Displaying items by tag: Sharriese Hamilton

Drury Lane Theatre continues its 2026/2027 season with the divine extravaganza Nunsense, featuring book, music and lyrics by David Goggin, directed by E. Faye Butler. Enjoy some holy hilarity with the Little Sisters of Hoboken in Nunsense, running June 10 – August 2, at Drury Lane Theatre, 100 Drury Lane in Oakbrook Terrace. 

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

The cast of Nunsense includes Aurora Boe (Sister Mary Leo), Rachel Carreras (Sister Robert Anne),  Kelly Felthous (Sister Mary Amnesia), Cory Goodrich (Reverend Mother), and Sharriese Hamilton (Sister Mary Hubert). Understudies include Marta Bady, Caron Buinis, and Kayla Shipman.

The creative team of Nunsense includes E. Faye Butler (Director), Kenny Ingram (Choreographer), Julia Schade (Music Director), Lauren Nichols (Scenic Design), Anna Finerty (Costume Coordinator) Lee Fiskness (Lighting Design), Stephanie Farina (Sound Design), Cassy Schillo (Properties Design), Casie Morell (Production Stage Manager).

Single tickets, priced $85-$150, are on sale now and are available by phone at (630) 530-0111 or online at www.drurylanetheatre.com. Groups of 10 or more can receive special group pricing.

About the Artists

Aurora Boe (Sister Mary Leo)  is thrilled to be back on the Drury Lane Stage! On-stage Credits Include: Drury Lane's "Sister Act" (Tina, Waitress, Ensemble, Mary Robert US), The Beautiful City Project's "Designer Run" (Choreographer, Dancer) & "We Will Rock You" (Ensemble), or Columbia College's "Sunday In The Park With George" (Dot/Marie). Aurora graduated with a BA in musical theatre from Columbia College Chicago in 2025, and recently received Chicago Cabaret Professionals 2025 Emerging Artists scholarship & 2026 New Vocalist Award. She gives special thanks to Gray Talent Group and her Family & friends that have supported her on this journey.

Rachel Carreras (Sister Robert Anne) is thrilled to be back in the habit after playing Sister Mary Patrick in Sister Act at Drury Lane last season! Other recent credits include: Amélie (Kokandy Productions), Brighter Futures (Paramount Theatre), Mary Poppins and Cinderella (Metropolis PAC), Honky Tonk Angels (LTOTS) and Into the Woods (Summer Lyric). Rachel is a Naperville native and proud Neuqua Valley alum! She is also a member of the professional Chicago/Macomb choir withonevoice. Special thanks to her family and friends for their unending love and support! Represented by Talent X Alexander. Psalm 28:7. I'm always singing for you, Grandma! www.rachelcarreras.com

Kelly Felthous (Sister Mary Amnesia) is thrilled to be back at Drury Lane having previously performed in Elf and Jeff nominated roles in Chicago and Little Shop of Horrors. Favorite credits include: Violet in Violet, Sally Bowles in Cabaret , Lauren in Kinky Boots, Judy in White Christmas, Mrs. Wormwood in Matilda and Dawn in Waitress. She originated the roles of Caroline in Trip of Love, Ruby in Max and Ruby, Eva in Bring it On, and Gloria in Flashdance. National Tours: Marty in Grease and Galinda/Nessarose u/s in Wicked. Kelly has also appeared on Law and Order SVU, Night Sky, and numerous commercials. NYU/CAP21 grad and proud AEA/SAG member. Shout out to her agents at DDO, her mama and Jess! Couldn't do this without y'all.  Follow @KellyFelthous for more!

Cory Goodrich (Reverend Mother) is a Jeff Award-winning actress, singer/songwriter, and author. She began her professional career at Drury Lane playing another Nun - Maria in The Sound of Music, and received Jeff awards for her roles as Mother in Ragtime (Drury Lane) and June Carter Cash in Ring of Fire (Mercury Theater Chicago).  Most recently, she played Heidi in What the Constitution Means to Me at Paramount's Copley Theatre. Her many projects include five albums, Hush, Wiggly Toes, W.O.M.A.N, Wildwood Flower, and Long Way Around, and her memoir, Folksong: A Ballad of Death, Discovery, and DNA. Visit corygoodrich.com.

Sharriese Hamilton (Sister Mary Hubert) is excited to be back at Drury Lane. Tour credits include: Come from Away (Broadway National/Australian). Regional credits include: Ain't Misbehaving Rock of Ages, James and The Giant Peach (Drury Lane), The Color Purple, The Nacirema Society, Wonderful Town (Goodman Theatre), Falsettos, Big White Fog (Court Theatre) It Came from Outer Space, Pericles (Chicago Shakespeare Theatre) A Gentleman's Guide To Love and Murder, How To Succeed In Business Without Really Trying , Pal Joey, Ain't Misbehavin, A Class Act, (Porchlight Music Theatre) Thaddeus and Slocum (Lookingglass Theatre) Rock of Ages (Mercury Theatre) Emmet Otter's Jug-band Christmas (Studebaker Theater) Passing Strange, See What I Wanna See, The Wild Party, (Bailiwick Chicago)The 25th Annual Putnam County Spelling Bee, Monty Python's Spamalot, Working (Timberlake Playhouse).

Season and Membership Information

The 2026/2027 season includes the wedding of the season in Father of the Bride (April 8 – May 31, 2026); holy hilarity with the Little Sisters of Hoboken in Nunsense (June 10 – August 2, 2026); the toe-tapping tribute to a rock'n'roll pioneer Buddy – The Buddy Holly Story (August 19 - October 11, 2026); the heartwarming family classic Annie (November 4, 2026 – January 10, 2027); and the musical office rebellion in heels 9 to 5 (January 27 - March 21, 2027).

Drury Lane Theatre's performance schedule for the 2026/2027 season is as follows: Wednesdays at 1:30 p.m., Thursdays at 1:30 p.m. and 7:00 p.m., Fridays at 7:00 p.m., Saturdays at 3:00 p.m. and 8:00 p.m., and Sundays at 2:00 p.m. and 6:00 p.m.

Lock in your seats for a season of spectacular theatre with Drury Lane's Membership Program! Members have exclusive access to uniquely tailored benefits designed to enrich their Drury Lane experience, all at a cost savings of up to 50% off single ticket prices. Membership includes Tier One seating for all five Drury Lane Theatre productions, free ticket exchanges, dedicated dining credits at Lucille Restaurant, one complimentary Champagne Brunch, exclusive event invitations, Member pre-sales and unlimited single ticket discounts. Membership prices range from $254 - $285. For more information, Call Memberships at 630-570-7280 or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Group tickets start at $45 and Student group tickets start at just $35. On-site dining is available at Lucille Restaurant with convenient pre-show or post-show prix fixe menus. To book a group of 10 people or more, call Group Services at 630-570-7272 or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Gift certificates to Drury Lane can be purchased in any denomination, never expire, and can be used for performances, at Lucille Restaurant or for Drury Lane Events. Gift certificates can be purchased online at drurylanetheatre.com/gift-certificates or by calling the box office.

Dining and Special Events

Excellence isn't limited to the stage at Drury Lane! Before or after the show, theatergoers can indulge in delicious onsite dining at Lucille Restaurant featuring seasonal pre-fixe menus and an elevated atmosphere to complete their experience. Boasting over a century of collective expertise in hospitality, the dedicated team ensures that you will be cared for with freshly prepared meals, handcrafted cocktails, and exceptional service. At Drury Lane, everything is in one place, so you will never be late for your performance.

Fact Sheet / Nunsense

Title:                                                    Nunsense

Book, Music and Lyrics by:                 David Goggin

Directed by:                                         E Faye. Butler

Featuring:                                            Aurora Boe (Sister Mary Leo), Rachel Carreras (Sister Robert Anne) Kelly Felthous (Sister Mary Amnesia), Cory Goodrich (Reverend Mother), Sharriese Hamilton (Sister Mary Hubert), understudies include Marta Bady, Caron Buinis, Kayla Shipman

Creatives:                                               E. Faye Butler (Director), Kenny Ingram (Choreographer), Julia Schade (Music Director), Lauren Nichols (Scenic Design), Lee Fiskness (Lighting Design), Stephanie Farina (Sound Design), Cassy Schillo (Properties Design), Casie Morell (Production Stage Manager)

Dates:                                                  June 10 – August 2, 2026

Press Opening:                                   Wednesday, June 17 at 7pm

Schedule:                                             Wednesdays: 1:30 p.m.

                                                            Thursdays: 1:30 p.m. and 7:00 p.m.

                                                            Fridays: 7:00 p.m.

                                                            Saturdays: 3:00 p.m. and 8:00 p.m.

                                                            Sundays: 2:00 p.m. and 6:00 p.m.                                

Location:                                             Drury Lane Theatre at 100 Drury Lane in Oakbrook Terrace

Tickets:                                               Tickets range from $85-150

Group discounts available to groups of 10 or more

Dining and show packages available

Senior discounts available

Box Office:                                          100 Drury Lane in Oakbrook Terrace

                                                            (630) 530-0111

                                                            Monday through Sunday from 10am to 5pm or visit DruryLaneTheatre.com

About Drury Lane Theatre    

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

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

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

Court Theatre has opened its 2025/26 season with a thunderclap: Theodore Ward’s Big White Fog directed with remarkable sensitivity and vigor by Resident Artist Ron OJ Parson. This is not only a revival of a classic work from the Federal Theatre Project era—it is also a reminder of how eerily contemporary Ward’s questions of ideology, disillusionment, and power struggles remain nearly ninety years after the play first startled audiences at Chicago’s Great Northern Theatre in 1938.

At its center, Big White Fog dramatizes the life of the Mason family, a striving Black household in Depression-era Chicago. Ward places the Mason living room at the intersection of history’s most turbulent crosscurrents: the false promise of the American Dream, the fiery appeal of Marcus Garvey’s “back to Africa” movement, and the revolutionary fervor of Communism. The fog of the title is both literal and metaphorical—a veil of economic despair, racial injustice, and ideological confusion that threatens to swallow the family whole.

Ron OJ Parson, long admired for his deft handling of Black classics, stages the play with clarity and urgency. Parson respects the density of Ward’s text but never lets the ideological debates bog down the human drama. Instead, he finds the beating heart in the Mason family’s conflicts—the stubborn pride of the patriarch, the sacrifices of the women, the fragile dreams of their children. Parson’s direction makes clear this is not an artifact of theatre history; it is a living work, pulsating with relevance for an America once again convulsed by inequality, polarization, and disillusionment.

The cast assembled for this production is outstanding. Joshua L. Green brings charisma and conviction to Victor Mason, the father whose fierce commitment to Garveyism and economic uplift sets him on a collision course with his family. Green embodies Victor’s unbending pride, making his devotion to a nationalist vision both inspiring and tragic. As Ella Mason, Sharriese Hamilton gives the play its moral core: her performance glows with quiet dignity, balancing love for her family with the weary pragmatism of a woman trying to hold a household together as history presses in from all sides.

Patrick Newson Jr. is superb as Lester Mason, the eldest son, a man who has had to stifle his own dreams, his every ambition weighed down by the crushing realities of family duty and economic hardship. Newson brings a heartbreaking openness to the role, embodying the innocence crushed under the weight of adult failures and historical forces. Greta Oglesby, as matriarch Martha Brooks, is simply unforgettable. Oglesby’s performance is steeped in humor, wisdom, and resilience; she grounds the play in generational memory. Her presence on stage is nothing short of magnetic.

The production’s design team gives Big White Fog a visual richness that matches its thematic weight. Jack Magaw’s scenic design transforms the Court stage into a lived-in Mason household, layered with details that evoke aspiration. Yvonne L. Miranda’s eye-popping 1920s costumes dazzle while grounding each character in their social and ideological context, making the clash of visions as visible as it is spoken. Lee Keenan’s lighting design shifts the mood with precision. Adding another layer of atmosphere, Christopher Kriz’s original compositions during scene changes, underscores the emotional undercurrents of the play and keeps the audience tethered to its restless rhythm.

The ideological clash within the Mason household is the play’s dramatic engine. Victor’s belief in Garvey’s call for Black economic independence and a return to Africa is met with resistance from his family, who seek other paths—through Communism, through assimilation, or through personal ambition. Ward refuses to let any single vision emerge as the sole solution, instead dramatizing the painful divisions that ideological fervor can create within a family. In the end, no ideology rescues them from the crushing realities of poverty, racism, and systemic neglect. This tragic irony is what makes Big White Fog so haunting.

Ward’s writing is radical for its time. To depict a Black family grappling openly with competing ideologies and the hypocrisy of the American Dream in 1938 was nothing short of revolutionary. It’s no wonder Big White Fog had a fraught reception in its original run. Yet the very qualities that unsettled audiences then—its candor, its ideological clashes, its refusal to reduce Black life to stereotype—are what make it feel so piercingly contemporary now.

The play’s questions echo loudly: What system, if any, can deliver justice and dignity to Black Americans? What price must be paid for loyalty to one’s ideals? And can a family survive when its members are torn apart by competing visions of liberation? In today’s America, as the nation debates racial justice, economic inequity, and the limits of free speech, these questions resonate with uncanny force. The Mason family’s divisions mirror our own: parents and children, neighbors and colleagues, citizens and leaders locked in ideological combat while the fog of inequality thickens around us.

Theodore Ward dared to write the truth. At a time when most mainstream depictions of Black life trafficked in stereotype or sentimental uplift (think “Cabin in The Sky”), Ward insisted on portraying the complexity, dignity, and contradictions of ordinary people. His plays carved out space for honest exploration of the Black experience—politically charged, socially grounded, unflinchingly real. Ward’s commitment cost him: his leftist sympathies drew the scrutiny of the FBI, and he was effectively blacklisted during the McCarthy era. Yet his legacy endures, shaping the lineage of Black theatre from Lorraine Hansberry to August Wilson and beyond.

Court Theatre’s revival is more than an act of cultural memory. It is an act of cultural urgency. To stage Big White Fog now is to recognize that the struggles Ward captured in 1938—the tensions between faith and politics, survival and principle, hope and despair—are still the struggles being faced in 2025. Parson and his cast honor Ward’s achievement while challenging us to confront the fog we still inhabit.

In the end, the play offers no easy answers. Ward was too honest for that. But what he gives us—through his words and through this luminous production—is the reminder that theatre can be a forum for grappling with the hardest questions of human existence. Big White Fog demands that we listen, that we argue, that we reckon with the past and the present alike.

Court Theatre has given Chicago audiences a gift in reviving Theodore Ward’s masterpiece. And with Parson’s masterful direction and this ensemble’s unforgettable performances, the fog clears just enough for us to see the truth: Ward’s voice still matters, perhaps now more than ever.

HIGHLY RECOMMENDED

When: Through Oct 11th

Where: Court Theatre, 5535 S. Ellis Ave.

Running !me: 2 hours, 15 minutes  - 15 minute intermission

Tickets: $27 - $94 Student, Group and military discounts available

773-753-4472

https://www.courttheatre.org

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

Many of us know the story. Three women who work in an office and seek revenge on an abusive male boss. Who can forget Dolly Parton, Lily Tomlin and Jane Fonda as they made a united stand for women in the now classic film “9 to 5”. Our women heroes are lovable, fiery and smart and, with that said, “9 to 5 the Musical” is playing at The Den Theatre and is a must see!

Recently, I have been on a Broadway kick and even bought season tickets and with a lackluster start of the season, I was ready to check out some local plays – something I encourage everyone to do. The Den Theatre is cozy, and the bar is nice as well. This wasn’t my first visit, but my first since they had renovated the space. With upgrades and newly created theatres, The Den is vastly improved and gives theatre goers even more reason to check out a play. The theatre is divided up in different sections across its three floors, each space unique from the other in order to hold different styles of plays.

The funny musical with music by Dolly Parton is put on by Firebrand Theatre which is all about empowering and employing women in the industry. With movements like “Time’s Up” and “Me Too,” it is great to hear about the work they are doing. “9 to 5” makes sense for Firebrand Theatre to produce as the story includes three strong women who are looking to bring in flexibility and positivity into the workplace.

The caliber of talent in this show speaks for itself. The production’s set, through simple, with the phenomenal voices belonging to each member of the diverse cast really stuck out in my mind. Sharriese Hamilton who played Doralee, was fantastic. Her energy and flawless southern accent was perfection. We see her character being followed by an office rumor of her having an affair with the manager, Mr. Hart. It was quite disgusting to see Mr. Hart, played by Scott Danielson, degrade her and do things around the office that put her in such compromising positions.

Violet (Anne Sheridan Smith) and Judy (Sara Reinecke) round out the trio. With excellent performances and growth throughout in each character, I couldn’t get enough of the show!

“9 to 5” reminds me of how far we have come but is also a reminder that we still have so much more to go when it comes to the workplace. We should continue with the fight and advocate for fairness in all aspects of life. We should do better.

Go see the musical that includes a variety of fun songs, including its title number, at the Den Theatre (1331 N. Milwaukee) as soon as possible. The play will be running until May 20th and tickets costs $45 and well worth the experience.
“9 to 5 the Musical” is being performed at Den Theatre in Wicker Park through May 20th. For more show info visit www.firebrandtheatre.org.

Throughout the years, we have seen all kinds of homages to Elvis Presley whether it be Elvis impersonators, biographical films, Elvis night at U.S. Cellular Field and, of course, theatrical productions. Of these few tribute samples, some are serious and sensitive while others more tongue-in-cheek. “All Shook Up”, a musical using the music of Elvis, is definitely the latter. Now playing at Theatre at the Center in Munster, Indiana, “All Shook Up” is a story about an Elvis-alike roustabout who comes across a square town where the tightly-wound mayor has unjustly imparted laws against innocent activities such as kissing in public and dancing or the interracial mixing of partners. Though the plot line is as silly as it gets with unlikely, but still predictable love stories breaking out everywhere, it is hard not to be entertained by the music alone.

David Sajewich plays our hero Chad, the leather jacket clad bad-boy drifter with greased back hair who hops from town to town via his motorcycle with the purpose of challenging authority by infusing fun and excitement into boring and restricted communities. Sajewich is very funny in the role, ever so naturally delivering spot on physical comedy and one hilarious line after another. He also sings several Elvis classics with a good deal of enthusiasm, his vocals finding suitable range for each number despite not having the most powerful of voice. In the show’s opening number, “Jailhouse Rock” we quickly realize Sajewich will not be attempting to sound like Elvis Presley opting to use his own singing voice (writer or director’s choice?), leaving a small amount of disappointment for those who had hoped the story’s character so obviously designed around Elvis would kind of sound like him, if even in a comical way.

Like Abba’s music in Mamma Mia! or Green Day’s in American Idiot, the music of Elvis Presley is transformed into massive stage numbers with changing leads, large choruses and big time dance choreography. It was also refreshing to see such an obscure choice of Elvis Presley songs used for this production rather than only the obvious choices. “All Shook Up” included favorites like “Don’t Be Cruel”, “Love Me Tender”, Can’t Help Falling in Love”, "A Little Less Conversation” and “It’s Now or Never” but also added lesser known songs (at least outside the Elvis world) such as “Follow that Dream”, “C’mon Everybody”, “Devil in Disguise” and a heartfelt rendition of “If I Can Dream”.

Outside of the campy over-the-top story that is on the borderline of ridiculousness, despite its borrowed storylines from Shakespeare’s "Twelfth Night," "As You Like It" and "A Midsummer Night's Dream", “All Shook Up” includes several likeable characters that are fun to watch and listen to, especially Bethany Thomas (Sylvia) with her gutsy and very impressive singing voice. Callie Johnson also shows off her comic and singing ability as tomboy motorcycle mechanic Natalie Hallow who is crushing hard on Chad while Justin Brill as the geeky, love stricken Dennis is also enjoyable to watch. Matthias Austin gets some of the biggest laughs as Natalie’s square turned rocker father Jim, as deserved, but Sharriese Hamilton (Lorraine) might just have the best comic timing of the bunch.

Cheesy story and all, “All Shook Up” is a very entertaining show with great music, charm and lots of very funny moments. It’s always nice to see the music of Elvis passed on to new generations and this show is a perfect tool for doing so, as it is a production suitable for all ages alike.    

The rock n’ roll hit Broadway musical “All Shook Up” is being performed at Theatre at the Center through August 16^th Wednesdays through Sundays, including weekend matinees. For tickets and/or more show information, visit www.theatreatthecenter.com.