individual performances stand out and the intensity is more sustained. And by the second act, the audience becomes part of the cast in a way. This device works especially well because of the brilliant performances of this intimate cast.

“An Enemy of the People” becomes just as frustrating as Miller’s “The Crucible”. That infectious sense of outrage comes down to Will Allan’s devastatingly honest portrayal of a man who loses everything for the pursuit of truth. Allan has a gift for physicality, often interjecting some levity wherever possible. Audience participation becomes hard to contain as he’s continuously silenced by the newspaper staff and his greedy brother. Behzad Dabu opts for a more pragmatic interpretation of the mayor than straight up villain. In fact, there are moments where despite the poisonous water, you might find yourself agreeing with him, therein lies the danger. The emotional anchor of the show is Campbell’s Krausen’s Petra. Much like Allan’s performance, the shift from light to dark is heartbreaking.

Timeline’s glow up from Wellington to North Broadway is something to marvel at. Uptown has gained a Steppenwolf-level theater. Legendary Chicago director Ron OJ Parson brings a certain sophistication well deserving of this sleek 250-seat theater. Everything is just right here. John Culbert’s stylish set and stage magic really fills this gorgeous new performance space. Uptown really is quite lucky to have this wonderful new theater in its backyard. 

Through June 14 at Timeline Theatre. 5035 N Broadway. 773-281-8463 x1

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

On July 24th and 25th at 7:00 pm, Chicago Dance Crash will present expo/sd, a world premiere concert at the Ruth Page Center for the Arts. Curated by Artistic Director KC Bevis, the evening features new works choreographed by Annie Franklin, Cameron McKinney, and Crash resident choreographer Elijah Motley.
 

expo/sd
 

Friday and Saturday, July 24-25th at 7:00 pm
The Ruth Page Center for the Arts
1016 N. Dearborn Street, Chicago, IL 60610
Tickets: $25 for adults / $15 for children 12 and under
 

Tickets available at ChicagoDanceCrash.com
Questions or requests? Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

The upcoming concert will feature a world premiere by choreographer Annie Franklin that investigates how traditional street and contemporary dance forms can exist in conversation with one another while pushing dancers to embrace the visceral, the intimate, and the imperfect in performance—work that is unsettling, raw, and emotionally charged rather than conventionally beautiful. Rooted in themes of voyeurism and intimacy, the piece will ask what it means for audiences to witness moments they are "not supposed" to see, reflecting the deeply personal practice of freestyle movement and the vulnerability of exploration. Performed to an original score by local music producer e j e c t, this work was made possible by the support of the Chicago Cultural Center and the Chicago Department of Cultural Affairs and Special Events. 

Also featured in the concert will be a new repertory work, "A 4 Bar Loop", by choreographer and Crash alum Elijah Motley. This dynamic piece explores identity, drawing from Motley's personal experience as a Black man raised in the South. Growing up surrounded by reminders of the Jim Crow era and stories of racial discrimination shared by his grandparents, Motley reflects on the tangible progress made in civil rights, its regressions, and ultimately asks: "Are we any different now?"

Choreographer Cameron McKinney will also premiere a new duet  - "Fall From Grace." Rooted in hyperphysicality, McKinney explores how the body can be pushed to (and beyond) its limits, and how that physical threshold becomes a gateway to raw honesty. This work operates in a space of "meditative exhaustion": a state where the energy we normally spend maintaining our facades is stripped away, leaving only the truth of self in the moment.

Seating will be very limited for this weekend-only showing and, as with all freestyle-driven productions, both performances will be entirely different. Join Chicago Dance Crash in July as we celebrate three world-premiere works in expo/sd.

About Chicago Dance Crash
A multidisciplinary dance company existing within the intersection of street dance, concert dance, and physical theater, Crash's fusion-style works and performing ensemble embodies our dedication to being an accessible and innovative dance company, creating intensely physical, authentic, and narrative-driven art. Crash burst onto the scene in its first season with a new and innovative movement play concept and has grown to receive critical acclaim throughout its 24 years of groundbreaking dance.
 

Learn more at www.ChicagoDanceCrash.com + join the conversation on Facebook and YouTube (Chicago Dance Crash), Instagram @chicagodancecrash

The Oak Park Festival Theatre, Oak Park's premiere Equity theatre and the oldest professional classical theatre in the Midwest, today announced the casts and production teams for its Summer 2026 productions of William Shakespeare's HAMLET and Oscar Wilde's THE IMPORTANCE OF BEING EARNEST. Presented in repertory for the first time in company history, the productions run concurrently June 30 – August 15, 2026, at Austin Gardens in downtown Oak Park. 

Though radically different in tone, HAMLET and THE IMPORTANCE OF BEING EARNEST speak to one another in striking and unexpected ways. Together, the productions explore the tension between performance and truth, asking what happens when individuals are forced to navigate the expectations imposed on them by family, society, and power. 

Staged in repertory for the first time in company history, the season invites audiences to experience two master playwrights in conversation across centuries while watching Oak Park Festival Theatre actors tackle radically different worlds of comedy and tragedy throughout the summer. 

Directed by Oak Park Festival Theatre Producing Artistic Director Peter Andersen, HAMLET runs July 1 – August 15, 2026. Called home by his father's sudden death and his mother's swift remarriage, Prince Hamlet finds the court of Denmark transformed–and deeply unsettled. When a ghost appears with a terrible accusation, Hamlet is pulled into a relentless search for truth, testing the limits of loyalty, love, and revenge. 

The cast of HAMLET features Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger). 

Directed by Kathryn Walsh in her Oak Park Festival Theatre debut, THE IMPORTANCE OF BEING EARNEST runs June 30 – August 14, 2026. Jack Worthing leads a double life–one in the country, one in the city–while his friend Algernon Moncrieff has troubles of his own. When both men assume the name "Ernest" to win the affections of two very particular women, a web of mistaken identities, secret engagements, and delightful deceptions begins to unravel. 

The cast of THE IMPORTANCE OF BEING EARNEST features August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

The productions share a repertory creative team including Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager). 

Oak Park Festival Theatre's paid Apprenticeship Program, now in its 16th year, provides an educational, inspirational, and career-broadening experience for post-high school and undergraduate students in theatre arts. This season's apprentices are Archer Bart, Karla Valdez, Emily York, Avery Dulak, Anya Moeske, Jo Selmeczy, Jamille Calixte, Evan Ozer, and Ella Boyden. 

Season Pass packages ($70), which include admission to both productions at a discounted rate, are available now at www.oakparkfestival.com. 

HAMLET

Written By: William Shakespeare

Directed By: Peter G. Andersen

Cast: Brew Bos (Hamlet), Brenna Distassio (Laertes), Olive Gallagher (Ophelia), Pedro Jimenez (Rosencrantz), Gabriel Armstrong (Guildenstern), Patrice Egleston (Polonius), Jodi Gage (Gertrude), Josh Carpenter** (Claudius), Lucas Prizant (Horatio), and Charls Sedgwick Hall** (Ghost/Player/Gravedigger)

Understudy Cast: Lucas Prizant (Hamlet), Avery Dulak (Laertes), Anya Moeske (Ophelia), Ben Crane (Rosencrantz/Guildenstern), Julia Rowley (Polonium/Gertrude), August Foreman (Claudius/Ghost/Player/Gravedigger), Jamille Calixte (Horatio).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Tessa Huber  (Stage Manager), Chrissy Roy (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Taylor Pfenning (Costume Designer) Duncan Hon (Master Electrician), Trent Jones (Scenic Painter), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: July 1 – August 15, 2026 (previews July 1, July 3)

Press Opening: Sunday, July 5, 2026

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

THE IMPORTANCE OF BEING EARNEST

Written By: Oscar Wilde

Directed By: Kathryn Walsh

Cast: August Foreman (Algernon), Chad Bay (Jack), Sonia Goldberg (Gwendolyn), Aurora Pennepacker** (Cecily), Drew Bos (Merriman/Lane), Barbara Zahora** (Lady Bracknell), Gabriel Armstrong (Chausible), and Jodi Gage (Miss Prism). 

Understudy Cast: Gabriel Armstrong (Algernon), Pedro Jimenez (Jack), Olive Gallagher (Gwendolyn/Cecily), Evan Ozer (Merriman/Lane/Chasible), Belinda Bremner (Lady Bracknell), Julia Rowley (Miss Prism).

Production Team: Patrick Starner (Production Manager), Andy Cahoon (Technical Director), Chrissy Roy (Stage Manager), Tessa Huber (Assistant Stage Manager), Devin Cameron (Lighting Director), Evan Frank (Scenic Designer), Phoebe Boynton (Costume Designer) Duncan Hon (Master Electrician), Sophia De La Torre (Board Mixer), and Jack Short (Box Office Manager).

** Denotes Membership in Actors' Equity Association

Dates: June 30 – August 14, 2026 (previews June 30, July 2, July 4)

Press Opening:  Tuesday, July 7, 2026

Schedule: Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 7 p.m. Select dates only. See website for complete schedule.

Location: Austin Gardens, 167 Forest Ave, Oak Park, IL 60302

Tickets: General Admission ($40); seniors ($30); students ($15); previews ($20); children under 12 ($5). Group discounts available for groups of 10 or more. Additional booking fees apply. 

Box Office: www.oakparkfestival.com 

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights at 111 W. Campbell St., is proud to announce its 2026-27 season launching with Ride the Cyclone, September 16 - October 18; followed by a Chicago-rooted holiday classic The Christmas Schooner, November 24 - January 3, 2027; an in-concert production of Disney's The Little Mermaid, January 27 - February 14, 2027; Chicago Premiere, The Match Game, March 3 - 28, 2027 and concluding with Rodgers and Hammerstein's masterpiece from music theatre's golden age, Rodgers and Hammerstein's Oklahoma!, September 16 - October 18, 2027.  Early bird discounted subscriptions are available now through June 5 at MetropolisArts.com/2627-season or by calling the box office at 847.577.2121, with single tickets available later this year. 

The 2026-27 season also includes a limited run of the beloved holiday tradition, A Christmas Carol, as part of the Metropolis Family Series Saturdays at 10 a.m. (December 5 - December 19) and a full-length production December 13 and 20 at 6:30 p.m. and December 24 at 2:00 p.m.

2026-27 Season Sponsors: The season show sponsor is Suburban Accents. The season Paint Sponsor is Marc Poulous Painting and Decorating. The season costume storage sponsor is Jennifer Burnidge, CLU, ChFC, RICP State Farm Agent.

All performances are held at the Metropolis Performing Arts Centre, 111 W. Campbell St. in Arlington Heights. The full Metropolis Performing Arts Centre's 2026-27 season includes, chronologically:

RIDE THE CYCLONE

September 16 - October 25, 2026

Book, Music, and Lyrics by Jacob Richmond and Brooke Maxwell

Directed by Lillian Castillo

A darkly comical musical about six teens bargaining for a second chance at life in this profound exploration of life, death, and knowing who you are. An added bonus to the Metropolis production features Director Lillian Castillo. Castillo is the original Constance on the World Premiere Cast Recording, and she also originated the role in the American premiere at Chicago Shakespeare Theater.

THE CHRISTMAS SCHOONER

November 24, 2026 - January 3, 2027

Book by John Reeger

Music and Lyrics by Julie Shannon

Directed by Patrick Tierney

A heartwarming Chicago-based musical that tells the dramatic true story of a Lake Michigan captain who risked his life to share the Christmas spirit.

A CHRISTMAS CAROL - LIMITED RUN

Metropolis Family Series: December 5 - December 19 at 10 a.m.

Full Length Production ONLY: December 13 and 20 at 6:30 p.m., December 24 at 2 p.m.

Adapted by Johanna McKenzie Miller

Original Music and Lyrics by Cory Goodrich

The holiday tradition returns to Metropolis for both the Metropolis Family Series and Metropolis Mainstage. 

DISNEY'S THE LITTLE MERMAID, a concert presentation

January 27 - February 14, 2027

Music by Alan Menken

Lyrics by Howard Ashman and Glenn Slater

Book by Doug Wright

Director to be announced

Originally produced by Disney Theatrical Group, this is a concert collaboration with Metropolis School of the Performing Arts and JAM Orchestra. Based on the Hans Christian Andersen story and the Disney film produced by Howard Ashman & John Musker and written and directed by John Musker and Ron Clements.

This in-concert production features professional and student actors backed by a full orchestra, allowing the music to shine.

CHICAGO PREMIERE

THE MATCH GAME

Written by Steven Strafford

March 3 - 21, 2027

Director to be announced

This new work, a hilarious and heartbreaking family dramedy, asks us to contend with truths we may be too afraid to name and to laugh at ones we can't change.

RODGERS AND HAMMERSTEIN'S OKLAHOMA!

April 28 - May 30, 2027

Music by Richard Rodgers

Book and Lyrics by Oscar Hammerstein II

Based on the play "Green Grow the Lilacs" by Lynn Riggs

Original Choreography by Agnes de Mille

Director to be announced

The classic, medium-defining musical. A high-spirited romantic comedy set against the backdrop of a tumultuous, yet hopeful, new era.

ABOUT METROPOLIS PERFORMING ARTS CENTRE
Metropolis Performing Arts Centre is a vibrant cultural hub that enriches the community through inspiring live performances, creative arts education, and impactful partnerships. It fosters artistic excellence, cultivates multi-generational connections, and offers inclusive experiences that engage and uplift all community members. Located in the heart of downtown Arlington Heights, Metropolis is not just a theatre; it is the cultural pulse of the area, surrounded by premier shopping, dining, and nightlife. Metropolis offers a dynamic year-round season of professional theatre, comedy, concerts, and cabaret performances along with engaging arts education for ages 3 to 85. Serving more than 65,000 patrons annually from across Chicagoland and beyond, Metropolis plays a pivotal role in the community. It provides arts education programs that support thousands of aspiring young artists, as well as community engagement initiatives like the Third Act Players (musical theatre for thespians over 50), Crescendo Chorus (for singers over 55), Flourish in the Footlights (for young artists with disabilities), and Clearbrook on Cue (for artists with disabilities). Metropolis is proud to partner with local organizations such as Endeavor Health, Arlington Heights Senior Center, and Clearbrook. Scholarships are available for students at the School of the Performing Arts to ensure access to the arts for all.

Ride The Cyclone is presented by special arrangement with Broadway Licensing Global, www.broadwaylicensing.com.

The Christmas Schooner is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, www.mtishows.com.

Disney's The Little Mermaid is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, www.mtishows.com.

Rodgers & Hammerstein's OKLAHOMA! is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization,  www.concordtheatricals.com.

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights at 111 W. Campbell St., is proud to announce its 2026-27 season launching with the return of Ride the Cyclone, September 16 - October 18; followed by a Chicago-rooted holiday classic The Christmas Schooner, November 24 - January 3, 2027; an in-concert production of Disney's The Little Mermaid, January 27 - February 14, 2027; the launch of a new work, The Match Game, March 3 - 28, 2027 and concluding with Rodgers and Hammerstein's masterpiece from music theatre's golden age, Rodgers and Hammerstein's Oklahoma!, September 16 - October 18, 2027. 

The 2026-27 subscription series includes Ride the Cyclone, The Christmas Schooner, Disney's The Little Mermaid, The Match Game and Rodgers and Hammerstein's Oklahoma!. Early bird discounted subscriptions are available now through June 5 at MetropolisArts.com/2627-season or by calling the box office at 847.577.2121, with single tickets available later this year.