Displaying items by tag: Collaboraction Theatre Company

Collaboraction Theatre Company is thrilled to announce its inaugural production at Chicago’s newest live theater space, Collaboraction’s new House of Belonging in Humboldt Park: 

Trial in the Delta: The Murder of Emmett Till, the company’s award-winning live docudrama, will return in its most fully realized form yet. Featuring a powerhouse ensemble of returning artists and new voices, this urgent, unforgettable theatrical event invites audiences to confront the truth, honor a legacy, and experience history as if it were happening today.

A series of sneak-peek events will kick off in late January at Collaboraction’s new home in the Kimball Arts Center, 1757 N. Kimball Ave in Humboldt Park.

Previews of Trial in the Delta, Sunday, February 1 and Thursday, February 5 at 7:30 p.m., will be part of the Grand Opening build-up. Collaboraction’s Grand Opening Performance and Ritual Celebration is Friday, February 6 at 7:30 p.m. 

Performances of Trial in the Delta continue through March 15th: Thursday at 7:30 p.m., Saturday at 3 p.m. and 7:30 p.m., and Sunday at 3 p.m. (Exception: No
3 p.m. show Saturday, February 7.) Run time is approximately one hour 50 minutes, including a short Crucial Conversation after every performance. Tickets are $25-$55, and go on sale today at collaboraction.org. Email This email address is being protected from spambots. You need JavaScript enabled to view it. for information on group discounts.

“As Collaboraction turns 30 and opens our new House of Belonging in Humboldt Park, we couldn't co-dream a more relevant first production than Trial in the Delta: The Murder of Emmett Till, bringing to life the trial that served as a catalyst of the start of the Civil Rights movement," said Collaboraction Artistic Director Anthony Moseley. "When Mamie Till said that ‘everybody's business is my business,’ it’s as if she had a dream for a Beloved Community. We are honored to be a part of her legacy and manifesting our new space for arts, youth, social justice and community.”

Collaboraction, now open in the Kimball Arts Center, is a sleek, 4,000-square foot space featuring a new 99-seat flexible studio theater and a 50-seat cabaret with cafe/bar. Free and nearby street parking is available. For CTA riders, the 82 Kimball-Homan bus stops right in front of the building. The theater is also a short walk from the Kimball stop on the 72 North and 73 Armitage bus lines. For bikers and pedestrians, the Kimball trailhead on The 606 leads directly to the Kimball Arts Center.

On September 20, 1955, the trial of the men who murdered Emmett Till began—and the world would never be the same. In Trial in the Delta: The Murder of Emmett Till, Collaboraction transforms the original, long-buried trial transcript into a gripping, immersive theatrical experience that places audiences face-to-face with the people whose testimony shaped the civil rights movement.

Co-adapted by Willie Round and G. Riley Mills and co-directed by Anthony Moseley and Dana Anderson, Trial in the Delta unfolds like a live reenactment of the actual proceedings in Sumner, Mississippi. Actors seated among the audience rise to become witnesses for the prosecution and defense—including the trailblazing Mamie Till-Bradley, bringing raw, unfiltered history to life.

Born from a groundbreaking collaboration with NBC5 Chicago, Trial in the Delta won a National Emmy Award for Outstanding Documentary, two Chicago/Midwest Emmy Awards and a Silver Gavel Award from the American Bar Association. Collaboraction grew the teleplay into a full-length, immersive theatrical experience that had two short runs at the DuSable Black History Museum. The final live performance in February 2023 was professionally filmed and has been screened for groups including the The Emmett Till and Mamie Till-Mobley Institute, the Chicago History Museum, the Chicago Chapter of the Federal Bar Association and the First Circuit Court of Philadelphia. 

Now, Collaboraction’s live production will receive its most ambitious staging yet to inaugurate the company’s new House of Belonging. Boasting a dynamic cast of returning favorites and bold new talent, this multi-week run invites audiences to bear witness, honor Emmett Till’s legacy, interrogate America’s past, and ignite urgent conversation for our present.

Collaboraction’s path to its new House of Belonging

After departing its previous space of 10 years in Wicker Park’s Flat Iron Building at the start of the pandemic, Collaboraction leaders scouted more than two dozen spaces on Chicago’s south and west sides before breaking ground in Humboldt Park in March 2025

Today, in what used to be a pet store, Collaboraction boasts a sleek, 4,000-square foot space with a new 99-seat flexible studio theater plus a 50-seat cabaret with a cafe/bar. The company has begun activating both spaces with live theater, spoken word, music, dance, film, improv, workshops, community meetings and special events, produced by Collaboraction and with guest artists and companies. Collaboraction’s House of Belonging is also home to The Light, the company’s paid youth artist-activist program.

Collaboraction’s 99-seat performance space is a clean, hi-tech flexible studio with state-of-the-art light, sound and video equipment, including an HD multicam system ready to stream live and recorded content worldwide. The theater also serves as a digital studio for video projects and a learning space for youth interested in careers in production and tech. Collaboraction’s tech booth was intentionally designed to be ADA compliant, unlike most booths in Chicago theaters. Backstage, artists and staff have access to two brand new dressing rooms, bathrooms, storage, green room/office space and an exterior dock.

At Collaboraction’s groundbreaking in February 2025, Chicago 26th Ward Alderperson Jessie Fuentes said, “Poetry, theater and hip-hop saved my life when I was young and looking for community growing up in Humboldt Park. It was art that made me a politician. So this groundbreaking means more to young people and families than many of you may believe.“

To manifest its new home, Collaboraction has launched a $3 million House of Belonging capital campaign. The campaign kicked off with a $200,000 grant from the City of Chicago’s Department of Cultural Affairs and Special Events. Other lead supporters include The Paul M. Angell Foundation, The Joseph and Bessie Feinberg Foundation, The LaChapelle Family Foundation, Kerry James Marshall and Cheryl Lynn Bruce, Cordogan, Clark & Associates, AV Chicago and ETC’s Light the Way Program. collaboraction.org/our-new-house-of-belonging

Collaboraction’s design and construction team was led by Cordogan, Clark & Associates, Evan Williams and John Clark, project architects; with general contractor Troy Riley, Oakwood Construction, and Collaboraction company member John Ross Wilson. AV Chicago, ETC, and Kerry James Marshall and Cheryl Lynn Bruce came together to support high production values. AV Chicago, a top Chicago provider of production solutions for live and virtual events, provided high-end gear, technical expertise and installation services. ETC, a leading supplier of lighting solutions and control equipment for theater, film, TV, architectural spaces and entertainment industries, provided lighting equipment through its Light the Way Program.

About Collaboraction

Celebrating its 30th anniversary in 2026, Collaboraction is an award-winning Chicago theater company that uses immersive, socially conscious performance to spark change and build equity. Across all platforms, Collaboraction uses its KEDA methodology - Knowledge, Empathy, Dialogue, and Action - to spark changes in behavior and attitudes that manifest social change.

Collaboraction’s work includes NBC Chicago’s three-time Emmy Award-winning The Lost Story of Emmett Till: Trial in the Delta, the resulting live stage play film, Trial in the Delta: The Murder of Emmett Till, live productions of Crime Scene, Moonset Sunrise, A Blue Island In the Red Sea, its annual Peacebook and Sketchbook festivals, and its youth ensemble, The Light.

Collaboraction receives generous operating support and program funding from the Joseph and Bessie Feinberg Foundation, the Paul M. Angell Family Foundation, Marc and Jeanne Malnati Family, Gary Grube, the Lester and Hope Abelson Fund for the Performing Arts at the Chicago Community Foundation, Naperville Rotary Club, Field Foundation, Chicago Department of Cultural Affairs and Special Events, the Illinois Arts Council, a state agency.

Collaboraction is led by Darlene Jackson, Chief Executive Officer and Executive Director; Anthony Moseley, Chief Programming Officer and Artistic Director; and a dedicated board, company members and staff.

For more, visit collaboraction.org or follow Collaboraction onFacebook, Instagram, YouTube, TikTok and Bluesky.

Encounter, running tonight through January 25, is the product of Collaboraction Theater’s role as Theater in Residence at Kennedy-King College. It takes place in the lovely and modern wood-paneled theater space at Kennedy-King’s campus at 63rd and Halsted Street.

It is sometimes said that theater is a community having a conversation with itself, and for many of us folks outside the Southside Englewood community, Encounter: Being, Becoming provides a golden moment to hear and to see that conversation.

The cast features both high profile stars and rising actors from across Chicago stages, films and television. First up opening night was Leida “Lady Sol” Garcia, who is the choreographer that brought Chicago’s hip-hop dance steps and performers to global stars like Madonna and Missy Elliot.

Her compelling and lively autobiographic performance, Lady Sol’s Dance Diary, Vol. 1., is directed by Sandra written and performed by Leida "Lady Sol" Garcia and directed by Sandra Delgado. Tracing her time from protege of Lauryn Hill whom she met while promoting the Fugees for Columbia Records. series of vignettes from Garcia’s life, with supporting dancers Cari Bermudez and Sydney Jackson, traces her brushes with fame, and her encounter with mental illness.

Another big name is Sir Taylor, who shares his life story in Inspire: Breath Life, starting from growing up in Cabrini-Green and the struggles he faced and overcame. Taylor became a founding member of the Jesse White Tumblers, which led him to compete as an Olympic gymnast for the U.S., and brought him around the world. A stop in Africa put Sir Taylor in touch with his roots and set him on path to community activist, mentor and leader of The Example Setters. The drumming scenes set in Africa were particularly dynamic, and Sir Taylor is a powerful presence on stage.

The Becoming program includes four original works by Chicago dramatists, which are captivating stories you will want to hear (I’m heading back to see them too):

Englewood: A Love Story, directed by Reginald Edmund, is a love letter to the past, present and future of Englewood, a blend of history and true stories from actual residents in the community.

Lift Every Voice: Written by G. Riley Mills and Willie Round, and directed by Rory Jobst. When a racist Snapchat makes its way around a high school its students are left to grapple with their own history, biases and privilege in order to maintain their relationships.

F.O.P., Written by Miranda Gonzalez and directed by Juan Castenada, after the birth of their child, two Chicago police officers and partners, Josh and Lala, are the victims of racial harassment at the hands of their fellow officers.

SANKOFA, written by Antwon Funches, directed by Tatyana Chante, it is set in the 19th century American South, and follows the climactic escape of an enslaved mother and daughter.

Encounter is curated through a combination of open and invited submissions from emerging and established artists throughout the city. Every performance is followed by a Crucial Conversation where the audience is welcomed to share their thoughts and lived experiences as they connect with the work. While the goal series serves to engage the Chicago community in discussion on issues of equity and inclusion, incite knowledge and grow empathy that leads to action and lasting change – the experience is far more fun, and a wonderful display of performance passion at a place many Chicagoans might overlook. Learn more and buy tickets at Collaboration/Encounter.com https://www.collaboraction.org/encounter

It’s time for some facts, and not the fake news facts. During the Chicago theatre season of 2015-2016, 25% of shows produced had female authorship. Only 36% of plays were directed by women. Someone reading might think that 36% isn’t all that bad and maybe it’s a step in the right direction. Well, let's put these numbers in perspective. 

This was a study undertaken by Kay Kron and Mariah Schultz as part of Kron’s Master Thesis at DePaul University. These stats were part of the study that were included full Jeff eligible season of Equity and Non-Equity theaters nominated for a Jeff Award in any category during Chicago’s 2015-2016 season. What does that even mean? Glad you asked. 

That means, 52 theatres, over 250 plays, which resulted in over 4,500 data points. Now, let's put those earlier numbers into perspective. That 36% means that about 90 women directed plays. 62 out of those 250 plays produced had female authorship. Here’s a few more numbers for you: 43% of actors hired were female. 89% of costume designers were female. Stats like these are the reason, as well as the current political climate, that people are speaking up. 

Dani Bryant decided to channel these numbers, as well as the spotlight that gender equality is currently under, into the fantastic show that is Gender Breakdown. Now, before I go any further I want to say that I am a 31-year-old white male. I am the demographic. I have never experienced discrimination of any kind. 

Gender Breakdown is 10 female identified performers telling their stories of the misogyny, segregation, and overall disrespect they have experienced throughout their careers. These women bare their soles on stage trying to shed a light on what it’s really like. Not only are these women sharing their stories, but a compilation of over 200 Chicago theater artists is played throughout the show sharing stories about how they have had to deal with the misogyny and typecasting within the Chicago theater system. 

Brianna Buckley, Jazmin Corona, Kamille Dawkins, Rula Gardnier, Kate Hawbaker-Krohn, Priya Mohanty, Siobhan Marguerite Reddy-Best, Carolyn Sinon, Aimy Tien, and Mia Vivens each command the stage with powerful performances retelling their own experiences that they have had. Each performance shows that they are not just a woman, but much more. They are dancers, intellectuals, mothers, daughters, performers. Strong women who don’t need to be told who are what they are because they already know who and what they are. 

One such segment of the show that stuck with me was the retelling of casting ads. They play it as if it’s a game show where the “host” will read REAL casting calls. Then the women play along to see if they meet the “criteria.” When I say criteria, I mean the actual outlandish bullshit that some producer, casting director, or even director scribbles down for how they see the female role. Such “criteria” ranges from: seeking a middle age woman (which apparently means 26-32), a cute, but dorky girl, must be willing to perform nude, skinny (as in 105 lbs), and any other type of superficial surface level adjective or phrase one can think of. 

While being a woman within the theatre, or entertainment community overall, is hard because men are running the show, it can be equally hard when you’re a minority within the minority. Priya Mohanty, who has here MBA from Duke in case you were wondering, spoke how she is often typecast since she is from India. Or that Kamille Dawkins might be better served playing the black servant instead of the lead because it’s a part that fits her better. 

While sitting through each performance I can remember laughing during many of the sets. For instance, the casting call bit that was mentioned earlier was played with a humoristic approach. I can remember several times where my laughter turned into a sudden realization that I was laughing at the degradation these women, all women for that matter, have faced. That realization soon turned into an uncomfortable feeling. That uncomfortable feeling though was welcomed because it helped bring on empathy. I can never be able to relate to any of these women’s stories (31-year-old white male remember), but the power to get the audience to empathize with these performers is the accomplishment. To understand where their rage, sadness, optimism is coming from is the mark of something wonderful.

There is no doubt that there needs to be a massive overhaul within the entertainment industry as whole. Productions like Gender Breakdown helps show the general public what really is going on, which can then hopefully enact change within the system itself. Gender Breakdown is just one step down the long road to progress, but it’s the right step. 

Collaboraction Theatre Company’s Gender Breakdown is being performed at the Flat Iron Arts Building in Wicker Park through March 19th. For more information click here. 

*Now extended through April 1st