Displaying items by tag: THE DANCE OF DEATH

There is something almost perversely apt about staging Miss Julie inside a birdcage.

Under the direction of Gabrielle Randle-Bent, August Strindberg’s most celebrated chamber play, Miss Julie—an autopsy of class warfare disguised as seduction—arrives at Court Theatre in a production as conceptually bold as it is frustratingly self-defeating. Scenic designer John Culbert places the entire action within a giant birdcage veiled in scrim. The metaphor is unmistakable: these three characters are trapped—by class, by gender, by desire, by the invisible architecture of hierarchy. Within this enclosure they circle one another warily, predator and prey trading positions until collision becomes combustion.

And yet, the scrim that literalizes Strindberg’s thesis also undermines the very essence of chamber drama.

Chamber plays depend on proximity. They require that we see the flicker of doubt before it becomes cruelty, the calculation before it becomes command. The scrim, however gauzy, creates a barrier. We are not fully privy to the faces or the minute mental machinations of the actors. Instead of sitting in the kitchen with them, breathing the same charged air, we observe as though through glass. The concept imprisons not only the characters but the audience.

Still, the performances press fiercely against those confines.

Mi Kang’s Miss Julie is volatile and wounded, her aristocratic arrogance masking a desperate hunger for annihilation. She plays Julie not as a naïve romantic but as a woman testing the edges of her own destruction. Kelvin Roston Jr.’s Jean is taut with ambition. His Jean calculates even while seducing; every flirtation carries the weight of social ascent. The push and pull between Kang and Roston Jr. has genuine danger, their exchanges tightening like wire.

Rebecca Spence’s Kristine, meanwhile, anchors the production with moral steadiness. Kristine is the quiet witness to the carnage—a woman whose survival depends on understanding the rules rather than challenging them.

Kelvin Roston Jr. and Mi Kang in Miss Julie at Court Theatre.

The uncredited score becomes an unexpected fourth character. It begins with what sounds like a restrained string quartet—orderly, almost classical—before devolving into ear-piercing, disconnected, harsh chords. The progression feels deliberate: a descent into madness mirroring Julie’s psychological unraveling. It is invasive, unsettling, and impossible to ignore.

Raquel Adorno’s costumes subtly delineate class distinctions without ostentation. Fabric and silhouette do the quiet work of social architecture. No detail feels accidental.

This may well be Strindberg’s season in Chicago. Across town, Steppenwolf Theatre Company is mounting The Dance of Death, another of the playwright’s bruising dissections of intimacy and entrapment. That two major companies are wrestling simultaneously with Strindberg’s merciless worldview suggests a cultural appetite for dramas in which love is war and escape is illusion.

Court Theatre’s Miss Julie, guided by Gabrielle Randle-Bent’s disciplined direction, understands that these characters are caged long before the lights rise. The tragedy is that the scrim—meant to emphasize their confinement—keeps us from fully experiencing the suffocating intimacy that makes the play detonate. Strindberg wrote this as chamber music for three instruments. When we cannot quite see the musicians’ fingers on the strings, some of the music is inevitably lost.

Even so, the production lingers. Like the final discordant notes of its score, it vibrates with unease long after the cage goes dark.

RECOMMENDED

When: through March 8th

Where: Court Theatre, 5535 S. Ellis Ave.

Running time: 90 minutes no intermission

Tickets: $60 - $90.00 Student, Group and military discounts available

773-753-4472

www.courttheatre.org

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

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to continue its 50th Anniversary Season with August Strindberg's masterclass in marital warfare The Dance of Death, adapted by Conor McPherson, directed by ensemble member Yasen Peyankov and featuring an all ensemble cast. The Dance of Death will play January 29 – March 22, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Single tickets starting at $20 are now on sale at steppenwolf.org or the Box Office at (312) 335-1650. The press opening is Saturday, February 7, 2026 at 7:30 pm.

Steppenwolf ensemble member Jeff Perry (No Man's Land, August: Osage County, Scandal) returns home to the company he co-founded five decades ago, joined by fellow ensemble members Cliff Chamberlain (You Will Get Sick, Fool for Love, The Minutes) and Kathryn Erbe (The Grapes of Wrath, A Streetcar Named Desire, Law & Order: Criminal Intent), who returns to the Steppenwolf stage for the first time in nearly three decades.

About the Production:

In the high stone tower of an isolated naval fortress, Alice and Edgar are about to celebrate 25 years of wedded bliss – if decades of resentment, recrimination and mutual sabotage count as bliss. But when an alluring visitor arrives, the delicate balance of their tedious arrangement falls off its axis, cracks growing into canyons. In Conor McPherson's wicked take on Strindberg's masterclass in marital warfare, a twisted love triangle waltzes off the edge of a cliff, plunging us all into the deep.

Steppenwolf Artistic Directors Glenn Davis and Audrey Francis comment, "When we set out to program the 50th Anniversary Season, our priority was to welcome a large host of ensemble members from across Steppenwolf's storied history back home. Nowhere is this clearer than in The Dance of Death, which has an all ensemble cast and an ensemble director at the helm. With Jeff, Katie and Cliff – representing three generations of ensemble members – in one room, we know we're in store for a quintessentially Steppenwolf night of combustible and provoking theater."

The creative team includes Collette Pollard (Scenic Design), Ana Kuzmanic (Costume Design) Lee Fiskness (Lighting Design), Rick Sims (Sound Design), Jyreika Guest (Fight and Intimacy Consultant), Jason K. Martin (Voice Coach), Claire Kaplan (Movement Consultant), Abhi Shrestha (Dramaturg), Patrick Zakem (Creative Producer), Tom Pearl (Producing Director), JC Clementz, CSA (Casting), Laura D. Glenn (Production Stage Manager) and Kathleen Barrett (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: The Dance of Death
Playwright: August Strindberg
Adaptor: Conor McPherson
Director: ensemble member Yasen Peyankov
Cast: ensemble members Cliff Chamberlain (Kurt), Kathryn Erbe (Alice) and Jeff Perry (Captain)

Location: Steppenwolf's Downstairs Theater, 1650 N. Halsted St., Chicago
Dates: Previews: Thursday, January 29 – Friday, February 6, 2026
Press performance/Opening: Saturday, February 7, 2026 at 7:30 pm
Regular run: Tuesday, February 10 – Sunday, March 22, 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, February 3, Wednesday, February 11, Tuesday, February 17, Wednesday, February 25, Thursday, February 26, Tuesday, March 3 and Tuesday, March 17; there will not be 3 pm performances on Saturday, February 7, Saturday, March 14 and Sunday, February 8; there will be an added 2 pm matinee on Wednesday, March 11.

Tickets: Single tickets for The Dance of Death ($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, March 1 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Saturday, February 28 at 3 pm & Thursday, March 12 at 7:30 pm
ASL-Interpreted: Friday, March 6 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:

August Strindberg (Playwright) Johan August Strindberg was a Swedish author and playwright whose work engaged the concepts of naturalism and expressionism. He was born in Stockholm on January 22, 1849, to an unsuccessful shipping agent and a maidservant. He attended the University of Uppsala, but he would often leave to act at the Royal Dramatic Theatre in Stockholm, teach or write plays. He left Uppsala permanently in 1872 to work as a journalist and a librarian at the Royal Library in Stockholm. In 1879, Strindberg published his novel "The Red Room," making him famous in Sweden. His play Master Olof, a historical drama published in 1872, was finally performed in 1881, and he wrote several plays criticizing social conventions in Sweden, including Lucky Peter's Travels (1882), The Father (1887), Miss Julie (1888), Creditors (1888), The Stronger (1888) and Playing with Fire (1892). During the 1890s, Strindberg suffered from psychological and emotional stress, which he described in his novel "Inferno," that culminated in his adoption of mysticism. The post-"Inferno" period was more productive for Strindberg. He wrote thirty-six plays from 1898 to 1909, including To Damascus (1898), a trilogy, Gustav Vasa (1899), Erik the Fourteenth (1899), Easter (1900), The Dance of Death (1900), A Dream Play (1901), Queen Christinia (1901), Storm (1907), The Ghost Sonata (1907) and The Great Highway (1909). He died in Stockholm on May 14, 1912. 

Conor McPherson (Adaptor) was born in Dublin in 1971. He attended the University College in Dublin, where he began to write and direct. His plays include Rum & Vodka, The Good Thief, This Lime Tree Bower, St. Nicholas, The Weir (Olivier Award, Best Play), Dublin Carol, Port Authority, Shining City (Tony Award nomination, Best Play) and The Seafarer. Film work includes I Went Down, Saltwater, Samuel Beckett's Endgame and The Actors. Other awards include the George Devine Award; Critics' Circle Award; Evening Standard Award; Meyer Whitworth Award; Stewart Parker Award; two Irish Film & Television Academy Best Screenplay Awards; CICAE Best Film Award, Berlin Film Festival (Saltwater); Best Film and Best Screenplay Awards, San Sebastian Film Festival (I Went Down).

Yasen Peyankov (Director) last directed at Steppenwolf Theatre his own adaptation of Anton Chekhov's Seagull in 2022 and has been an Ensemble Member since 2002. Other Steppenwolf main stage directing credits include: The Fundamentals, Between Riverside and Crazy (Jeff nomination for Best Production), Grand Concourse and Russian Transport. He also directed Hushabye for Steppenwolf's First Look Repertory and The Glass Menagerie for Steppenwolf for Young Adults. He most recently directed Samuel Beckett's Endgame at Facility Theatre. He also translated and directed the Bulgarian premieres of August: Osage County and Doll's House, Part 2 (still running) at the National Theatre in Sofia, Bulgaria. As an actor he has appeared in over 20 productions at Steppenwolf Theatre Company, some of which include: Time of Your Life (also in Seattle and San Francisco), Morning Star (Jeff Award), Hysteria, Lost Land, Cherry Orchard, Frankie and Johnny at the Claire De Lune (also in Dublin), Superior Donuts (also on Broadway), and others. Film: Maestro, Captive State, A Very Harold and Kumar Christmas, The Company, US Marshalls, and others. Television: Chicago Med, Chicago P.D., Madame Secretary (recurring), FBI, Stranger Things, The Mob Doctor, Alias, The Practice, The Unit, Numb3rs, and others. Mr. Peyankov is a Professor and Head of Theatre at the School of Theatre and Music at UIC where he teaches acting and directs plays.

Cliff Chamberlain (Kurt) joined the Steppenwolf Theatre Company ensemble in 2018. Steppenwolf Theatre Company: You Will Get Sick, Fool For Love, The Minutes, Belleville, Clybourne Park, Theatrical Essays, Superior Donuts. Chicago: The Seagull (Goodman Theatre); The Sparrow (The House Theatre of Chicago). Broadway: The Minutes, Superior Donuts. Television: Homeland, Altered Carbon, The Act, Easy, State of Affairs, Chicago P.D., Paper Girls, The Chair. Film: The Rip, Moses the Black, The Wise Kids. Cliff trained at UCSB and The School at Steppenwolf.

Kathryn Erbe (Alice) first worked with Steppenwolf on the Broadway production of The Grapes of Wrath (1990 Tony Award for Best Play) and became an ensemble member in 1992. Steppenwolf: Curse of the Starving Class, My Thing of Love and A Streetcar Named Desire. Broadway: The Speed of Darkness (Tony nomination), A Month In the Country, The Father. Off-Broadway: Down the Shore (Atlantic Theater Company – company member since 1993), Yosemite, Ode To Joy, AZAK (Rattlestick), Checkers, Nikolai and the Others (Mitzi Newhouse LTC), Something Clean (Roundabout Underground), Ashes & Ink (AMT Theater). Television: Breathing Lessons (Hallmark), Homicide, Oz, Law & Order: Criminal Intent and SVU, How To Get Away With Murder, The Sinner, POSE, City On A Hill, Black Rabbit. Film: What About Bob?, Rich In Love, D2:The Mighty Ducks, Kiss of Death, The Addiction, Dream With the Fishes, Stir of Echoes, Speaking of Sex, 3 Backyards, Mistress America, Assassination Nation, Alex Strangelove, Red Pill, No Alternative, The Good House and the upcoming The Plea.

Jeff Perry (Captain) is a co-founder of the Steppenwolf Theatre Company, and has acted and directed in over 40 Steppenwolf productions. Regional: Seagull, Streamers, Time of Your Life, Anna Christie, A Steady Rain, No Man's Land. International: The Grapes of Wrath, August: Osage County. Television: Nash Bridges, Grey's Anatomy, Scandal, $1, Dirty John, Inventing Anna, Alaska Daily. Upcoming: Co-Producer of The Steppenwolf Theatre Documentary. "I owe my life in art to every teacher, artist, student, and storytelling colleague I've been blessed to share time and space with."

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:

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, 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, PNC, Polk Bros. Foundation, Thoma Bravo, 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. 

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.

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