Displaying items by tag: Steppenwolf Theatre

Emmy and SAG Award winner Brendan Hunt comes back to his hometown of Chicago this spring to present his one-man autobiographical show The Movement You Need: An Evening with Brendan Hunt. Produced by Tiwary Entertainment Group and Lead Producer Vivek J. Tiwary and directed by Ashley Rodbro, this Broadway-bound, three-week limited engagement runs at Steppenwolf Theatre Company's Downstairs Theater, 1650 N. Halsted St. from April 19 - May 10, 2026.

Emmy and SAG Award winner Brendan Hunt (Ted Lasso's co-creator/writer/"Coach Beard") presents his hilarious new one-man show fueled by bittersweet memories of his Chicago childhood, a love for The Beatles that got him through it, and the tongue-tied moment he met Paul McCartney. The Movement You Need is a laugh-filled love letter to the family that makes us, the music that shapes us, and the crazy shit life throws our way.

Bringing The Movement You Need to this city is deeply personal to Hunt: "I'm proud to be from Chicago. Performing in my hometown is a joy in any circumstance, but particularly with this show, which has so much Chicago in it. I consider Steppenwolf to be holy ground, and the chance to perform on that stage is an honor and a privilege." 

Tickets, priced $55-$105,* go on sale to the public on January 29, 2026, at 12pm at steppenwolf.org/movement, (312) 335-1650; 1650 N Halsted St., Chicago. A special Steppenwolf member pre-sale begins Tuesday, January 27, 2026, at 12pm. Student rush tickets are $15 and are available the day of performance through the box office one hour before showtime.

 *Pricing includes a $10 handling fee.

The performance schedule is: Tuesdays-Fridays at 7:30pm; Saturdays at 3:00pm and 7:30pm (no shows on Saturday, May 9); Sundays at 3pm; and 7:30pm (Sunday, April 26 only).

The new production features scenic design by Meredith Ries, lighting design by Nick Solyom, sound design by Kate Marvin and projection design by Stefania Bulbarella. Elie Landau serves as Executive Producer. 

Brendan Hunt (playwright/performer) is an award-winning actor, screenwriter, and playwright living in Los Angeles, best known for co-creating the international hit Apple TV series Ted Lasso along with Jason Sudeikis, Joe Kelly and Bill Lawrence. He is also an ensemble member for the show, portraying Ted's trusty assistant Coach Beard. In its first two seasons the show won consecutive Emmy Awards for Outstanding Comedy Series, a Peabody Award, and many others.

A Chicago native and a veteran of sketch and improv comedy, Brendan's first professional gig was as a performer and writer with Amsterdam's notorious comedy theater Boom Chicago, where he performed with Sudeikis, Seth Meyers, Jordan Peele, Ike Barinholtz, Amber Ruffin, Heather Anne Campbell, and many more. His solo show about that experience, Five Years in Amsterdam, debuted at IO West in Los Angeles, and went on to be performed at the Edinburgh Fringe, UCB LA, UCB NY, Second City e.t.c., and the HBO U.S. Comedy Arts Festival.

In theater, Brendan has twice been nominated for LA Theater's Ovation Awards, winning one for Best Actor in a Musical. His two plays, Absolutely Filthy and The Art Couple, both had sold-out LA runs, with the former winning Best Show at both the Hollywood Fringe Festival and the New York International Fringe Festival. His newest solo work The Movement You Need just completed a sold-out run at the Soho Playhouse in Manhattan and is eyeing a Broadway debut.

TV and film appearances include Bless This Mess, Community, Parks and Rec, Key & Peele, and the upcoming indie science fiction film Terrestrial. Brendan also voiced the character of "Gunther Melmac" in Pixar's latest animated film Elio.

His time in Amsterdam engendered in him a passion for the sport of football that would eventually prove to be life-changing, leading not only to Ted Lasso, but also finding him as co-host of Apple News' wildly successful World Cup podcast After the Whistle with NBC Sports' Rebecca Lowe.

Brendan is currently shooting Season 4 of Ted Lasso.

Ashley Rodbro (director) is a Mexican-American director focused on new work, musicals, and comedy. She is currently developing projects with Disney Theatrical and Lively McCabe and will direct a world premiere of a new Kristoffer Diaz play at The Warehouse Theater in 2026. She recently directed BriTanick: Dummy at the Soho Theatre in London and the Edinburgh Fringe Festival. She has developed work at Ars Nova, Signature Theater Company, Edinburgh Fringe, CAP 21, Musical Theater Factory, 54 Below, Yale, the New York Fringe Festival, Marin Theater Company, and more.

Previously, Ashley served as Worldwide Supervising Associate Director for the original production of Moulin Rouge!: The Musical, working alongside Alex Timbers from its early development through Broadway, setting new companies in Australia, London, Germany, and a National Tour, and leading the international directing team. She was also the Resident Director for Hamilton as a part of Tommy Kail's directing team, opening the "And Peggy" company in Puerto Rico, starring Lin-Manuel Miranda, and maintaining the Resident Company in San Francisco. Her Associate work expands to comedy specials, working with Timbers on John Mulaney's Kid Gorgeous at Radio City (Netflix), Oh, Hello on Broadway (Netflix), and Alex Edelman's Just For Us (HBO).   

During the COVID-19 crisis, Ashley founded Heredia Vision, creating film and digital content that puts women at the forefront of the creative process. In this role, she spearheaded major collaborations including the virtual special Broadway Does Mother's Day and NYTW's documentary and virtual event, 25 Years of RENT.

Her short films have screened at festivals nationwide, and her writing has received multiple awards and honors. She is a graduate of Yale College. @ashleyrodbro ashleyrodbro.com 

Vivek J. Tiwary (Lead Producer) is an acclaimed producer of musical entertainment from Tony Award-winning Broadway shows to groundbreaking immersive experiences, a Grammy Award-winning record producer, a #1 New York Times bestselling author and a media financier/investor. He is the founder of Tiwary Entertainment Group (TEG+).

Vivek is currently a lead producer of Hamlet Hail to the Thief, a stage production based on Shakespeare's masterpiece and Radiohead's seminal album. Vivek's past Broadway hits include Alanis Morissette's Tony Award-winning Jagged Little Pill; Vivek also won the Grammy Award for Best Musical Theater Album for producing the Jagged Little Pill cast recording. Other hit Broadway productions Vivek has either been a financier or Producer on include such groundbreaking work as Green Day's American Idiot, A Raisin In The Sun, The Addams Family, A Little Night Music, and both of Mel Brooks' musicals The Producers and Young Frankenstein. Combined, these productions have won 25 Tony Awards and 59 Tony nominations.

Vivek's graphic novel The Fifth Beatle was a #1 New York Times Bestseller and won numerous literary awards including the Will Eisner Comic Industry Award and two Harvey Awards. It's a Lambda Literary Finalist for Best LGBT Graphic Novel and has been added to the Rock and Roll Hall of Fame Library and Archives. Vivek secured unprecedented access to Beatles music for a proposed film adaptation.

Vivek is also a pioneering producer in the world of site-specific, tech-based, and immersive music experiences. He consulted on the creation and development of The Walking Dead Escape and The Walking Dead Experience. He served on the Board of Directors for New York's seminal GAle GAtes et al—considered to be the founders of immersive theatre. He also produced experiential shows and installations for boundary-pushing companies such as The Wooster Group, Fischerspooner, and the São Paulo Art Biennial.

Prior to founding TEG and online music education/empowerment company StarPolish, Vivek held a number of major label music industry positions and has worked with artists covering the entire musical spectrum from Bruce Springsteen to Britney Spears.

Among many charitable pursuits, Vivek is the Co-Founder of Musicians On Call, a nonprofit organization that uses music and entertainment to complement the healing process. Vivek is a two-time honoree (2020, 2021) of Gold House's A100 List to celebrate Asians and Asian American & Pacific Islanders (AAPI) and their transformative contributions to society. He lives in New York with his inspiring wife Tracy and their delightful children Kavi and Nandini.

About Tiwary Entertainment Group:

TEG+ is the only production company that focuses on collaborating with the music industry and celebrity artists to create work that is narrative, experiential, and/or immersive. TEG+ develops, finances, and produces with a platform nimble approach-- producing across the media spectrum for Broadway, film, television, graphic novels, the metaverse, Augmented & Mixed Reality, and beyond. TEG+ works solely with High Profile Music-- A-list musicians, music catalogs, composers, estates, record labels, and music publishers. Current projects include Radiohead's Hamlet Hail to the Thief and Brendan Hunt's Beatles-centered The Movement You Need. Past projects include Alanis Morissette's Jagged Little Pill, Green Day's American Idiot, and The Fifth Beatle: The Brian Epstein Story. TEG+ projects have won multiple industry awards including 25 Tony Awards, a Grammy Award, 2 Will Eisner Comics Industry Awards, and more. Notable points of recognition for TEG+ projects include a #1 New York Times Bestseller and inclusion in the Rock and Roll Hall of Fame. Visit TiwaryEnt.com.

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 49 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theater and Chicago's cultural landscape. Founded in 1976, Steppenwolf started as a group of teens performing in the basement of a church. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr 

and instagram.com/steppenwolfthtr.

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to continue its 50th Anniversary Season with Windfall, a gripping new work by Academy Award-winning ensemble member Tarell Alvin McCraney, directed by Awoye Timpo, playing April 9 – May 31, 2026 in Steppenwolf's Ensemble Theater, 1646 N. Halsted St. in Chicago. Single tickets are now on sale at steppenwolf.org or the Box Office at (312) 335-1650. The press opening is Sunday, April 19, 2026 at 6 pm.

Windfall reunites ensemble members Alana Arenas, Glenn Davis and Jon Michael Hill, who starred in Steppenwolf's Tony and Pulitzer Prize-winning drama Purpose, joined by ensemble member Namir Smallwood, direct from his Broadway turn in Bug opposite ensemble member Carrie Coon. Additional casting to be announced.

About the Production:

This is a story about money. Don't let them fool you otherwise. When a father loses his child in a clash with the police, he is visited by three strangers who advise him to take the city's cash settlement, relocate and forget his grief – or else remain, haunted by memories of the world his child fought so hard to protect. This lyrical world premiere is a vital and timely look at the spirit of activism set against the most indifferent system of them all: the almighty dollar.

Steppenwolf Artistic Directors Glenn Davis and Audrey Francis comment, "When we commissioned ensemble member Tarell Alvin McCraney to write a new play specifically built for our in-the-round Ensemble Theater as a centerpiece of Steppenwolf's 50th season, we weren't sure what he'd create. But, given that Tarell is one of the most talented writers of his generation, we were not at all surprised that he delivered a stunning, lyrical and undeniably bold script. This is a play for our moment, for our city, tailor made for an ensemble cast and this unique venue. We eagerly anticipate sharing this vital Chicago story with our community."

The creative team includes Andrew Boyce (Scenic Design), Qween Jean (Costume Design), Jason Lynch (Lighting Design), Willow James (Sound Design), Bryar Barborka (Dramaturg), Patrick Zakem (Creative Producer), Tom Pearl (Producing Director), JC Clementz, CSA (Casting), Michelle Medvin (Production Stage Manager) and Kathleen Barrett (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Windfall
Playwright: ensemble member Tarell Alvin McCraney
Director: Awoye Timpo
Cast: ensemble members Alana Arenas (First Lady, Second Wife, Miss Second, The Last One) Glenn Davis (Marcus), Jon Michael Hill (Nurse, Cori) and Namir Smallwood (Officer, Brother 1). Additional casting to be announced.

Location: Steppenwolf's Ensemble Theater, 1646 N. Halsted St., Chicago

Dates: Previews: Thursday, April 9 – Saturday, April 18, 2026
Opening: Sunday, April 19, 2026 at 6 pm
Regular run: Tuesday, April 21 – Sunday, May 31, 2026
Curtain Times: Tuesdays, Wednesdays, Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 7:30 pm; and Sundays at 3 pm. Please note: there will not be 7:30 pm performances on Tuesday, April 14, Wednesday, April 22, Tuesday, April 28, Tuesday, May 5, Saturday, May 9 (Steppenwolf Gala) and Tuesday, May 26; there will not be at 3 pm performance on Saturday, May 9 (Steppenwolf Gala); there will be an added 7:30 pm performance on Sunday, April 26; there will be an added 2 pm matinee on Wednesday, May 20.

Tickets: Single tickets for Windfall ($20 – $148.50*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale at steppenwolf.org/memberships: Black Card Memberships with six tickets for use any time for any production and RED Card Memberships for theatergoers under 30. *Pricing includes an $8.50 handling fee

Steppenwolf offers 20 tickets for $20 (no added fees) for each performance of every membership series production. Use promo code 20FOR20 to redeem this offer online, available in advance until they're sold out for every main series show. Limit 2 tickets per person. You can also purchase by phone at (312) 335-1650 on the day-of show at 12 pm for main series performances. Limit 2 tickets per person.

Accessible Performance Dates:

Audio-Described and Touch Tour:  Sunday, May 24 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Saturday, May 16 at 3 pm & Thursday, May 21 at 7:30 pm
ASL-Interpreted: Friday, May 29 at 7:30 pm

Education and Engagement:

Throughout the 2025/26 season, Steppenwolf continues its commitment to the next generation of theatre learners, makers and appreciators with robust education and engagement programming. Programming includes dedicated student matinee performances during four of the five Membership Series productions including Mr. Wolf, Amadeus, The Dance of Death and Windfall, in-school residencies in partnership with Chicago Public schools, workshops, panels and events specifically geared towards teens, as well as professional development trainings and resources for educators. Additionally, Steppenwolf is reimagining their community engagement and will pilot new public programming, continue accessibility programming and offer opportunities for deeper explorations for audiences throughout the season. For additional information about Steppenwolf's Education and Engagement programming and to register your school for a field trip visit steppenwolf.org/education-and-engagement/steppenwolf-field-trip-series.

Artist Biographies:

Tarell Alvin McCraney (Playwright, he/him) is Artistic Director of Geffen Playhouse. In this role, he is responsible for identifying, developing and programming new works and re-envisioned classics. He sets the strategic artistic course for the Geffen's Gil Cates and Audrey Skirball Kenis Theaters. McCraney is an award-winning writer, producer and educator, best known for his acclaimed trilogy, The Brother/Sister Plays. His script In Moonlight Black Boys Look Blue is the basis for the Oscar–winning film Moonlight directed by Barry Jenkins, for which McCraney and Jenkins also won a Best Adapted Screenplay Oscar. He is an ensemble member at Steppenwolf Theatre and a member of Teo Castellanos D-Projects in Miami, a graduate of New World School of the Arts, The Theatre School at DePaul University and the David Geffen School of Drama at Yale. He received an honorary doctorate from the University of Warwick. He was recently Co-Chair of Playwriting at the David Geffen School of Drama, where he remains on faculty. He is an associate at the Royal Shakespeare Company, London, and a member of the Academy of Motion Picture Arts and Sciences (Writers Branch).

Awoye Timpo (Director) is a Brooklyn-based Director and Producer. She recently directed Ngozi Anyanwu's Leroy & Lucy at the Steppenwolf. Her recent New York credits include The Swamp Dwellers by Wole Soyinka (TFANA), Syncing Ink by NSangou Njikam (Apollo Theater), Elyria by Deepa Purohit (Atlantic Theater), Wedding Band by Alice Childress (Theatre for a New Audience), In Old Age by Mfoniso Udofia (New York Theatre Workshop), Carnaval by Nikkole Salter (National Black Theatre), Good Grief by Ngozi Anyanwu (Vineyard Theatre and Audible) and The Homecoming Queen by Ngozi Anyanwu (Atlantic Theater Company). Regionally she has directed at the Huntington, Studio Theatre, Paradise Blue, Actors Theatre of Louisville, Berkeley Rep, Marin Theatre Company. Other projects include concert performances for independent artists as well as for the NBA, Ndebele Funeral (59E59, Edinburgh, South African Tour), "Black Picture Show" (Artists Space/Metrograph), and Bluebird Memories (Audible). Awoye is a Creative Arts Consultant for the African American Policy Forum and the Founding Producer of Classix, a collective of 5 artists created to explode the classical canon through an exploration of dramatic works by Black writers and Black performance history, theclassix.org.

Alana Arenas (First Lady, Second Wife, Miss Second, The Last One) joined the Steppenwolf Theatre Company ensemble in 2007. She most recently appeared in Steppenwolf's world premiere of Purpose by Branden Jacobs-Jenkins in Chicago and on Broadway (Tony Award – Best Play). Alana also created the role of Pecola Breedlove for the Steppenwolf for Young Adults production of The Bluest Eye, which also played at the New Victory Theater Off-Broadway. Recent Steppenwolf appearances include: the Steppenwolf for Young Adults production of Monster, The Fundamentals, Marie Antoinette, Tribes, Belleville, Head of Passes, Good People, Three Sisters, The March, Man in Love, Middletown, The Hot L Baltimore, The Etiquette of Vigilance, The Brother/Sister Plays, The Tempest, The Crucible, Spare Change and The Sparrow Project. Broadway: Purpose. Other theatre credits include Disgraced (American Theater Company), The Arabian Nights (Lookingglass Theatre Company, Berkeley Repertory Theatre and Kansas City Repertory Theatre), Eyes (eta Creative Arts), SOST (MPAACT), WVON (Black Ensemble Theater) and Hecuba (Chicago Shakespeare Theater). Television and film credits include David Makes Man, Canal Street, Crisis, Boss, The Beast, Kabuku Rides and Lioness of Lisabi. She is originally from Miami, Florida, where she began her training at the New World School of the Arts. Alana holds a BFA from The Theatre School at DePaul University.

Glenn Davis (Marcus) is an actor, producer and Artistic Director of Steppenwolf Theatre Company, alongside Audrey Francis, where he has been an ensemble member since 2017. He most recently appeared in Steppenwolf's world premiere of Purpose by Branden Jacobs-Jenkins in Chicago and on Broadway (Tony Award – Best Play, Tony nomination – Best Featured Actor). Other Steppenwolf credits include Downstate, The Christians, You Got Older, The Brother/Sister Plays, Head of Passes, King James (also Mark Taper Forum), Describe the Night. Broadway credits include: Purpose; Bengal Tiger at the Baghdad Zoo (also Kirk Douglas Theatre, Mark Taper Forum). Off-Broadway credits include Transfers (MCC Theatre), Wig Out! (Vineyard Theatre), Downstate (Playwrights Horizons, Outer Critics Circle Nomination) and King James (MTC). Other regional credits include Moscow x6 (Williamstown Theatre Festival). International credits include Downstate (National Theatre, UK); Edward II, The Winter's Tale and As You Like It (Stratford Festival); Othello (The Shakespeare Company). Television credits include Billions, 24, The Unit, Jericho and The Good Wife. Glenn is an Artistic Associate at the Young Vic in London and at the Vineyard Theatre in New York. He is also a partner in Cast Iron Entertainment, a collective of artists consisting of Sterling K Brown, Brian Tyree Henry, Jon Michael Hill, Andre Holland and Tarell Alvin McCraney. Cast Iron is currently in residence at The Geffen Playhouse in Los Angeles. In 2021, Glenn founded The Chatham Grove Company along with his producing partner Tarell Alvin McCraney.

Jon Michael Hill (Nurse, Cori) joined the Steppenwolf Theatre Company ensemble in 2007. He most recently appeared in Steppenwolf's world premiere of Purpose by Branden Jacobs-Jenkins in Chicago and on Broadway (Tony Award – Best Play, Tony nomination – Lead Actor). Steppenwolf Theatre Company: Leroy and Lucy, True West (also Galway Arts Festival), Pass Over, Constellations, Head of Passes, The Hot L Baltimore, The Tempest, Kafka on the Shore, The Unmentionables. Broadway: Purpose, Superior Donuts, Pass Over. Off-Broadway: The Refuge Plays (New York Theatre Workshop) Pass Over (Lincoln Center). Film: Pass Over, Widows, In The Radiant City, No Pay, Nudity. Television: A Man in Full (Netflix), Elementary (CBS), Detroit 1-8-7 (ABC), Eastbound and Down (HBO), Law & Order: Special Victims Unit (NBC) and Person of Interest (CBS).

Namir Smallwood (Officer, Brother 1) joined the Steppenwolf Theatre Company ensemble in 2017. He is currently starring in ensemble member Tracy Letts's Bug on Broadway opposite, ensemble member Carrie Coon. Steppenwolf: Mr. Wolf, You Will Get Sick, The Book of Grace, Seagull, Bug, True West, BLKS, Monster, Man In Love, The Hot L Baltimore, Last Night and the Night Before. Broadway: Pass Over, Bug. Off Broadway: Pipeline, Pass Over (Lincoln Center). Chicago: The Lost Boys of Sudan (Victory Gardens Theater); Charm (Northlight Theatre); The Grapes of Wrath (The Gift Theatre); East Texas Hot Links (Writers Theatre). Regional: Marin Theatre Company, Pillsbury House Theatre, Ten Thousand Things, Guthrie Theater. International: True West (Galway International Arts Festival). Television: Chicago Fire, Betrayal, Elementary, American Rust (Showtime/FreeVee); Power Book IV: Force (STARZ). Film: Rounding.

Accessibility:

As a commitment to make the Steppenwolf experience accessible to everyone, performances featuring American Sign Language Interpretation, Open Captioning and Audio Description are offered during the run of each STC production. Assistive listening devices (ALDs), large-print programs and Braille programs are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information:

Windfall is supported in part by Conagra Brands Foundation, Laurents/Hatcher Foundation, and CNA. United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul M. Angell Family Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, Walder Foundation, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Steven and Nancy Crown, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, Joyce Foundation, Harold and Mimi Steinberg Charitable Trust, The Orlebeke Foundation, Polk Bros. Foundation, Bryan Traubert and Penny Pritzker, Sacks Family Foundation, Smart Family Foundation of Illinois, and Vinci Restaurant. Steppenwolf also acknowledges support from the Illinois Arts Council and the City of Chicago Department of Cultural Affairs and Special Events.

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 49 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theater and Chicago's cultural landscape. Founded in 1976, Steppenwolf started as a group of teens performing in the basement of a church. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

Steppenwolf's LookOut Series launches into 2026 with a bold line-up featuring vital work from Chicago's dance, cabaret and music artists. With eight distinct programs over the course of two months, the breadth and diversity of this city's artistic communities is on full display this winter in the intimate 1700 Theater.

Highlights include a collaboration between celebrated dance artists Shalaka Kulkarni and Rika Lin; the return of The Uncanny Attic, an episodic tribute to the macabre work of Edward Gorey; and the premiere of Fold, a new solo piece by multidisciplinary artist Isabella Limosnero.

Creative Producer Patrick Zakem comments, "Every year, Steppenwolf is honored to host and showcase a cross-section of Chicago's dance and performance art communities as a part of our LookOut Series. Kicking off 2026, we've got a truly eclectic mix of work from familiar faces and new friends; we can't wait to see what these artists have been creating."

All LookOut performances take place in Steppenwolf's 1700 Theater, an intimate and flexible venue nestled behind Front Bar, 1700 N. Halsted St. in Chicago. Tickets, which range in price from $23 – $43*, are now on sale by visiting steppenwolf.org/lookout or by calling the Box Office at (312) 335-1650. *Pricing includes a $3 fee

The full LookOut Spring 2026 Season (in chronological order):

The Uncanny Attic: Chapters E-H
A Beautifully Gruesome Production
Dates: Thursday, January 15 – Saturday, January 17 at 7:30 pm; Saturday, January 17 at 3 pm.
Ticket Price: $43
Description: The camp macabre world of Edward Gorey returns to Steppenwolf in the second installment of this absurdist dark comedy anthology told through puppetry, clowning, dance, live music, song, animation and an unhealthy dose of death.

TightUs Presents:
FLUIDITY 
By Taji Elemah
Featuring Jarqueze Simmons, Brandon Cox and Q. Shunté
Dates: Friday, January 23 & Saturday, January 24 at 7:30 pm
Ticket Price: $28
Description: Fluidity follows the story of three dancers, stuck in detention, who share more in common than is first apparent. This piece synthesizes various genres of dance in an immersive experience featuring an electric trio of performers.

Cristal Sabbagh Presents:
Freedom From and Freedom To 
Dates: Friday, January 30 & Saturday, January 31 at 7:30 pm
Ticket Price: $23
Description: Movement and sound improvisors from all around Chicago gather in front of a live audience and are grouped by chance in this exploration and celebration of artistic circumstance. Each performance features a different group of performers who fuse diverse artistic practices to create unique and fleeting worlds.

Fold
By Isabella Limosnero 
with Max Lazarus, Indigo and Carmani Edwards
Dates: Friday, February 13 & Saturday, February 14 at 7:30 pm
Ticket Price: $23
Description: Multidisciplinary artist Isabella Limosnero combines physical storytelling, choreographed movement and live music in this piece examining how ancestral stories are stored in the body.

Project Bound Dance Presents:
Smoking Meat
Dates: Friday, February 20 & Saturday, February 21 at 7:30 pm; Sunday, February 22 at 3 pm.
Ticket Price: $33
Description: Under the direction of Ashley Deran and Emily Loar, Project Bound Dance is a Chicago-based modern dance group rooted in the practice of collaboration. Interweaving partnering and choreography inspired by epic fantasy worldbuilding, Smoking Meat deliciously questions what we give up of ourselves in the pursuit of physical and social safety.

Red Velvet Riot and Ellis Centric Present:
HERE: in our bodies 
Dates: Thursday, February 26 – Saturday February 28 at 7:30 pm
Ticket Price: $43
Description: This interdisciplinary cabaret production combines puppetry, performance art, drag and burlesque to explore the unique relationships we have to our bodies — as a whole or in parts — and to ourselves.

flights for future generations
Devised and performed by Lindsey Barlag Thornton
Dates: Friday, March 6 & Saturday, March 7 at 7:30 pm
Ticket Price: $23

Description: In this solo work from prolific performance artist Lindsey Barlag Thornton, movement, text, sound and imagery are overlaid in an exploration of the history of women aviators and spiritualists. By interweaving stories of flight with mysterious encounters in a type of séance-lecture, flights for future generations navigates our fragile course between faith and uncertainty.

MUDRA
By Shalaka Kulkarni 
with Yoshinojo Fujima (aka Rika Lin)
Dates: Friday, March 13 & Saturday, March 14 at 7:30 pm
Ticket Price: $23
Description: Interdisciplinary Asian-American dance artist Shalaka Kulkarni creates experiences that bridge the ancient and contemporary. In this piece featuring guest artist Yoshinojo Fujima (aka Rika Lin), Kulkarni illuminates a dance-theatre journey through sand, water and the language of gestures.

Accessibility:

Steppenwolf's 1700 Theater is equipped with an induction hearing loop and assistive listening devices (ALDs) are available upon request. Our building features wheelchair-accessible seating and restrooms, push-button entrances, a courtesy wheelchair, and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/plan-your-visit/accessibility or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information: 

The LookOut Series is supported in part by the Walder Foundation. United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul M. Angell Family Foundation, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Steven and Nancy Crown, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, Joyce Foundation, Harold and Mimi Steinberg Charitable Trust, The Orlebeke Foundation, Polk Bros. Foundation, Bryan Traubert and Penny Pritzker, Sacks Family Foundation, Smart Family Foundation of Illinois, Thoma Bravo, and Vinci Restaurant. Steppenwolf also acknowledges support from the Illinois Arts Council and the Department of Cultural Affairs and Special Events. 

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 49 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theater and Chicago's cultural landscape. Founded in 1976, Steppenwolf started as a group of teens performing in the basement of a church. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre,

whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

Safe to say Steppenwolf’s revival of Peter Shaffer’s Amadeus is “fetes and fireworks”. Robert Falls makes his directorial debut at Steppenwolf after recently retiring from his role as Goodman Theatre artistic director. To say his new production of Amadeus makes a splash would be an understatement. Falls brings his signature vision to the still new in-the-round stage at Steppenwolf for a thrilling evening of theatre.

Even in the so-called peak of Broadway attendance, very few straight plays ran for three months let alone three years. Amadeus opened on Broadway in 1980 starring Ian McKellen, Jane Seymour and Tim Curry (as Mozart) where it ran for three years. It went on to win several Tonys and was eventually adapted into an Academy Award winning film in 1984. Since plays don’t last long on Broadway, it begs the question: what about Peter Schaffer’s play resonated with audiences? The film has also attracted a considerable cult following.

Pete Shaffer uses the rivalry between Italian composer Antonio Salieri and young Mozart as an allegory for professional jealousy and intergenerational conflict. The dastardly Salieri is played by Steppenwolf ensemble member Ian Barford while his counterpart is played by David Darrow. Though Shaffer admits to inventing many of the details of his play, his version turns the music world of 1700s Europe into a kind of rock ‘n roll. When we think of the classic composers, we think of them as we think of their music–mild, inoffensive, something to put on in the background to get work done. Amadeus portrays Mozart as an enfant terrible: a womanizer and drunkard. His wild lifestyle is likely what led to his most important operas, even if they were mostly lighthearted comedies. Shaffer makes classical music cool by bending the lore to fit his own artistic agenda.

David Darrow, Jaye Ladymore and ensemble member Ian Barford in Steppenwolf Theatre Company’s production of Amadeus.

Robert Falls’ revival feels as fresh as when it opened over 40 years ago. While the movie is known for lavish sets and costumes, Steppenwolf’s production is somewhat modest. Minimalism only adds to the cool factor here. One of Falls’ innumerable talents as a director is creating visual splendor. Together with longtime scenic collaborator Todd Rosenthal, Falls’ shows audiences countless moments of theatrical magic. Steppenwolf’s choice to present this play in the round is a wise one that affords the cast an opportunity to move in and around the audience.

Falls has gathered a wonderful cast. While the headliner here is Mozart, the real star of the show is Salieri. The villain begins the show as the main character and in his lengthy confession we see he is more often the tormented one even though he’s in the position of power. Barford’s performance is less delicate than how this part has traditionally been approached. His hulking figure in period dress only adds to his threatening persona that feels more masculine than intellectual. Darrow on the other hand plays the clown well in the first act but leaves audiences devastated by the conclusion. His indefatigable energy is a lot of fun to watch.

Steppenwolf’s Amadeus is as exciting as the news that Robert Falls switched houses to direct it. In many ways it feels way less stuffy than some of his most impressive work at Goodman. Though this production is basically perfect, there’s a bit of grit left on it and it’s all the better for it.

*Extended through January 25th

More than a haunted house and not quite a play, the House of the Exquisite Corpse series lives somewhere between immersive theater and a live-action episode of Black Mirror.

For the fifth year in a row, Rough House Theater Co. is haunting Steppenwolf's Merle Reskin Garage Theatre with House of the Exquisite Corpse V: BLOOD & PUPPETS. This production-experience hybrid is unsettling, uncanny, and unlike anything else running in Chicago this Halloween season.

The show consists of six puppet performances, each roughly five minutes long, staged in dark, enclosed rooms. Positioned more as voyeurs than viewers, the audience observes each performance through peepholes cut in the room’s walls and listens through headphones. It’s an experience like no other, immersing you in a world entirely, even as you watch it from the outside.

LETTING -Creators Nina D'Angier & Madigan Burke Puppetteer Amandatron 5000.

Although you may be tempted, as I was, to take this year’s blood-and-puppets theme literally, expecting guts and gore, co-directors Felix Mayes and Corey Smith encouraged artists to explore “blood” more metaphorically. The results are striking. Across the six rooms, blood takes many forms: as a symbol of life, decay, lineage, legacy, intimacy, and rupture. Each room also offers a radically different world. One might transport you to the cluttered lab of a deranged scientist, another to a barren, surveilled interior, another to an eerily windswept desert.

The artistry on display is staggering, extending far beyond set design. Each vignette – created by a different team of artists – interprets the theme in personal and provocative ways, resulting in a thrilling range of styles and techniques. The puppetry alone shifts dramatically from room to room, moving from delicate shadow work to oversized, wearable creatures and full-body figures that act like natural extensions of the performer’s body. Some rooms tell tight, plot-driven stories; others are impressionistic and mood-driven, favoring feeling over narrative. Across the board, the performances are intriguing and deeply theatrical – you might come for the scares, but you’ll stay for the craft.

Of course, none of this would be possible without the collective effort of the full production team. The co-directors have built more than a series of puppet shows: they’ve created a platform for experimentation. Puppetry, an art form that’s far too often dismissed and infantilized, takes center stage in House of the Exquisite Corpse, revealing its full expressive range. A space where this kind of work is possible is rare, and Rough House has built one where artists can be unapologetically weird, bold, and free – a testament to what independent theater can be when creators are trusted to follow their wildest ideas.

Whether you're a horror fan, a regular theatergoer, or just looking for something truly unique to do this spooky season, House of the Exquisite Corpse delivers. It may not make you scream, but it will definitely make you squirm.

House of the Exquisite Corpse V: BLOOD & PUPPETS is haunting The Merle at Steppenwolf Thursdays, Fridays, and Saturdays through November 1. Tickets are available at https://roughhousetheater.com/house-of-the-exquisite-corpse

Before you go, please note that the experience requires walking and standing for extended periods, as well as the use of over-ear headphones. Rough House is committed to accessibility and has made detailed information and request forms available at https://roughhousetheater.com/accessibility.

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

Rajiv Joseph’s Mr. Wolf is a striking departure from the warmth and humor of his recent King James. Where King James used the comfort of sports as a language of friendship, Mr. Wolf asks us to sit inside the fragile, fractured space of trauma. In Steppenwolf’s intimate production, ensemble member K. Todd Freeman directs with an unflinching precision that refuses to soften the material. His approach creates a space where silence weighs as heavily as dialogue, where each pause presses the audience closer to the raw pulse of grief, survival, and uneasy healing. This is a small play set against a very large world, and its intimacy makes it resonant.

The play centers on Theresa (Emilie Maureen Hanson), a teenager recently rescued after twelve years of captivity. Her abductor, Mr. Wolf (Tim Hopper), is not only a predator but also an astronomy professor who reshaped her entire worldview with cosmic metaphors, rigid theories, and apocalyptic visions. For Theresa, the cosmos—and Mr. Wolf—are inseparable. He does not see the stars as sources of wonder but as proof of his twisted logic.

Mr. Wolf bends the language of science into a doctrine of control. Whereas most scientists keep religion and science in separate spheres, he blurs that boundary, turning the vastness of the universe into a kind of scripture. He declares Theresa a prophetess of the cosmos, teaching her to view the stars not through physics and wonder but through his rigid, apocalyptic framework. Hopper embodies this chilling certainty with unnerving precision, a man who once lectured on the heavens but now orbits entirely within his own delusions.

Now reunited with her parents—Hana (Kate Arrington) and Michael (Namir Smallwood)—Theresa must navigate a world that feels as alien as the galaxies she once studied under his command. Julie (Caroline Neff), Michael’s new wife, hovers between empathy and helplessness, unsure how to reach someone marked by unspeakable experience while quietly grappling with her own grief.

The acting is superb across the board. Hanson captures Theresa’s uneasy balance of fragility and resilience. Arrington and Smallwood embody grief in contrasting shades—Arrington’s sharp-edged regret against Smallwood’s wounded stoicism—while Neff supplies a warmth the others cannot. Hopper, disturbingly calm as Mr. Wolf, delivers control with the cool precision of a man who has transformed astronomy into a theology of delusion.

The design team amplifies this unsettling intimacy. Walt Spangler’s set suggests a world we recognize—rooms, walls, familiar structures—that have splintered into pieces. Watching the play, we feel as though we are tasked with reassembling it, just as the characters try to piece together their broken lives. Dede Ayite’s costumes root the play in ordinariness, and Josh Schmidt’s sound and original music create an undercurrent of wonder. Rasean Davonté Johnson’s projections echo the celestial images that once defined Theresa’s captivity, lingering like ghosts of her indoctrination.

Freeman’s direction sharpens the play’s unease into something inescapable. Rather than offering distance, he compels the audience to witness the jagged rhythms of survival. Where King James thrived on joy and connection, Mr. Wolf strips us down to silence and difficult truths. It is a play less about resolution than endurance, and in Steppenwolf’s hands, it becomes a stark reminder of how trauma ripples outward—and how putting the pieces back together is never simple, but always necessary.

RECOMMENDED

When: Through Nov. 2nd

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Running Time: 90 minutes

Tickets: $20 - $133.50

312-355-1650

www.steppenwolf.org

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

If ever given the chance to see Amy Morton on her home stage at Steppenwolf–take it. She stars in the Chicago premiere of Noah Diaz’s ‘You Will Get Sick’ alongside fellow ensemble members Cliff Chamberlain, Namir Smallwood, Jordan Arredondo and Sadieh Rifai. Steppenwolf Theatre Artistic Director Audrey Francis directs this inventive new production with theatricality and compassion.

‘You Will Get Sick’ comes from writer and screenwriter Noah Diaz. It was previously seen at The Roundabout Theatre in which the late Linda Lavin starred to rave reviews. It’s the oddball story of a man with a secret (Namir Smallwood) who pays a woman (Amy Morton) to have uncomfortable conversations with the people in his life. At first the woman seems only motivated by money, but in time she becomes his unlikely confidant. The woman is preoccupied with her own dreams of starring in a local production of ‘The Wizard of Oz’. As his condition worsens, they live under the constant threat of attack from giant birds overhead.

The list of things that make this play unique is much longer than the list of things that make it familiar. On one hand, it’s not hard to draw a connection between the man’s wasting illness and his new friend’s obsession with being Dorothy Gale in ‘The Wizard of Oz’. This a story about a queer man and the illness that he will eventually succumb to. All the while, an off-stage narrator gives the internal stage directions for how the man feels. Each actor embodies several other unnamed characters that revolve around him in some way.

Sadieh Rifai portrays a handful of zany characters from nurses to new age theatre teachers, but as his sister receives bad news from Amy Morton’s character, her fury is electrifying. Rifai makes the most of Diaz’s gallows humor. Amy Morton’s performance is the centerpiece of the play though. As with her co-stars she wears a few unnamed character’s hats throughout the show, but as what’s described as “an older woman” who’s both a profit-driven jerk and a reliable caregiver–she’s complex and utterly realistic.

Diaz makes a point with ‘You Will Get Sick’ that illness in our society is seen as a moral failing. The man is ashamed for people to know he’s ill, but he’s even more embarrassed of his failing limbs. Namir Smallwood is heartbreaking as a man so lonely he has to pay people to be kind. Conversely, Cliff Chamberlain hilariously plays a swirl of toxically positive characters that seem to only exist to annoy those dealing with traumatic reality.

There’s something hard to define about ‘You Will Get Sick’, but instead of wondering what it’s about, perhaps Diaz wants you to feel what it’s about. Between the dreamy dialogue and Audrey Francis’ sumptuous vision for this production, there’s an emotional energy on stage that is quite literally magic in some parts. Even though there is tragedy in life, what this play explores is what can grow out of that and what parts of people do we carry with us after they’re gone?

Through July 20 at Steppenwolf Theatre Company. 1650 N Halsted St. 312-335-1650

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

In a masterful stroke of programming, Steppenwolf Theatre Company presents the Chicago premiere of "The Book of Grace," Suzan-Lori Parks' incendiary companion piece to her Pulitzer Prize-winning "Topdog/Underdog." Director Steve H. Broadnax III has crafted a searing production that peels back the layers of American family dysfunction with surgical precision.

Set in a small Texas border town, the play centers on an explosive triangle: Grace, played with luminous warmth by Zainab Jah, a waitress who fills her notebook with life's quiet moments of beauty, collecting them like precious stones to ward off darker thoughts.; her husband Vet (Brian Marable), a soon-to-be-honored border patrol agent, maintains order with an iron grip that hints at something more dangerous beneath the surface, and Vet's estranged son Buddy (ensemble member Namir Smallwood), whose arrival ignites a powder keg of long-suppressed trauma.

Parks, who won a Pulitzer for "Topdog/Underdog," has crafted something remarkable here - a play that feels both intimately personal and sweepingly political. She uses this family's dysfunction as a lens to examine larger American wounds: the violence we inherit, the borders we create, the ways we fail to protect what we claim to love.

Zainab Jah, bearing an uncanny resemblance to a young Cicely Tyson, delivers a tour de force performance as Grace. Her portrayal is pure magic embodied, infusing the character with an effervescent optimism that makes her eventual disillusionment all the more devastating. As the rigid patriarch Vet, Brian Marable brings a chilling authority to the role, while Namir Smallwood's Buddy simmers with contained rage, his every gesture a loaded gun waiting to go off.

Parks' script continues her exploration of fractured American identity and familial bonds. Where "Topdog" examined the relationship between brothers through the lens of historical reenactment, "Grace" turns its gaze to the combustible dynamics between fathers and sons, set against the backdrop of America's ongoing border crisis.

The circular stage becomes a cage in Broadnax III's hands. With audience members boxing in the action from all sides, the performers have nowhere to hide – much like the fractured family they portray. It's claustrophobic and intense, exactly as it should be. As the drama unfolds in Steppenwolf's intimate arena, you can feel the tension building like a pot about to boil over. The production strips away theatrical artifice to expose the raw nerves of a family—and by extension, a nation—at war with itself.

What emerges is a gothic horror story dressed in kitchen-sink realism, where the monsters aren't supernatural beings but the ghosts of American history itself: racism, violence, and the cyclical nature of trauma. Parks continues to prove herself one of American theater's most vital voices, crafting work that refuses easy answers while demanding we confront our most uncomfortable truths.

"The Book of Grace" may be a companion to "Topdog/Underdog," but it stands as its own testament to Parks' genius—a play that grabs you by the throat and doesn't let go until its devastating final moments. In the hands of this exceptional ensemble, it's not just theater; it's an exorcism of American demons that feels more relevant now than ever.

Some plays entertain. Others leave scars. Suzan-Lori Parks' "The Book of Grace" belongs firmly in the second category, delivering a gut-punch of a production that lingers long after the house lights come up.

Highly Recommended

When: Through May 18

Where: Steppenwolf Theatre 1650 N. Halsted

Running time: 1 hour, 35 minutes

Tickets: $20 - $110 ($15.00 student tickets)

www.steppenwolf.org/tickets--events/

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

Love is often jokingly referred to as a socially acceptable form of insanity, but in Sam Shepard’s ‘Fool for Love’ – social acceptability is an afterthought. Steppenwolf is especially known for their revivals of Shepard’s plays, and under Jeremy Herrin’s direction, their revival of ‘Fool for Love’ is as good as you can get.

‘Fool for Love’ is a gripping drama about two unstable lovers battling for control in a seedy, desert motel. The fools, May and Eddie played by Caroline Neff and Nick Gehlfluss are an equal match, dancing over the thin line between love and hate.

The one-act play opens on a hauntingly abandoned motel room somewhere in the Mojave Desert. May and Eddie cling to one another like feral animals. As the play barrels along they reveal the perverse intertwining that led them to this moment. Caroline Neff gives a wrenching and gritty performance that’s nothing short of electrifying. Nick Gehlfuss’ hulking appearance is hard to ignore, but in this version, his character is almost goofier than threatening. For that reason, their desire feels more understandable.

‘Fool for Love’ is said to live in the same universe as Shepard’s ‘True West’ and ‘Buried Child’. This play is certainly the most straightforward of the three. Here Shepard refined his exploration of brutality with a more universal central question: what makes a relationship toxic? And of course, there’s a touch of the mystic. Tim Hopper is nearly unrecognizable as The Old Man but makes for some of the most intense moments of the show.

Steppenwolf’s revival of this erotic thriller feels perfectly timed considering the success of last year’s ‘Babygirl’ and ‘Challengers’. If there’s any truth to the old adage ‘sex sells’ then the current pop culture landscape is only proving it. For years the erotic thriller seemed all but extinct as a genre which once dominated the 80s and 90s. Today there seems to be a renewed hunger for stories with sexual taboos as their subject matter.

Part of what makes this play so engrossing is the production itself. The thoughtfully designed set by Todd Rosenthal paired with Raquel Adorno’s perfect costume styling, achieve Jeremy Herrin’s vision. Every small detail tells part of the story and provides context otherwise not in the short script.

Steppenwolf’s first show of 2025 is going to be hard to top. Between the cast and the shocking script, ‘Fool for Love’ is sure to leave a lasting impression on those who see it. In confident hands, Sam Shepard’s romantic dark comedy continues to unsettle audiences even 40 years later. 

Extended through March 23 at Steppenwolf Theatre Co. 1650 N Halsted St. 312-335-1650

Steppenwolf's cozy downstairs theater provided the ideal setting for an evening of outstanding and expressive dance by the highly acclaimed Season 47 Fall Series by Hubbard Street Dance Company.

The performance began with Aszure Barton's “return to patience,” featuring the entire company uniformly dressed in simple, gray and pale blue loose-fitting attire, defying gravity by leaning into space rather than onto each other. The piece masterfully captures a sense of restless animation striving for contemplative serenity, achieving this balance beautifully. (Set to Caroline Shaw’s “Gustave Le Gray,” an adaptation of Chopin’s gentle “Mazurka in A Minor, Op. 17, No. 4”).

The second piece, a solo performance titled “Show Pony” (2018, HSDC premiere 2023), danced by Shota Miyoshi, stands in stark contrast to “return to patience.” Clad in a formfitting, shiny gold Vegas Elvis jumpsuit, Miyoshi's performance is spectacular. He is literally spotlighted with beautiful lighting by Dan Scully that appears and disappears, as he dominates the stage. The term “Show Pony” perfectly encapsulates Miyoshi's confident and explosive dancing.

Lar Lubovitch’s “Prelude to a Kiss” (2005, HSDC 2023) is a romantic delight, danced superbly by Alexandria Best and Elliot Hammans with palpable chemistry. The couple's dance and flirtation are mesmerizing, with Best sometimes hanging from Hammans' arms like an exquisite butterfly. Their duet is mesmerizing and romantic, culminating in a breathtaking moment as Hammans gently removes the shoulder straps from Best's gown, one at a time, and plants a single, masterful kiss on the exposed nape of her neck.

In “Sweet Gwen Suite”, Cyrie Topete, Dominick Brown, and Aaron Choate dazzle in wildly sexy, bedazzled leather and Mexican-style form-fitting pants and bolero jackets, with costumes designed by Bobby Pearce. This number by Bob Fosse and Gwen Verdon exudes sass, flair, and self-confidence. Brown and Choate support lead dancer Cyrie Topete, who shines in what feels like a near-solo performance. Topete makes every gesture count, from smoking and extinguishing her cigarette with a sexy twist of her leather boot toe, to the defiant lift of her chin and single smile at the end, like a victorious matador. The act was set to Herb Alpert & Tijuana Brass’ “Mexican Shuffle,” Lola Schiffrin’s “Cool Hand Luke,’ and “Mexican Breakfast” by Johnny Mandel.

Hubbard Street Dance Chicago in 'BUSK' by Aszure Barton.

Hubbard Street Dance Chicago’s opening night of the company’s Season 47 Fall Series was graced by the presence of Nicole, the daughter of Bob Fosse and Gwen Verdon. HSDC proudly became the first company to collaborate with the Verdon/Fosse Legacy to showcase Fosse's work. As a longtime admirer of Verdon/Fosse-inspired dance, this collaboration brought their iconic style to life in a thrilling and deeply satisfying way.

In the show’s final act, “Busk” by Aszure Barton opens with Elliot Hammans sleeping on the street, transforming into a character reminiscent of Buster Keaton, complete with hat and cane. Hammans' wonderfully expressive face enhances his dance performance, as he is joined by a cast of street people. Their movements range from defiant leaps to huddled masses, pleading for help with outstretched arms, their faces conveying profound sadness, struggle, and desperation. Random vocalizations are also used by the dancers, which really add to the already stunning piece. The entire dance company is involved in what is the perfect finale.

I highly recommend this incredible and passionate selection of dance performances, including the collaboration with the Gwen Verdon Bob Fosse Legacy, for audiences of all ages. The Hubbard Street Dance Chicago dancers are uniquely gifted and each piece so mesmerizing, making it difficult to pick a favorite number. The company’s Season 47 Fall Series, beautifully staged at Steppenwolf’s Downstairs Theatre, was truly a night of dance you and your family and friends will never forget.

For more information on Hubbard Street Dance Chicago’s current and upcoming performances, visit https://www.hubbardstreetdance.com/.  

(*Dancers alternate roles in performaces depending on select dates. This review reflects the dancers performing for the specific performance reviewed.)