Displaying items by tag: Goodman Theatre

Goodman Theatre launches its 2025/26 season at the Owen with Revolution(s), a world premiere musical that thunders with urgency and defiance. Written by Zayd Ayers Dohrn—2016 Horton Foote New American Play Prize winner and son of Bill Ayers, co-founder of the Weather Underground—the play carries the weight of history and the pulse of rebellion. With music by Tom Morello of Rage Against the Machine and Audioslave fame and direction by Steve H. Broadnax III, Revolution(s) explodes onto the stage as both a call to arms and a meditation on generational resistance.

Dohrn’s daring script weaves two timelines into one charged narrative. In 1989, African-American veteran Leon (Al’Jaleel McGhee) and his quick-thinking, idealistic wife Emma (Jackie Burns) find themselves fugitives, forced to flee with their newborn twin sons. Their flight captures the uneasy tension of a generation torn between paranoia and hope—a time when the dream of revolution still felt urgent and within reach. Fast forward to 2016, and those twins, now adults, grapple with the legacy their parents left behind. Hampton (Aaron James McKenzie), scarred by his service in Afghanistan, abandons his post and returns to Chicago’s South Side and to Lucia (Alysia Velez), his undocumented girlfriend who anchors him to a fragile sense of home. His brother Ernie (Jakiem Hart), once a prodigy on the guitar, has withdrawn from both his talent and the world—until Hampton’s unraveling forces him to confront the very past he’s been avoiding.

Broadnax directs with a ferocity that mirrors the play’s title, blending moments of tenderness and chaos with cinematic precision. He builds scenes that combust with tension and intimate ache, often within the same breath. The design work—gritty projections, steel scaffolding, and stark, rhythmic lighting—evokes both the bunker of a warehouse and the battlefield. There’s an immediacy here: revolution is not a metaphor, but a lived inheritance.

(L-R) Jakeim Hart and Aaron James McKenzie in Revolution(s).

Then there’s the music—pure Morello. The score, straight from the Rage Against the Machine playbook, fuses electric rebellion with spiritual yearning. Songs like “Battle Sirens,” “Hold the Line,” and “Whatever It Takes” roar as anthems of resistance, while “Rise to Power” and “Promenade” reveal unexpected warmth and vulnerability. The songs don’t so much advance the narrative as expand it, offering philosophical texture instead of plot propulsion. In Revolution(s), music is both protest and prayer—an act of survival.

What happens when the spirit of rebellion is passed down like trauma? What does it mean to inherit both resistance and loss? Revolution(s) suggests that revolution isn’t merely an act—it’s a legacy, coded into the body like memory or pain. Leon and Emma’s defiance becomes both a beacon and a burden for their sons, who carry the scars of a fight they didn’t choose but can’t escape. For Hampton, rebellion manifests as a restless need to confront authority—even when the war he’s fighting is within himself. For Ernie, it’s the refusal to participate, a quieter but no less radical protest against expectation. The play’s most haunting insight is that revolution reshapes generations; its victories inspire, but its wounds linger.

Dohrn’s writing captures this duality with compassion and fury, showing that to inherit rebellion is to inherit a question—how do you keep fighting without becoming consumed by the fire your parents lit?

Revolution(s) is a work of conviction—raw, restless, and unapologetically alive. It asks hard questions about legacy, freedom, and what we’re willing to sacrifice for change. In a cultural moment of complacency by our elected representatives, Revolution(s) doesn’t just remind us of what rebellion sounds like—it dares us to remember why it matters.

Highly Recommended

When: Through Nov. 16th
Where: Goodman Theater (170 N. Dearborn)
Tickets: $34-$104
Info: goodmantheatre.org

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

When a business closes, who mourns their loss? Lee Kirk’s new play Ashland Avenue, now running at Goodman Theatre, asks that very question. Kirk resides in LA, but he studied theatre at DePaul a few decades back and has a strong connection to the city of Chicago. On a recent visit, he remarked on how few of his college haunts were still open. Perhaps it wasn’t grief that inspired him, but rather a nostalgia for the places he spent formative years.

You can’t tell a Chicago story in Chicago without one of the city's most celebrated actors, Francis Guinan. As to be expected, he brings a certain hometown charm to the role of Pete, of Pete’s TVs–his time capsule of an electronic store. Ashland Avenue begins with Pete preparing to be honored by the mayor for being part of the community for over 40 years. His daughter Sam, played by Jenna Fischer of ‘The Office’, loyally helps him keep the shop running as the world marches into the future and threatens to leave her behind.

Ashland Avenue runs the length of Chicago, and each block tells a different story, but every city has its own version of changing neighborhoods and gentrification. Kirk’s use of objects as storytelling devices feels especially relevant as a parallel to Pete’s TV shop. Though TVs are still a staple of most households, their importance has significantly waned in an era in which you can stream network TV on your iPhone. Ashland Avenue is at its core a play about the tension between Pete’s sustained resistance to change and his daughter Sam’s yearning for a new beginning.

If you live anywhere long enough, you’ll see storefronts change, but how often do we think about the proprietors and what prompted them to close their doors? Ashland Avenue brings you behind the counter to share in both the victories and failures of small business. It’s a play that celebrates family owned and operated businesses in a world of Targets and Amazons. It’s weird to say a business becomes part of your own family but like an aging family member, once they’re gone, they’re gone.

The small cast is rounded out by Sam’s husband Mike (Chike Johnson), Pete’s former shop assistant, now roommate Jess (Cordelia Dewdney), and a mysterious late-night customer played by Will Allan. A whole world of emotional catharsis happens just within the shop walls, but big things come in small packages. The scene work between Fischer and Guinan is understated and heartrending, which is to say, human and honest. Both performances only add to the authenticity of the play.

It can be tough to write a play about Chicago when you are not really from Chicago. Too often we see out-of-town writers jam in the words “bean” and “Sears Tower” but Ashland Avenue has perfectly captured the spirit of what it means to be a Chicagoan. Perhaps it’s the reliably earnest Guinan’s performance or Kirk’s brilliant script but Ashland Avenue might just be the best Chicago play since Bruce Norris’ 2011 Pulitzer winner Clybourn Park. 

Through October 12 at Goodman Theatre. 170 N Dearborn St. 312-443-3800

Chicago - Jackie Taylor, the author of more than 100 plays and musical bios, thousands of poems, a screenplay, and two books, has been selected as the Chicago Literary Hall of Fame’s 2025 Fuller Award recipient in honor of her lifetime achievements. Taylor will be celebrated at a ceremony on Monday, October 20, at her Black Ensemble Theater (4450 N. Clark Street). Registration is open. Presenters will include Jeff Award-winning director Daryl Brooks, UIC Associate Professor of Theatre Lydia R. Diamond, poet and author Haki Madhubuti, and Harvey Young, Dean of the College of Fine Arts at Boston University. The American Writers Museum is a major partner in the program. 

The Chicago Literary Hall of Fame selection committee consisted of past Fuller Award recipient Patricia Smith, Linda Bubon, Yoland Nieves, Ugochi Nwaogwugwu, and Keehnen Owens. During the stringent selection process, the committee considered dozens of outstanding candidates, evaluating the quality of their literary output, the strength of their Chicago connections, and their greater contributions to Chicago’s literary life.

Born August 10, 1951 in Chicago, Taylor was raised in the Cabrini Green housing project. Taylor founded Black Ensemble Theatre in 1976, a year after she made her Hollywood acting debut in the now classic film Cooley High.  

Taylor majored in theater with an education minor, and after earning her B.A. from Loyola University in 1973, she began working with Free Street Theater. In addition to her acting break in 1975's Cooley High she produced and starred in television and film - as well as in theatrical productions with such companies as the Goodman Theater, Organic Theater and Victory Gardens Theater. Early in her career, Taylor concluded that Hollywood’s depiction of African Americans would continue to be largely negative, which led to her to found Black Ensemble Theater, according to her biography at History Makers. Since the start, Taylor has written, produced, and directed stories that cut across racial and cultural lines. Her mission, she says, is to bring people together.

Among Taylor’s many writing credits are The Other Cinderella, The Hoochie Coochie Man: Muddy Waters (co-written with Jimmy Tillman), The Marvin Gaye Story, The Jackie Wilson Story, All In Love Is Fair, I Am Who I Am (The Story of Teddy Pendergrass), Don’t Make Me Over (The Story of Dionne Warwick), Don’t Shed A Tear (The Billie Holiday Story), Somebody Say Amen, At Last: A Tribute To Etta James, and Precious Lord Take My Hand. She has had featured roles in several major films, including Hoodlum, Barbershop 2, The Father Clements Story, Losing Isiah and To Sir With Love: Part 2, and worked with such greats as Sidney Poitier, Laurence Fishburne, Vanessa Williams, Bill Dukes, Glynn Thurman, and Lawrence Hilton Jacobs.  

In 2010, Taylor broke ground on a new 20-million-dollar Black Ensemble Theater Cultural Center, which opened on November 18, 2011. The Free To Be Village development, introduced in 2023, aims to expand the existing campus, in part to offer affordable housing to artists in the community and establish an education program. The project’s goal is to reinforce and grow the theater’s mission of reducing inequality in the arts. 

Taylor earned a master’s degree in education and receive an honorary doctorate degree from DePaul University. She has worked for the Chicago Board of Education, the Illinois Arts Council, and Urban Gateways. Through the years, Taylor has taught every grade level from kindergarten through major universities. She served as president of the African American Arts Alliance and is on the board of the Betty Shabazz International Schools.

The City of Chicago honored her by naming a street after her, Jackie Taylor Street, and Governor Pat Quinn declared March 27, 2009, Jackie Taylor day in Illinois.

Taylor’s many awards include a Special Jeff Award for her cultural contributions and a League of Chicago Theater Lifetime Achievement Award. She has been named as an outstanding performer, director, and business woman by dozens of media outlets, including New City, Chicago Defender, Today’s Chicago Woman Magazine, Chicago Magazine, Chicago Sun-Times. She and her work have been featured in Jet, Variety, the New York Times, The Washington Post and Essence.

Registration closes when the theater reaches capacity.

In the Goodman Theatre’s stirring new production of The Color Purple, director Lili-Anne Brown delivers a version of Alice Walker’s landmark novel that feels both stripped down and soulfully expansive. Forgoing spectacle in favor of raw emotional clarity, Brown places the story’s heart—female resilience and love—center stage, and the result is a deeply moving, musically rich, and spiritually resonant experience.

Performed on a minimalist wooden set, this production doesn’t rely on lush visuals or elaborate scenery. Instead, it trusts in the power of storytelling, character, and song to carry the audience through Celie’s journey. And Brittney Mack, as Celie, is a revelation. Her performance is layered and honest, tracing Celie’s transformation from a silenced, abused girl to a self-possessed, radiant woman with astonishing depth and grace. Mack’s voice, vulnerable and strong in equal measure, anchors the production emotionally and thematically.

What sets this Color Purple apart is Brown’s unflinching loyalty to the spirit of Walker’s novel. Where some adaptations have diluted or sidelined the central theme of same-sex love, this one centers it. Celie and Shug’s relationship is not a footnote—it’s the story’s spiritual awakening. Aerie Williams as Shug Avery brings magnetic charm and fierce tenderness to the role, particularly in the aching duet “What About Love,” which becomes a quiet act of liberation for Celie. In this production, purple is not just a color—it’s a symbol of the love between women, of beauty that exists even in suffering, and of a life finally chosen on one's own terms.

Nicole Michelle Haskins brings fierce humor and unbreakable will to Sofia, commanding the stage with her booming presence and crystal-clear purpose. Her scenes with Gilbert Domally’s affable and conflicted Harpo pulse with humor and tension. Evan Tyrone Martin as Mister and Sean Blake as Ol’ Mister embody the failure of patriarchy to extinguish women’s light. The men here, barely even named, are forces to resist rather than understand—an intentional move that mirrors Walker’s narrative framing.

Musically, the show is a triumph. Jermaine Hill’s musical direction allows the score—by Brenda Russell, Allee Willis, and Stephen Bray—to soar. From the quiet yearning of “Somebody’s Gonna Love You” to the exuberant defiance of “Push the Button” and “Big Dog,” every number drives the story forward with emotional precision. Breon Arzell’s choreography adds joy to even the darkest moments, reminding us that Black joy, even amidst oppression, is a radical act.

By centering the relationships between women—mothers, sisters, lovers—and embracing the spiritual and sexual awakenings that shape Celie’s story, this Color Purple finds new life and renewed purpose. Brown doesn’t simply direct this musical; she honors it, restores it, and reminds us why this story still matters. It’s not just about surviving trauma—it’s about reclaiming beauty, pleasure, and love on your own terms.

In a world that often asks Black women to be strong for others, this Color Purple says: be soft, be bold, be free. And be seen—in all your brilliance.

Top of Form

Highly Recommended

When: Through Aug. 3
Where: Goodman Theatre, 170 N. Dearborn St.
Tickets: $33-$143
Run time: 2 hours, 50 minutes
Info: goodmantheatre.org

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

With AI and other technological advancements continuing to change the landscape of how we work and interact with one another, what does the future hold for humanity? What does it mean to be human in a world where robots and AI threaten to replace us?

In his daring new work, A Tour of the Permanent Collection in the Museum of Late Human Antiquities, or simply The Antiquities, Pulitzer Prize finalist playwright Jordan Harrison (Marjorie Prime, Maple and Vine) attempts to give the audience his answer these questions though a disquieting view of the present as seen from the future at a time when AI and robots are replacing the human race.

Harrison’s thought-provoking and groundbreaking work is making its world debut at the Goodman Theatre as a co-production between the Goodman, Playwrights Horizons, and Vineyard Theatre, following a critically acclaimed Off-Broadway run. The Antiquities has been hailed as “the finest new play of the season” by the Wall Street Journal and has earned “Best New Play/Production” nominations by the Lucille Lortel, Drama League, and Outer Critics Circle Awards.

Co-directors Caitlin Sullivan and Chicago’s own David Cromer, who also earned a Drama Desk nod for “Outstanding Direction of a Play,” have assembled an exceptional cast of nine actors who together create nearly 50 characters as the audience time travels through the 19^th Century, the Industrial Revolution, the development of the first robot, the advent of the computer and Internet to a chilling future where robots dominate and the human race is fading, but fighting for existence.

The cast features Marchánt Davis, Layan Elwazani, Andrew Garmen, Helen Joo Lee, Thomas Murphy Molony, Aria Shahghasemi, Kristen Sieh, Ryan Spahn, and Amelia Workman. Through this fast-paced production, each cast member masterfully transitions from character to character, scene to scene. It is a tribute to the actors and directors that these transitions are seamless, allowing the story to flow.

The production opens with the curators of the Museum of Late Human Antiquities contemplating the idea of humans – what were they really like? What did they wear? What is it like to be in a body that needs to be refueled? Why did they die out? As the two AI-powered robots gaze into the audience, they invite us to come along and consider the curios they have collected through the decades and the stories that they tell.

We travel back to the 19^th century where Mary Shelley entertains her husband and companions, including Lord Byron, with a ghost story of a monster created from the dead, the premise of her classic novel Frankenstein. We see the devastating effects of the Industrial Age as the workers “bury” their fingers lost to the machines. Fast-forward, we witness the invention of a robot that can “think” its way around obstacles to the Silicon Valley trio who are attempting to settle on the “voice” for the computerized assistant they dubbed “Robin.” The further into the future we travel, the more we observe AI taking over for human creativity, until the last remnant of the human race is fighting to survive.

And while the impact of machines and technology on our daily lives is never far from the storyline, each segment is told with heart and humor, never letting the audience forget the human connection and relationships that make us who we are. In one of the lighter moments, we watch as a mother, father, and son try to connect to the Internet on the old dial-up modem. Just hearing those sounds was enough to cause the audience to break out in laughter.

The Antiquities is an important statement on both the wonders and the threats of the technologies that we are developing today. It was thought-provoking, witty and humorous, and, yes, at times, disturbing, but it also can be seen as a cautionary tale and an opportunity to reflect on where humanity has been and where it may end up if we allow technology to become the end-all and be-all of our lives.

The Antiquities is playing at the Goodman’s Owen Theatre through June 1. For ticket information, visit here. 

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

Something extraordinary happens on a street in Huntsville, Alabama. Mr. Woods (Keith Randolph Smith), a hard-working Black man in the community, is involved in a traffic stop with two cops (Mark Bedard and Jorge Luna) - a scene witnessed far too many times in America. But this time something strange occurs. As his neighbors, Retta (Caroline Stefanie Clay), Reggie (Ray Anthony Thomas), and their grandson, Trent (Cecil Blutcher), watch from their balcony perch, Mr. Woods's anger transforms into something... unexpected. Something that changes everything.

That's where Zora Howard's "BUST: AN AFROCURRENTIST PLAY" begins, and to say more would spoil its interesting revelations. "Bust," written by Zora Howard and directed by Lileana Blain-Cruz, is produced by Goodman Theatre in association with Alliance Theatre.

What makes this play remarkable is how it reimagines Black rage not as a liability, but as a source of protection - a force that might finally shield from, instead of exposing to, danger. Howard asks us to consider: What if the very emotion that so often puts Black lives at risk could become their shield?

Zora Howard's dialogue—especially in its most naturalistic scenes—crackles with authentic humor. Retta and Reggie's interactions sparkle, their shared past adding layers of meaning to every exchange. Their long history together makes even the smallest moments between them feel like inside jokes waiting to be told. The classroom sequences, where students push back against repressive authority, each other, and the invisible weight of a broken system, are electric. But as the narrative slips into more surreal terrain, cracks begin to show.

Unlike the magical realism of Gabriel García Márquez—where supernatural moments are seamlessly embedded in the everyday, unquestioned and mythic—"Bust" dwells too long in the confusion of its own metaphors. The characters' prolonged reactions to the inexplicable events ("What just happened?", "Where is…?", "How can…?") pull us out of the flow and render the surreal sequences more like detours than revelations. The unnamed, non-descript space—perhaps intended as a psychic or spiritual refuge from racial trauma—feels underdeveloped and too divorced from the world around it. Rather than expanding the emotional scope of the play, this abstraction creates a frustrating disconnect.

There's a clear metaphor at work: rage forces retreat; grief bends reality. But in "Bust," that retreat never fully reconciles with the lived world of the characters. The liminal realm they enter—be it dream, myth, or madness—never roots itself in the logic of the story. It becomes less a mystical integration and more an escape hatch, leaving the audience unsure how to interpret it, or why the play is split in two.

A seasoned dramaturg might have helped stitch the play's dual impulses—realism and abstraction—into a more cohesive fabric. As it stands, "Bust" is a piece with two distinct voices: one that speaks in the language of humor, pain, and communal survival, and another that whispers through metaphor, without always being heard.

Still, even in its fragmentation, "Bust" pulses with urgency and vision. Blain-Cruz's direction keeps the energy taut and the stakes high. The ensemble, including Bernard Gilbert as Zeke, Victoria Omoregie as Paige, Ivan Cecil Walks as Boobie, Renika Williams-Blutcher as Krystal, and Caitlin Hargraves as Ms. Pinto, bring unvarnished honesty to their performances.

In the end, "Bust" isn't a bust—it's an eruption. It's bold, funny, and full of potential. But in aiming for the transcendent, it sometimes loses sight of the real—and the real, here, is already more than enough.

SOMEWHAT RECOMMENDED
When: Through March 18
Where: Goodman Theatre, 170 N. Dearborn St.
Tickets: $25-$85
Info: www.goodmantheatre.org

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

James Ijames' Pulitzer Prize-winning play, Fat Ham, bursts onto the Goodman Theatre stage in a vibrant, deeply resonant co-production with Definition Theatre. Directed with an expert hand by Definition Theatre's Artistic Director Tyrone Phillips, this contemporary reinvention of Hamlet dazzles with humor, heart, and a profound exploration of identity, toxic masculinity, and generational burdens.

Set in a Southern backyard during a family barbecue, Fat Ham transforms Shakespeare's dark tragedy into a poignant yet hilarious meditation on living one's truth. At the center of this narrative is Juicy, played with remarkable nuance and emotional depth by Trumane Alston. Juicy's journey of self-discovery unfolds amid the ghosts—both literal and figurative—of his family's past, grappling with expectations of masculinity and the weight of inherited trauma.

Alston's performance is layered and compelling; his Juicy is introspective and tender yet brimming with an undercurrent of resilience, given time he will lean more into the character arc. His comedic timing is impeccable, delivering Ijames' sharp and incisive dialogue with a natural ease that invites the audience into his emotional world. Juicy's interactions with his spirited best friend Tio, brought to life by the dynamic Victor Musoni, provide some of the play's most humorous and thought-provoking moments. Musoni's portrayal of Tio is electric, offering a counterpoint to Juicy's introspection with boundless energy and unfiltered wisdom.

Ronald Connor impresses in the dual role of Rev and Pap, seamlessly shifting between the domineering ghost of Juicy's father and the charismatic over-sexed preacher presiding over family affairs. His presence looms large, embodying the toxic masculinity that haunts Juicy's world with an intensity that is both chilling and oddly comedic. Opposite him, Anji White as Tedra, Juicy's vivacious mother, delivers a powerhouse performance—balancing maternal warmth with an underlying desperation to escape her own past.

Ireon Roach’s Opal is a revelation, with her confidence simmering to the surface, while Sheldon Brown’s Larry, a stoic Marine grappling with his own identity, offers a poignant reflection of the play’s central themes. And no production would be complete without the powerhouse that is E. Faye Butler, whose presence on stage is nothing short of magical.

The technical elements of the production elevate the storytelling to new heights. Arnel Sancianco’s set design captures the essence of a Southern backyard with rich, lived-in detail, creating a tangible sense of place that enhances the play’s themes of home and heritage. Jos N. Banks’ costume designs are vibrant and character-driven, reflecting each individual's inner conflicts and outward personas. Jason Lynch’s lighting design cleverly shifts from naturalistic warmth to eerie supernatural hues, underscoring the play’s tonal shifts. Meanwhile, Willow James’ sound design punctuates the emotional beats with a careful blend of music and ambient sounds that ground the play’s heightened moments.

Phillips’ direction is both deft and sensitive. He embraces the play's comedic elements without undercutting its emotional weight. He crafts a production that honors Ijames’ bold vision while allowing the cast to fully explore the complexities of their characters.

Fat Ham is a triumph—an innovative, riotously funny, and ultimately moving exploration of what it means to break free from the ghosts of the past and forge an authentic future. Whether you're a Shakespeare purist or someone looking for a fresh, contemporary take on a classic story, this production offers something truly special.

With an outstanding ensemble, sharp direction, and a creative team firing on all cylinders, Fat Ham at Goodman Theatre is a must-see theatrical event that redefines what it means to inherit, to resist, and to thine own self be true.

Highly Recommended
When:    Through March 2
Where:  Goodman Theatre, 170 N. Dearborn St.
Tickets:  $25 - $85
Info:     Goodmantheatre.org/Ham

I arrived at the Goodman Theatre for the opening of its 47^th annual production of A Christmas Carol, directed by Jessica Thebus, like many of us—not really feeling the upcoming holidays. I’m usually a real Pollyanna, trying to put on the happy face. I’m usually Bob Cratchit, the good soldier. I’m Tiny Tim Cratchit, even, throwing around “God bless us, everyone” like it’s tinsel. But not this year. This year, I got to the Goodman feeling like a regular Scrooge. And then I walked into the lobby and the whole thing hit me like a series of middle-of-the-night spectral visits upon a four-poster bed. It changed me.

From the balcony above we were greeted by Benet Academy’s Madrigal Singers, sprinkling down on us carol after carol. Seated next to a large, unlit Christmas tree was William Buchholtz, a Native American flautist and a haunting caroler himself. Thebus, back for her fourth Goodman production of this holiday favorite, addressed the audience, lighting the tree and spreading some cheer—and we hadn’t even found our seats yet.

Once the show began, the sets by Todd Rosenthal transported us back to a different beautiful but bleak era—Dickensian England. All of the trappings one expects of A Christmas Carol are there. Muffed carolers, chestnut peddlers and poultry peddlers, and Scrooge & Marley’s beckoning lending house. There we meet Christopher Donahue’s Ebenezer Scrooge—mutton-chopped and hunched and as unhappy as we expect Scrooge to be. But that darkness, very real and very dark, is constantly counteracted by the radiance of the rest of the cast. Anthony Irons’ Bob Cratchit, cheerful charity collectors played by Penelope Walker and Wai Kim, and Dee Dee Batteast’s ever-loving niece all fend off Scrooge’s glare and gruffness by not even acknowledging his grinchiness—their world, while perhaps less financially happy than Scrooge’s, is a completely separate and better world emotionally than his, down to the vibrant colors of their costumes.

(L-R) Anthony Irons, Christopher Donahue, Ava Rose Doty, Xavier Irons, Henry Lombardo, Isabel Ackerman, Viva Boresi, Tafadzwa Diener and Susaan Jamshidi.

Once back at Scrooge’s house (whose ghastly door knocker made both me and my young daughter jump, even though I knew what was coming) we are surrounded by this bleak world this miserable old miser’s made for himself. It’s drafty and dark and dusty and the perfect place for the jarring arrival of Scrooge’s long-dead partner, Jacob Marley, played by William Dick.

The sights and sounds of Marley’s visit are frightening, even when expected, but they contrast the joy and light spread by the first two spirits who visit Scrooge once Marley departs. Lucky Stiff’s Ghost of Christmas Past is buoyant and bright and over the top—meant to get Scrooge’s attention and ours. The spirit transports us all back in time where our hearts break along with a young Ebenezer Scrooge, portrayed brilliantly by Henry Lombardo, and then leap across the hardwood of Fezziwig’s warehouse-turned-dancehall, only to be broken again by Scrooge’s interaction with his true love played charmingly by Amira Danan. We see all the light Scrooge has lost—and it only makes him and the world he’s created that much darker.

Scrooge’s present is as sad as the present world around him is resolutely jolly, made all the more so by Bri Sudia’s Ghost of Christmas Present. The Cratchit children—Isabel Ackerman, Viva Boresi, Xavier Irons, Tafradzwa Diener, and Ava Rose Doty as Tiny Tim—counter Susaan Jamshidi’s tired and realistic Mrs. Cratchit, just as Batteast does at an evening party attended by other folks who are over it.

While Marley’s ghost was truly terrifying, this Ghost of Christmas Future was less scary and sadder—a dead flower, a faded dowager. But, of course, it’s the specter of a sad future that finally snaps Scrooge out of his life of being a scrooge.

And Donahue’s transformation is very real. We’re all used to a claw-handed and clench-jawed Scrooge from film after film. And we know the change to come—to that of a heel-clicking distributor of charity and cheer. But seeing it happen right there, before our eyes, was as magical an effect as any of the magic on display. A real Christmas miracle.

Now, I have no clue if transforming a Scrooge-like audience was Thebus’ intent (or Dickens’), although I’m sure that’s what both were aiming for. But just like the Victorians who Dickens was addressing, our world today could use some hope and some cheer. And just as Donahue’s Scrooge did onstage, I found myself leaving the Goodman Theatre a little more hopeful and a little more cheerful. I have no idea if you’ll experience the same transformation as I did, but I can promise you that this production of A Christmas Carol, at the Goodman Theatre from now through December 30, will at the very least entertain you and warm your heart this holiday season.

Eboni Booth’s 2024 Pulitzer Prize-winning drama Primary Trust is a deeply introspective and bittersweet exploration of abandonment, routine, and the disorienting reality of sudden change. Directed with sensitivity by Malkia Stampley in her Goodman debut, the production skillfully tells the story of Kenneth, a quiet, unassuming man in his late 30s who has spent his entire life working at a single bookstore. When the shop closes, Kenneth is forced to confront not only the uncertainty of unemployment but also the emotional abandonment that surfaces as his stable, predictable world unravels. The closure of the bookstore, along with his long-standing isolation, pushes Kenneth to face a future where the comforting routines and relationships he once relied on are gone, underscoring the profound effects of abandonment in his life.

Namir Smallwood’s portrayal of Kenneth is truly extraordinary. He captures the character’s quiet vulnerability, depicting a man whose life revolves around the safety of a small, predictable world. Smallwood infuses Kenneth with a subtle yet profound emotional depth, inviting the audience to experience both his fear of change and his intense longing for connection. His interactions, especially with his imaginary friend Bert, reveal Kenneth’s deep-seated need for stability and companionship. Bravo!

Charles Andrew Gardner plays Bert, Kenneth’s imaginary friend and a manifestation of his internal struggles. Gardner’s portrayal is warm and engaging, bringing a sense of playfulness and hope to the otherwise heavy emotional landscape. The dynamic between Smallwood and Gardner is captivating, with Bert acting as both a comforting presence and a stark reminder of Kenneth’s profound isolation. Gardner brings a lightness to the role that underscores the bittersweet nature of Kenneth’s imaginary companionship.

Christiana Clark is impressive in her portrayal of 27 characters, most notably Corrina, a waitress at a bar where Kenneth frequently dines. Clark brings a vibrant energy to her roles, providing Kenneth with moments of real, tangible connection. Her Corrina is kind but grounded, gently pushing Kenneth to consider the world beyond his limited bubble. Clark’s range is showcased as she shifts between 27 (you read that) 27 different personas, offering a fresh perspective to each new character.

Fred Zimmerman also takes on multiple roles, including Kenneth’s boss, Clay, and various other characters. His versatility adds depth and dimension to the play’s supporting cast, each character uniquely distinct and contributing to Kenneth’s journey. Zimmerman’s performance helps fill out the world of Primary Trust with a sense of realism and gentle humor.

Mike Przygoda’s onstage musicianship brings a delicate, almost whimsical layer to the production. His understated presence as the tiki bar musician, playing late 90s top 40 hits, highlights key emotional moments in Kenneth’s journey. The music acts as an emotional echo, amplifying Kenneth’s solitude and brief glimpses of hope.

Lex Liang’s set design perfectly captures the small town of Cranberry, N.Y. where Kenneth lives. He brilliantly makes the town feel even smaller through his presence. Heather Gilbert’s lighting design enhances this with soft, natural tones and hints of color that create a sense of warmth while subtly highlighting a sense of hope.

Malkia Stampley’s direction allows the story to unfold at a measured pace, giving space for the quiet moments to resonate. She lets the production breathe as she skillfully balances the play’s themes of abandonment, loneliness and hope, guiding the audience through Kenneth’s gradual self-realization with care and empathy. The delicate interplay between reality and fantasy is handled with a light touch, allowing the audience to feel immersed in Kenneth’s internal world without losing sight of the story’s emotional core.

Primary Trust is a moving and tender exploration of a fragile man struggling to cope with the sudden upheaval of his carefully structured life. With an outstanding cast and an inspired creative team, the production offers a quiet yet profound reflection on human connection, personal growth, courage, and the essential need for primary trust. Yeah, it’s okay to not be okay.

HIGHLY RECOMMENDED

When: Through Nov. 3

Where: Goodman Theatre 170 N. Dearborn

Tickets: $25 - $40

Infor:www.goodmantheatre.org/show/primary-trust/

“It takes a smart fellow to say he doesn’t know the answer”

Attorney Henry Drummond- 'Inherit the Wind'

The Goodman Theatre's production of "Inherit the Wind," written by the same duo who brought us "Auntie Mame" (Jerome Lawrence and Robert E. Lee), expertly directed by Henry Godinez, offers a powerful and thought-provoking exploration of the clash between religion and science.

National figures Clarence Darrow, a civil liberties attorney and founder of the ACLU, and William Jennings Bryan, a fundamentalist Christian and populist three-time Democratic Presidential candidate, argued the famous Scopes “Monkey” Trial in 1925. 

This fictionalized account, a  legal battle over the teaching of evolution in American public schools, remains as relevant today as when the trial happened  in 1925. It reflects the ongoing "culture wars" playing out today, particularly around education. The play's trial centers on the right to teach evolution, a debate that has echoed into modern fights over what can and should be taught in American schools.

In 2024, school boards and state legislatures are hotbeds of conflict, with debates over the teaching of history, race, gender, and even basic scientific principles. Across the country, there are movements to ban books, restrict what educators can discuss, and roll back curriculums deemed "woke" or politically incorrect. The themes of "Inherit the Wind" – the right to free thought, academic freedom, and the importance of challenging societal norms – feel eerily timely as education becomes a battleground in this year's election.

Alexander Gemignani delivers a tour-de-force performance as Matthew Harrison Brady, the charismatic and deeply religious prosecutor. Gemignani captures Brady's unwavering faith and his conviction that the Bible is the ultimate source of truth. His portrayal is not simply a blowhard preacher clinging to outdated values, but a man genuinely trying to protect his worldview in a rapidly changing society. His performance is both commanding and sympathetic, allowing audiences to understand the man's genuine belief in his cause.

Harry Lennix, as the defense attorney Henry Drummond, is equally impressive. Lennix portrays Drummond as a complex figure, a man who values both reason and compassion. His performance is marked by intelligence, wit, and a deep respect for the law. Lennix's Drummond becomes more than a  cynical intellectual—he is a defender of the individual’s right to think, to question, and to change. In Lennix’s hands  Drummond is a compelling character who challenges audiences to consider the importance of critical thinking and the dangers of censorship, a joy to watch.

The supporting cast is exceptional. Mi Kang delivers a memorable performance as E.K. Hornbeck, a cynical and opportunistic reporter who views the trial as nothing more than a spectacle. Christopher Llewyn Ramirez is heartbreaking as Bertram Cates, the young schoolteacher at the center of a national controversy. Robert Schleifer is poignant as Meeker, a deaf actor who was truly engaging, and Presley Rose Jones is charming and insightful as Melinda, a young woman who falls in love with Cates. The contemporary casting choices make this production particularly moving.

Collette Pollard's set design is a marvel. The set, a myopic bird’s eye view of a small town, a place where everyone knows everyone else and where secrets are hard to keep. Pollard's use of perspective creates a sense of claustrophobia, suggesting that the characters are trapped in a world that is both familiar and stifling. The floor of the courtroom suggesting  uniformity and order

In many ways, Inherit the Wind is a powerful allegory for the struggles America faces in 2024. As the nation heads into a pivotal presidential election, the play’s themes of free thought, the conflict between science and belief, and the influence of populism and religion on politics provide a rich framework for understanding the stakes of this moment in history. The questions it raises—about who controls knowledge, who gets to speak, and how we balance faith with reason—are the very questions that are being asked on debate stages and in polling booths across the country today.

HIGHLY RECOMMENDED

When: Through Oct. 20

Where: Goodman Theatre 170 N. Dearborn

Tickets: $30 - $45

Infor:.goodmantheatre.org/show/inherit-the-wind/