Displaying items by tag: Theatre Chicago

Jack Lewin/Lewin Productions will bring Going Bacharach: The Songs Of An Icon, a musical revue featuring the classic songs of music legend Burt Bacharach, including such beloved titles as "Alfie," "Close to You," "What the World Needs Now," "That's What Friends Are For" and many more, to Chicago's Apollo Theater, 2550 N. Lincoln Ave., April 21 – May 17. Tickets are now on sale at goingbacharach.com.  

Charles Isherwood, reviewing the production's recent run at New York's Marjorie S. Deane Little Theater for the Wall Street Journal, called the show "A musical review done right... musically dazzling...This intimate show is both warmly nostalgic and musically irresistible." John McWhorter, writing for the New York Times, raved, "it's the most satisfying batch of Burt I have ever experienced... Every Burt song you like is in it, from 'I Say a Little Prayer' to 'Walk on By.' Don't miss it." 

The production comes to Chicago with the entire cast and creative team from the New York run, where it broke box office records at the Marjorie S. Deane. Going Bacharach was co-created by Will Friedwald, Adrian Galante, Tedd Firth and Jack Lewin, and conceived by Lewin. The arrangements and orchestrations are by Adrian Galante, who also serves as the production's Music Director. Musical supervision is by Tedd Firth, and the show is directed by Tony and Olivier Award winner David Zippel.  The cast includes vocalists Hilary Kole, John Pagano (who was chosen by Bacharach to perform with him on tour for several decades), Ta-Tynisa Wilson and Adrian Galante at the piano and playing the clarinet, also leading a five-piece band.  

Scenic Design is by Christopher & Justin Swader, Costume Design is by Frank Cazares and Lighting & Sound Design is by Matt Berman. General Management is by Visceral Entertainment. 

Audiences will rediscover the soundtrack of a lifetime with Going Bacharach, a vibrant new revue celebrating the legacy of one of America's most iconic composers. Three powerhouse vocalists, backed by a five-piece band, take audiences on a melodic journey through the timeless songs spanning Bacharach's extraordinary career. Joyful and illuminating, Going Bacharach offers fresh, sophisticated and original interpretations of some of the best-loved compositions from Bacharach's songbook. 

About Burt Bacharach

For nearly 70 years, Burt Bacharach supplied the soundtrack of the American experience. Over the course of his career, he was honored with three Academy Awards, two Golden Globe Awards, six Grammy Awards, a Primetime Emmy Award, a BAFTA Award and a Drama Desk Award. His collaborators include lyricists Hal David, Carole Bayer Sager and others.  

His is one of the most stylistically diverse and individualistic catalogues in popular music. Through his early classical training under composer Darius Milhaud and his exposure to the vibrant New York City Jazz scene as a teenager in the early 1940s, Bacharach was able to seamlessly amalgamate a wide range of stylistic influences to create his own brand of popular song. His catalogue of hits served as a bridge from the classic Great American Songbook standards of the early 20th century to the post rock 'n' roll era of popular music, creating a library of songs that became the soundtrack to the lives of multiple generations -- recorded by many of the most gifted singers of all time, from Dionne Warwick, Karen Carpenter and Aretha Franklin to Adele, from Frank Sinatra to Elvis Presley to Elvis Costello.

Tickets and Performance Schedule
Tickets are $49-$99, with VIP Cabaret Table Seating (including a complimentary drink and merchandise gift) priced at $139. All seats are reduced by $20 for performances April 21 – 26. Tickets can be purchased at goingbacharach.com.  

The preview week performance schedule is as follows:  
--Tuesday, April 21 at 7:30 p.m.
--Wednesday, April 22 at 7:30 p.m.
--Thursday, April 23 at 2:30 p.m. and 7:30 p.m.
--Friday, April 24 at 7:30 p.m.
--Saturday, April 25 at 2:30 p.m. and 7:30 p.m. 

--Sunday, April 26 at 2:30 p.m.

The regular performance schedule is:  
--Wednesdays at 2:30 p.m. and 7:30 p.m.
--Thursdays at 7:30 p.m.; Fridays at 7:30 p.m.
--Saturdays at 2:30 p.m. and 7:30 p.m.
--Sundays at 1 p.m. and 4:30 p.m. 

CREATIVE TEAM
Jack Lewin (producer, co-creator and conceiver) has produced numerous nightclub and cabaret acts. He helped conceive and produced the hit show Our Sinatra, which ran Off-Broadway in NYC for over 1300 performances to rave reviews. It became one of the longest running Off-Broadway shows of all time. The show has run for successful extended engagements at many prestigious venues throughout the country to much acclaim, including The Caldwell Theatre in Boca Raton, Guild Hall in East Hampton, The Colony Hotel in Palm Beach, The Stage Door Theatre in Ft. Lauderdale, The Prince Theatre in Philadelphia, The Empire Theatre in San Antonio and many others. Our Sinatra has embarked on two major national Performing Arts Center tours with Columbia Artists (2002 and 2006). The show has had successful return engagements in NYC at the legendary Oak Room at the Algonquin and Feinstein's at the Regency, and continues to have sold-out engagements at Birdland Jazz Club. Lewin conceived and co-created Hunka Hunka Burnin' Love – An Elvis Presley Musical Tribute, which has had several productions around the country. In 2018, he produced Here To Stay: Two Pianos, Two Voices, starring Champian Fulton and John Proulx. The show was commissioned by The University of Michigan School Of Music's "Gershwin Initiative." Lewin has also produced several albums of jazz and American popular standards, including Gerson Swings Disney with the great pianist Roy Gerson featuring guest vocalists Rosemary Clooney, Michael Feinstein and John Pizzarelli.  

Adrian Galante (arranger, orchestrator and music director) is a multifaceted, exciting young multi-instrumentalist, arranger and composer whose remarkable command of his craft belies his youth and earned him a reputation as a prodigy at a young age. Hailing from Australia, where he acquired great success performing around the country and throughout Asia and Europe, he moved to New York three years ago where he is rapidly finding his way to the highest level of critical acclaim. At a recent appearance at New York's Birdland Jazz Club, where Galante was accompanied by jazz luminaries Alan Broadbent, Jay Leonhart and Obed Calvaire, reviewer Andrew Portez described Galante as "..an extraordinary musician who appears to be equally gifted as a clarinettist as he is a pianist... Galante's exquisite lyrical playing created one of the best sets this reviewer has heard in years." Bassist Jay Leonhart adds, "Adrian Galante is a force... he is one of the greatest clarinetists ever. As a pianist, he can only be described as brilliant and imaginative." Adrian's debut album, Introducing Adrian Galante, was released in early 2025. Recorded in Hollywood, California, the album features pianist Tamir Hendelman (known for his association with Barbra Streisand and the Jeff Hamilton trio) and longtime drummer for Tony Bennett and Bill Evans final trio, Joe LaBarbera.

Will Friedwald (co-conceiver) has been called "the poet laureate of vintage pop music" and is America's foremost chronicler of the musical arts. He has written ten books, including the definitive works on Frank Sinatra (The Song is You - which was hailed by The New York Times Book Review as the "single most important book on Sinatra ever published"), Tony Bennett (The Good Life) and Nat King Cole (Straighten Up and Fly Right). His other highly acclaimed books include the award-winning A Biographical Dictionary of the Great Jazz and Pop Vocalists and The Great Jazz and Pop Vocal Albums. In thousands of articles for the Wall Street Journal, Vanity Fair, Playboy, The New York Times and The Village Voice, as well as other publications, he has covered all the major figures of jazz, Broadway and popular music. In addition, he is a consultant to Apple Music and has received eleven Grammy nominations. He has also appeared on numerous television and radio programs, including NPR's "Fresh Air," ABC's "Nightline," "Good Morning America," "The Today Show," "CBS Sunday Morning," and A&E Biography's profiles of Sinatra, Bennett, Perry Como and Mel Tormé. He has consulted and appeared in many documentaries, including "Louis Prima: The Wildest!," "Tis Autumn: The Search For Jackie Paris," and "Anita O'Day: The Life Of A Jazz Singer," as well as PBS's "Soundtrack Of The Century," "American Masters - Sammy Davis Jr.: I Gotta Be Me," and, most recently, "Ella Fitzgerald - Just One Of Those Things" and "Count Basie - Through His Own Eyes."  

Tedd Firth (co-conceiver) is a New York City-based musical director, pianist and arranger. Tedd is currently the musical director for Michael Feinstein, Bernadette Peters, Brian Stokes Mitchell, Marilyn Maye, Melissa Errico and Tom Wopat, among others. Among the jazz musicians he has performed or recorded with are John Pizzarelli, Houston Person, Frank Wess, Mark Whitfield, Red Holloway, Benny Golson and Joe Morello. Recent highlights include being the musical director for the reunion of the original Broadway cast of Into The Woods at the Segerstrom Center for the Arts in Costa Mesa, California as well as serving as musical director for Michael Feinstein's "Jazz and Popular Song" concert series at Jazz at Lincoln Center. New York appearances include Carnegie Hall, Lincoln Center, the Blue Note, Birdland, the Iridium, the Algonquin, the Cafe Carlyle and Feinstein's at the Regency. Numerous national appearances include two performances at the White House. As an arranger and orchestrator, Firth's work has been performed by all major American symphony orchestras as well as Liza Minnelli. In 2013, Firth was commissioned by the New York Pops to create new orchestrations for A Charlie Brown Christmas which has had numerous performances across the country in subsequent years. Television appearances include The Today Show, Live From Lincoln Center and All My Children.  

David Zippel (director) A graduate of Harvard Law School, David is delighted to have never practiced law. Zippel has won the Tony Award, two Oliviers, two Academy Award Nominations, three Grammy nominations and three Golden Globe nominations. Musicals: City of Angels, The Goodbye Girl, The Woman in White, Liza's at the Palace, Pamela's First Musical, Bad Cinderella and Disney's Hercules. Films: Disney's Hercules, Mulan, The Swan Princess, The Wedding Planner and Captain America. He directed Princesses (Fifth Avenue, Goodspeed), The Goodbye Girl (Marriott Lincolnshire), The Best Is Yet to Come (Rubicon, 59E59 Theaters – Drama Desk Award). His songs appear on over 25 million CDs performed by: Stevie Wonder, Christina Aguilera, Mel Torme, Barbara Cook, Cleo Laine, Michael Bolton, Nancy LaMott, Elaine Paige, 98 Degrees and Barbra Streisand. 

VOCALISTS
Hilary Kole is a long-beloved staple on the NYC jazz scene and world-renowned as a multi-faceted concert hall and symphony performer. She has performed in famed venues  Town Hall, Birdland, Blue Note, Iridium, 54 Below, Jazz at Lincoln Center and Carnegie Hall (with Michael Feinstein and The New York Pops). Kole is also an original cast member of Our Sinatra, the long-running hit from the creators of Going Bacharach. 

John Pagano was the lead male vocalist in Burt Bacharach's touring band, performing alongside the composer for 26 years. Beyond the stage, John has worked with Grammy Award-winning songwriter- producer Barry Mann, legendary composer-producer George Duke, jazz saxophonist George Howard and music superstars including Elvis Costello, Garth Brooks, Whitney Houston, Faith Hill, Wynonna Judd, Brian Wilson and David Cassidy.

Ta-Tynisa Wilson is a Broadway performer known for her appearance in the hit musical Hamilton. Millions have caught a glimpse of Wilson on American Idol, Season 10, where she was one of the top 24 finalists. She has also appeared in The Color Purple and Dreamgirls, and has traveled the world performing on cruise ships which has allowed her to share her talents across the globe. 

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to conclude its 50th Anniversary Season with the Chicago premiere of Mia Chung's theatrical tour-de-force Catch as Catch Can, directed by ensemble member Amy Morton, playing June 4 – July 12, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Single tickets are now on sale at steppenwolf.org or the Box Office at (312) 335-1650. 

Longtime ensemble member Gary Cole (NCIS, Veep, The West Wing) returns to the Chicago stage for the first time in over 25 years, joined by fellow ensemble members Audrey Francis (The Thanksgiving Play, Noises Off, The Doppelgänger) and Tim Hopper (Mr. Wolf, Fool for Love, Downstate).

About the Production:

When a prodigal son returns to blue collar New England, his homecoming sets off a spiraling crisis for two families, threatening not only their relationships but their very identities. In Mia Chung's wildly inventive Catch as Catch Can, three actors take on six roles, bridging generation and gender, in a theatrical tour-de-force that upends the kitchen sink drama and asks what happens when we refuse to play the roles we're prescribed. Spanning hilarity, stunning virtuosity and outright horror, this ferocious Chicago premiere must be witnessed to be believed.

The creative team includes Andrew Boyce (Scenic Design), Izumi Inaba (Costume Design), Yuki Nakase Link (Lighting Design), Mikhail Fiksel (Sound Design), Kate DeVore (Dialect and Voice Coach), Jonathan L. Green (Dramaturg), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), Laura D. Glenn (Production Stage Manager) and Jaclynn Joslin (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Catch as Catch Can
Playwright: Mia Chung
Director: ensemble member Amy Morton
Cast: ensemble members Gary Cole (Roberta Lavecchia/Robbie Lavecchia), Audrey Francis (Lon Lavecchia/Daniela Lavecchia) and Tim Hopper (Theresa Phelan/Tim Phelan).

Location: Steppenwolf's Downstairs Theater, 1650 N. Halsted St., Chicago
Dates: Previews: Thursday, June 4 – Saturday, June 13, 2026
Opening: Sunday, June 14, 2026 at 6 pm
Regular run: Tuesday, June 16 – Sunday, July 12, 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, June 9, Friday, June 19 (Juneteenth); Saturday, July 4 (Independence Day) or Tuesday, July 7; there will not be a 3 pm performance on Saturday, July 4 (Independence Day); there will be an added 2 pm matinee on Wednesday, July 1; there will be an added 7:30 performance on Sunday, July 5.

Tickets: Single tickets for Catch as Catch Can ($20 – $120*) 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, June 28 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Thursday, June 25 at 7:30 pm & Saturday, July 11 at 3 pm
ASL-Interpreted: Friday, July 10 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. During the school year, programming includes dedicated student matinee performances for four of the five Membership Series productions, in-school residencies in partnership with Chicago Public schools, a series of on-site workshops in artmaking and theater production, 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:

Mia Chung (Playwright) received a 2024 MacDowell Fellow, 2023 Whiting Award for Drama and a 2022 MAP grant for a new music-theatre work. Her play Catch as Catch Can premiered at Playwrights Horizons in Fall 2022 (2018 World Premiere, Off-Off-Broadway, Page 73). Additional work: Ball in the Air (NAATCO/Public Theater 2022), Double Take (PH Almanac 2021), This Exquisite Corpse (multiple awards), You For Me For You (Royal Court, National Theatre Company of Korea, Woolly Mammoth, multiple regionals. Published: Bloomsbury Methuen). Awards, commissions, residencies include: Clubbed Thumb, Helen Merrill, Loewe Award for Music-Theatre, MTC/Sloan, NYTW, Playwrights' Center/Jerome, Playwrights Horizons/Steinberg, Playwrights Realm, South Coast Rep, SPACE/Ryder Farm. Alum: Huntington Playwriting Fellows, Ma-Yi Writers Lab, New Dramatists.

Amy Morton (Director) is an actor and director. She has performed in or directed many plays at Steppenwolf including: Edward Albee's Who's Afraid of Virginia Woolf? (Tony nomination), August: Osage County (Tony nomination), One Flew Over The Cuckoo's Nest (also on Broadway), Hir, Cherry Orchard, The Berlin Circle, Three Days of Rain, The Unmentionables, Space, The Royal Family and many others. She has directed Guards at the Taj (both Atlantic Theatre and Steppenwolf), Glengarry Glen Ross, Clybourne Park, American Buffalo, The Dresser, The Pillowman, Topdog/Underdog, Edward Albee's Who's Afraid of Virginia Woolf? (Alliance Theatre), Awake and Sing (Northlight Theatre), and many others. Film: Rookie of the Year, 8MM, Falling Down, Backdraft, Up in the Air, Bluebird, It Ends With Us. Television: The Bear, Bluebloods, Girls, Homeland, currently a regular on Chicago P.D. as Sgt. Trudy Platt. Before joining Steppenwolf, Amy was a member of the Remains Theatre for 15 years.

Gary Cole (Roberta Lavecchia/Robbie Lavecchia) has been a member of the Steppenwolf Theatre Company Ensemble since 1986. Past Steppenwolf credits include: Balm in Gilead, Tracers, Frank's Wild Years, Closer and August: Osage County. Off-Broadway: True West, Orphans (both of which originated at Steppenwolf), and the premiere of Sam Shepard's Heartless. Television: West Wing, Entourage, Chicago Fire, The Good Wife, The Good Fight, Suits, Veep and NCIS. Voiceover work includes: Family Guy, Big Mouth and Archer. Film: In the Line of Fire, A Simple Plan, Dodgeball, Office Space, Talladega Nights: The Ballad of Ricky Bobby and Pineapple Express.

Audrey Francis (Lon Lavecchia/Daniela Lavecchia) currently serves as Artistic Director of Steppenwolf Theatre, alongside Glenn Davis, where she has been an Ensemble member since 2017. Audrey directed You Will Get Sick in Steppenwolf's 2024/25 season and POTUS in the 2023/24 season. She has performed on stage in Noises Off, The Thanksgiving Play, The Herd, Between Riverside and Crazy, The Fundamentals, The Doppelgänger (an international farce) and Dance Nation. TV and film credits include Justified: City Primeval, Chicago Med, Chicago Fire, Empire, Perpetrator, Knives and Skin and Later Days. Audrey is an acting coach for NBC, Fox, Showtime and Amazon. She is also the co-founder of Black Box Acting and the co-creator of Steppenwolf's corporate training program, Steppenwolf IMPACT.

Tim Hopper (Theresa Phelan/Tim Phelan) is a member of the Steppenwolf Theatre Company ensemble. Recent roles at Steppenwolf include Mr. Wolf in Mr. Wolf and Andy in Downstate, which traveled to the National Theatre in London, and to Playwrights Horizons in New York. Television appearances include Chicago Fire, Emperor of Ocean Park, the Amazon series Utopia, Fargo, The Americans, and Empire. Film appearances include the upcoming A24 film Enemies, as well as Perpetrator; Knives and Skin, School of Rock and To Die For, among others. Off-Broadway: New York Theatre Workshop, Vineyard Theatre and the Atlantic Theater. Internationally, the Edinburgh Festival and Antwerp's De Singel Theatre.

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:

Catch as Catch Can is supported in part by Jenner & Block. 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, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Polk Bros. Foundation, Sacks Family Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo, Bryan Traubert and Penny Pritzker, 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 50 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 Theatre and Chicago's cultural landscape. Founded in 1975 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of young people in their teens and early 20s 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 E. 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.

Broadway In Chicago is excited to announce that single tickets for the first national tour of SUFFS, the acclaimed Tony Award®-winning  musical about the passionate American women who fought tirelessly for the right to vote, will go on sale Monday, March 30. The inspiring, award-winning musical will play Broadway In Chicago’s CIBC Theatre (18 W. Monroe St.) for a limited two-week engagement, July 7-19.

Created by Shaina Taub, the first woman to ever independently win Tony Awards for Best Book and Best Score in the same season, this “thrilling, inspiring and dazzlingly entertaining” (Variety) new musical boldly explores the triumphs and failures of a struggle for equality that’s far from over. It’s a given that the women of the suffragist movement—who called themselves “Suffs” for short—were brilliant, but as they fought tirelessly for the right to vote, they were also flawed, stubborn, passionate and funny. SUFFS tells their story: the remarkable friendships, the heartbreak, and how this movement brought them together—or, in some cases, tore them apart.

SUFFS is winner of the Outer Critics’ Circle Award for Best New Musical, two Drama Desk Awards including Best Score, and is “unquestionably the most emotionally stirring musical of the season” (Chicago Tribune). The successful Broadway production played a 10-month run at the Music Box Theatre from April 18, 2024, through January 5, 2025, and the first national tour marches across North America, after launching this past September in Seattle, WA.
 

“THRILLING, INSPIRING, AND DAZZLINGLY ENTERTAINING.” – Variety

SUFFS features book, music and lyrics by Tony Award®-winner Shaina Taub, direction by Tony Award-nominee Leigh Silverman (Violet, Yellow Face), choreography by Mayte Natalio (How to Dance in Ohio), music supervision by Andrea Grody, scenic design by Christine Peters, original Broadway scenic design by Tony Award-nominee Riccardo Hernández (Jagged Little Pill), costume design by Oscar and Tony Award-winner Paul Tazewell (Hamilton, Death Becomes Her), lighting design by Tony Award-nominee Lap Chi Chu (Camelot ), hair and wig design by award-winning Charles G. Lapointe, makeup design by Joe Dulude II, sound design by Jason Crystal (Sweeney Todd) with associate Sun Hee Kil (Choir Boy), orchestrations by Tony Award-winner Michael Starobin (Next to Normal), vocal arrangements by Shaina Taub and Andrea Grody (The Band’s Visit), incidental music arrangements by Shaina Taub, Andrea Grody, and Michael Starobin, associate direction by Lori Elizabeth Parquet, associate choreography by Hawley Gould, and general management by 101 Productions, Ltd.

The Grammy-Award nominated Original Cast Recording of SUFFS is available from Atlantic Records here.

For information about SUFFS visit suffsmusical.com. Follow on Instagram, TikTok , X , YouTube, and Facebook @SUFFSMusical

PERFORMANCE SCHEDULE
Tuesday, July 7 – 7:00 p.m.
Wednesday, July 8 – 7:00 p.m.
Thursday, July 9 – 7:00 p.m.
Friday, July 10 – 7:00 p.m.
Saturday, July 11 – 2:00 p.m. & 7:30 p.m.
Sunday, July 12 – 1:00 p.m. & 6:30 p.m.

Tuesday, July 14 – 7:00 p.m.
Wednesday, July 15 – 1:00 p.m. & 7:00 p.m.
Thursday, July 16 – 7:00 p.m.
Friday, July 17 – 7:00 p.m.
Saturday, July 18 – 2:00 p.m. & 7:30 p.m.
Sunday, July 19 – 1:00 p.m.

TICKET INFORMATION (as of March 26, based on availability and subject to change)
Individual tickets for SUFFS will go on sale on Monday, March 30 and range from $38.00 - $133.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place.
 

For more information and tickets, visit www.BroadwayInChicago.com.
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Rivendell Theatre Ensemble, Chicago's only professional theater that seeks to advance women through the power of storytelling, announces the cast for the world premiere of Do Something Pretty by Melissa Ross (The Luckiest, Thinner Than Water, Nice Girl,  A Life Extra Ordinary), directed by Rivendell favorite, Jessica Fisch (The Firebirds Take the Field, I Wanna F**king Tear You Apart). Do Something Pretty runs May 2 – June 7, 2026, as part of Rivendell's 30^th Anniversary Season of new plays. 

The 30^th Anniversary Season takes place at Rivendell's home, 5779 N. Ridge Avenue in Chicago. Tickets are priced at $28 for previews and $38 for regular performances. Angel and Sponsor tickets are priced $58 and $88 and include a donation. Discounts are available for seniors, students, and military. Tickets go on sale March 23 at rivendelltheatre.org/dosomethingpretty and (773) 334-7728.

Summer of 1992. The United States is in a recession. Arkansas Governor Bill Clinton is about to run for president. Kurt is married to Courtney. Yo MTV Raps is on the TV.  And Zach Morris is the only kid with a cell phone.

On a hot August night in a small Massachusetts town the last few weeks before school starts. Three teens try to navigate their way through the murky path to adulthood. Phoebe wants to grow up. Jason wants Evie. And Evie just wants to get as far away from everyone as she possibly can.

Artistic Director Tara Mallen comments, "A few years ago, I was inducted into to the world of Melissa Ross when I was cast in one of her (stunning) plays The Luckiest at Raven Theatre. What struck me most was these complicated, messy, outrageously human women that Melissa centers in all her plays are all portrayed as subjects rather than objects. In 2026, it shouldn't be the case that this is a rarity—but I promise you that it is. So, when Melissa reached out asking if Rivendell might be interested in her brand-new play depicting two sisters—one on the brink of teendom and the other on the edge of adulthood—I jumped at the chance. I am so delighted to welcome Chicago audiences to hearken back to 1992 and bring Do Something Pretty to our stage at Rivendell."

This world premiere production of Do Something Pretty marks ensemble member Katherine Mallen Kupferer's (Phoebe) Rivendell debut. ​The cast also features Jasper Johnson (Matt), Reilly Oh (Jason) and Jocelyn Zamudio (Evie).

The creative team includes Daira Rodriguez (Assistant Director), Lindsay Mummert (Scenic Design), Saawan Tiwari (Costume Design), Sierra Walker (Lighting Design), Eric Backus (Sound Design), and RTE Ensemble Members Sarah Slight (Dramaturg), and Caroline Michele Uy (Associate Dramaturg). The Production Stage Manager is Rita Vreeland and the Artistic Producer is RTE Member Pat Fries (Artistic Producer).

Rivendell is offering a special mid-season RivPass good for the remainder of its 30th Anniversary Season. The $65 subscription includes a ticket to the 2^nd and 3^rd mainstage shows.  Purchase this offer atrivendelltheatre.org/tickets or by emailing General Manager Trisha Hooper at This email address is being protected from spambots. You need JavaScript enabled to view it..

The Do Something Pretty lead production sponsors are Maureen and Anna Miller. Rivendell's 30th Anniversary Season is sponsored by Sharon I. Furiya.

FACTS / Do Something Pretty

Do Something Pretty

A world premiere by Melissa Ross

Directed by Jessica Fisch

May 2 – June 7, 2026

Cast: RTE member Katherine Mallen Kupferer (Phoebe) with Jasper Johnson (Matt), Reilly Oh (Jason) and Jocelyn Zamudio (Evie).

Creative Team: Daira Rodriguez (Assistant Director), Lindsay Mummert (Scenic Design), Saawan Tiwari (Costume Design), Sierra Walker (Lighting Design), Eric Backus (Sound Design), and RTE Ensemble Members Sarah Slight (Co-Dramaturg), and Caroline Michele Uy (Co-Dramaturg). The Production Stage Manager is Rita Vreeland and the Artistic Producer is RTE Member Pat Fries.

Dates:

Previews: May 2-8, 2026

Saturday, May 2 at 8pm

Sunday, May 3 at 3 pm

Tuesday, May 5 at 8pm

Wednesday, May 6 at 8pm

Thursday, May 7 at 8pm

Friday, May 8, at 8pm

Gala Opening: Sunday, May 10 at 6pm

Press Opening: Monday, May 11 at 7pm

Regular Run: May 15 – June 7, 2026

Thursday-Saturday at 8pm; Saturday at 4pm

Added Performances: Sundays, May 24 and May 31 at 3pm

Open Caption: Thurs May 21 at 8pm; Saturday May 30 at 4pm

Town Halls: Friday May 8, Young Industry Professionals; Saturday May 23 after 4pm performance

Chicago’s Shattered Globe Theatre presents the hilarious and surreal fantasia on Midwestern masculinity you’ve all been waiting for: the World Premiere of Eelpout! by Paul W. Kruse, directed by Jeremy Ohringer, April 17-May 30, 2026.

Meet Sven Svensen and Ole Olsen, best buds since kindergarten. When they gather to celebrate Ole’s wedding to Lena with an ice-fishing bachelor party, an unexpected confession begins to crack their plans wide open. As the beer flows and temperatures drop, Sven and Ole hook into deeper truths, along with a talking fish.

Cast your rod and catch Eelpout!, both a bottom-feeding fish native to the upper Midwest AND Chicago’s must-see world premiere comedy this spring. Previews start April 17. Performances run through May 30 at Theater Wit, 1229 W. Belmont Ave. in Chicago’s Lakeview neighborhood. Tickets are $20-$60. For tickets and information, visit sgtheatre.org. 

“I am grateful to direct at Shattered Globe for the first time with this world premiere that epitomizes why I love theater: it’s wild, wondrous, and makes me laugh until it hurts,” said director Jeremy Ohringer. “The play also interrogates the fragility of masculinity and invites us to ask, ‘what must we shed in order to live authentically?’ I cannot wait to share Paul’s incredible play! I bet audiences fall for it hook, line, and sinker.”

Shattered Globe Theatre’s cast for Eelpout! features SGT Ensemble Member Rebecca Jordan (she/her) as Holly with Jesús Barajas (he/they) as Eelpout, Dinah Berkeley (they/them) as Lars, Carl Hallberg (he/they) as Ole, Taigé Lauren (she/her) as Heidi, Lydia Moss (she/her) as Lena, and Jeff Rodriguez (she/her) as Sven.

The production team is Paul W. Kruse (playwright), Jeremy Ohringer (director), Eleanor Kahn (set), Delena Bradley (costume designer), Sierra Walker (lighting designer), Saskia Bakker (props designer), Christopher Kriz (original music and sound designer), Kristina Fluty (intimacy director), Benjamin Murphy (assistant director), Tina Jach (stage manager) and Alexa Berkowitz (production manager).

Ticket information for Eelpout!

The first preview of Eelpout! on Friday, April 17 at 7:30 p.m. is Pay-What-You-Can. Previews continue Saturday, April 18 at 7:30 p.m., Sunday, April 19 at 3 p.m., and Wednesday, April 22 at 7:30 p.m. Performances run through May 30: Thursday, Friday and Saturday at 7:30 p.m., Sunday at 3 p.m. No show Friday, April 24. There’s an added 3 p.m. matinee on closing day, Saturday, May 30. Run time is 90 minutes with no intermission.

For tickets and information, visit sgtheatre.org, call the Theater Wit box office, (773) 975-8150, or purchase in person at Theater Wit. Take advantage of early-bird discounts. Otherwise, previews are $25. Performances are $20-$60 ($20 for students, veterans, active military, teachers, and under 30; $40 general admission; $60 for those who want to support accessible theater). For group discounts, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call (773) 770-0333.

Visit SGTheatre.org for more show information, including photos and video clips, news of special events, accessible and waived ticket programs and show content warnings. For the latest updates, follow @shatteredglobe on Facebook and Instagram.

Access Services

Audio Description and a Touch Tour for patrons who are blind or have low vision will be offered on Friday, May 22. The Touch Tour begins at 6:15 p.m. Show at 7:30 p.m. 

Shattered Globe will offer a captioned performance on Sunday, May 24 at
3 p.m. for patrons with hearing loss. Assisted Listening Devices are available for all performances.

Theater Wit is wheelchair accessible. All patrons with disability needs are invited to purchase $20 access tickets with the code “ACCESS20” at Theater Wit’s checkout page. Please email This email address is being protected from spambots. You need JavaScript enabled to view it. to ensure the theater can reserve the right seat for your needs.

Music of Remembrance (MOR) presents the world premiere of The Dialogue of Memories, a new opera by composer Tom Cipullo and acclaimed Chicago Tribune journalist Howard Reich, on a three-city U.S. tour this May. The work marks the first time Nobel Peace Prize laureate Elie Wiesel is portrayed as a character in an opera, drawing on Reich's real-life friendship with Wiesel and his investigation into his mother's long-hidden past.

Performances take place at Benaroya Hall in Seattle (May 17), Presidio Theatre in San Francisco (May 20), and the Studebaker Theater in Chicago (May 23-24).

The opera opens with Reich's line, "I suffer from an event I have not even experienced." When his mother Sonia's trauma from the Holocaust resurfaces late in life, Reich is drawn into a history his family had long avoided.

As he begins to uncover his mother's past, Reich forms an unexpected bond with Wiesel, who appears throughout the opera as a guiding presence. As in life, Wiesel challenges Reich to ask questions, tell his mother's story, and reckon with what he has inherited – and what he chooses to do with it.

In the final moments of the work, Wiesel's message is direct: "We are ordered to hope."

"When I published my mother's story, my identity as the son of Holocaust survivors was revealed on the front page of the Chicago Tribune," said journalist Howard Reich. "This was a secret I'd been urged to keep my entire life. My friendship with Elie Wiesel changed how I understood my family's silence – and my own responsibility to break it."

The premiere comes as the world marks the 10th anniversary of Elie Wiesel's passing. The last generation of Holocaust survivors is fading, and firsthand testimony is giving way to accounts passed down across generations.

"Elie Wiesel spent his life insisting that these stories be told," said MOR Artistic Director Mina Miller. "Bringing him to the stage now, ten years after his death, raises the question of who carries that responsibility forward."

That sense of inheritance extends into Cipullo's score, which weaves echoes of Schumann, Gershwin, and Tchaikovsky into his own contemporary musical language. The opera unfolds in episodic scenes that move between past and present as Reich pieces together his mother's history.

For nearly three decades, MOR has excavated long-silenced voices while expanding the repertory with commissions that confront injustice through music. The Dialogue of Memories brings those strands together, transforming a deeply personal story drawn from Reich's own life into a new opera. Audiences in Seattle, San Francisco, and Chicago can now experience Reich's story – a reflection on legacies still unfolding in families around the world.

The Dialogue of Memories
World Premiere Tour • Seattle, San Francisco, Chicago

Composer: Tom Cipullo

Librettist: Howard Reich with Tom Cipullo
Based on The Art of Inventing Hope: Intimate Conversations with Elie Wiesel

Conductor: Alastair Willis

Director: Erich Parce

Media Design: Peter Crompton

Elie Wiesel: Daniel Belcher

Sonia Reich: Megan Marino

Howard Reich: Dominic Armstrong

MOR Chamber Ensemble: Christina Medawar, flute; Laura DeLuca, clarinet; Mikhail Shmidt, violin; Walter Gray, cello; Cristina Valdes, piano

Sunday, May 17, 2026 @ 4:00pm

Seattle, Washington

Benaroya Hall (200 University Street)

Tickets $60; Students $25 (ID required)

https://musicofremembrance.org/show-details/memories

Wednesday, May 20, 2026 @ 7:30pm

San Francisco, California

Presidio Theatre (99 Moraga Avenue)

Tickets $38–71

https://musicofremembrance.org/show-details/memoriessf

Saturday, May 23, 2026 @ 7:30pm

Sunday, May 24, 2026 @ 3:00pm

Chicago, Illinois

Studebaker Theater (Fine Arts Building)

Tickets $35–75

https://musicofremembrance.org/show-details/memorieschi

El último sueño de Frida y Diego is a love story that outlives the body, outlasts the grave, and keeps burning long after death has done its part.

Frida Kahlo famously said, ‘I’ve had two accidents that changed my life: one when I was hit by a trolley, and the other when I fell in love with Diego Rivera.”

And thus opens the first act of this beautiful dedication to the brilliant fiery artist, so far ahead of her time, the astonishing and disabled Frida Kahlo.

Composed by Gabriela Lena Frank with a libretto by Nilo Cruz, El último sueño de Frida y Diego arrives like a heat‑haze hallucination - lush, uncanny, and thrumming with a love that refuses to stay in the ground. It’s 1957, Día de los Muertos, and the opera drops us into a marigold‑drenched cemetery where the living coax their dead back for one brief visit. Diego Rivera, worn thin by grief and a stalled brush, isn’t there for tradition; he’s there to beg the universe for one more moment with Frida. His plea slices through the veil, catching the ear of an unassuming flower seller who promptly sheds her disguise to reveal Catrina, the regal, razor‑sharp Keeper of the Dead - and the only force powerful enough to answer him.

Deep in the shadowed sweep of Mictlán, Frida pushes back against the summons with the same fierce spark that once lit every brushstroke. Death has finally granted her the relief life never did - no shattered spine, no emotional whiplash, no Diego-shaped storm at her heels - and she has zero interest in reopening the wounds she fought so hard to leave behind.

“So much pain!” she cries again and again, swearing at the start of the production that she will never return to the world of the living - or to her love, Rivera - because of it.

But the underworld is anything but still - teeming with spirits who are playful, meddling, and aching for their own brief return. Among them is Leonardo, a young actor whose flair for drama and easy artistic kinship start to chip away at Frida’s resolve. As Catrina assembles the souls cleared for their 24‑hour crossing, Frida reluctantly lets herself be wrapped once more in the hues, textures, and contradictions of her earthly self. Bound by strict rules - no touching the living, no overstaying the day - she steps toward the world she swore off, setting the stage for a reunion as volatile as it is inevitable.

But she is urged by those on both sides of the afterlife to visit with Diego because spirits on both sides of the veil are ALSO missing her presence, her vibrant, dynamic and powerful personality and essence in a dark landscape of blacks and greys. Rivera and her family and friends on both sides of the veil would give anything to have her back with them to color and ignite their universe - even if only for a day.

And although Frida really does want to see Diego again, she is stopped by the memory of the torment she suffered emotionally in his arms and even more so the pain she suffered in her body from the horrific trolley accident that crippled her.

Ana Maria Martinez as Catrina, Alfredo Daza as Diego and Daniela Mack as Frida. 

Many times in the show, Frida sings about her extreme unrelenting physical pain. Kahlo’s paintings - often filled with blood, surgical imagery, and unfiltered grief - also gave voice to the extreme physical agony she endured throughout her chronically ill life. Frida endured surgery after surgery, yet none brought the relief she so desperately needed.

In the end, she chooses to return for her art - to see the colors again, the radiant “colors” she sings of in her paintings and in her lovingly adorned home. Kahlo also descends back into her pain‑ridden earthly body to answer Rivera’s desperate daily pleas - his prayers to her and to God to return and save him from a life emptied of inspiration, a life made unbearably lonely without her.

Kahlo and Diego had a tumultuous relationship marked by marital affairs on both sides, though Diego’s affair with Frida’s own sister caused their divorce. But their love was eternal and they remarried, and we’re together until Frida’s death 10 years later.

This production makes clear that although Diego Rivera was the more famous artist in their lifetime - the towering figure whose reputation often eclipsed Frida Kahlo’s - he relied on her completely, both for artistic inspiration and for the very shape of his life. Rivera even said that his greatest wish was to have his ashes buried with hers.

Finally, a production that honors a female artist not only for her public achievements but for her full humanity - one that is unabashedly in love with Frida herself, not just her legacy.

One of the production’s loveliest moments is a tableau where Kahlo’s most famous paintings step off the canvas and onto the stage. I only found myself wishing for projections - of the actors in their vivid recreations or of the paintings themselves - because the costumes and scenic artistry were so intricate and stunning that not everyone in the house could fully take them in. By then, the audience was aching to see her art come alive.

The company of El último sueño de Frida y Diego.

El último sueño de Frida y Diego is currently running at Lyric Opera House, performed entirely in Spanish with the full vocal score intact. English captions are projected overhead throughout, making the story and its emotional undercurrents easy to follow even if you don’t speak the language.

Directed by Lorena Maza with Roberto Kalb conducting, Lyric’s production fields a powerhouse ensemble, led by mezzo‑soprano Daniela Mack, who returns to the house with a Frida that’s all fire, fragility, and fiercely guarded autonomy. Opposite her, baritone Alfredo Daza makes a striking Lyric debut as Diego - his voice carrying the weight of a man haunted by the art he can’t finish and the woman he can’t release. Countertenor Key’mon W. Murrah, in a radiant Lyric debut, infuses Leonardo with a buoyant theatrical spark that lifts the energy of every scene entered. Meanwhile, Ana María Martínez turns Catrina into a study in imperious grace - her soprano gliding through the score with the kind of effortless authority that makes the boundary between worlds feel like something she can open and close at will.

Musically, the evening’s standout moments come through sweeping duets and emotionally charged arias - Frida’s defiant refusals, Diego’s grief‑soaked pleas, and shimmering ensemble passages that blur the line between the living and the dead. Gabriela Lena Frank’s score leans into lush orchestral colors, letting voices ride waves of percussion, strings, and folkloric textures that feel both ancient and startlingly alive, while the live orchestra - under Roberto Kalb’s precise, fiery baton - does far more than accompany, animating the realm around the singers and giving Mictlán its pulse, the cemetery its glow, and the lovers’ reunion its aching gravity.

Visually, El último sueño de Frida y Diego is a sensory feast - an opera that doesn’t just tell a story but paints one stroke by stroke right in front of you. The stage erupts in the saturated hues of Mexican folklore: cascades of marigolds, candlelit altars, and sweeping bands of cobalt and crimson that echo Rivera’s murals and the raw intimacy of Frida’s self‑portraits. The opening cemetery glows like a living ofrenda, its petals and lanterns shimmering in a soft, uncanny haze that makes the border between worlds feel thin, permeable, almost eager to be crossed.

Once the action plunges into Mictlán, the production morphs into a surreal, shadow‑rich dreamscape - floating fabrics drifting like lost souls or the hem of a woman’s skirt lifted by the wind, skeletal silhouettes stalking the edges of the frame, and sculptural lighting carving the darkness into something at once playful and faintly menacing. Spirits flash in and out like animated brushstrokes, their movement and costuming turning the underworld into a kinetic mural of the afterlife. And when Frida finally steps back into her earthly colors, the entire stage snaps into focus as a living canvas - bold, mythic, and charged with the emotional current of two artists whose love refuses to stay still.

El último sueño de Frida y Diego is being performed at Lyric Opera House through April 4^th. For tickets and/or more show information, click here.

Highly Recommended. 

Upcoming Performances:

March

• Mar 21 • 7:30 p.m.
• Mar 24 • 7:00 p.m.
• Mar 26 • 7:00 p.m.
• Mar 29 • 2:00 p.m.

April

• Apr 1 • 2:00 p.m.
• Apr 4 • 2:00 p.m.

Running Time: Approx. 2h 15m (one intermission)

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

Chicago's Raven Theatre Company today announced the cast and production team for Dave Malloy's OCTET, directed by Keira Fromm and running April 30 - June 7, 2026 (previews April 30 - May 3). Tickets ($30 - $45) on sale at www.raventheatre.com. 

In an anonymous meeting room, a group of people —always eight—gather to sing. Best known for the Broadway hit NATASHA, PIERRE, & THE GREAT COMET OF 1812, Dave Malloy's  OCTET uses chamber-inspired a cappella music to explore the total impact of life online. Hailed by the New York Times as "the most original and topical musical of the year" for its 2019 Off-Broadway premiere, this inventive and acutely relevant piece reflects the perils of the digital age.

"OCTET is the perfect first musical for Raven," says Executive Artistic Director Sarah Slight. "It tackles the urgent topic of technology addiction in a way that feels right at home on our stage. With an entirely a capella score, OCTET offers something our audience has never experienced here before. It is an extraordinary show to bring to Chicago."

The cast features Joryhebel Ginorio (Velma), Neala Barron (Jessica), Grace Steckler (Karly), Teressa LaGamba (Paula), Elliot Esquivel (Toby), Jordan Golding (Marvin), Sam Shankman (Henry), and Jonah D. Winston (Ed). Understudies are Dani Pike (u/s Jessica), Collin Quinn Rice (u/s Henry), Diana Marilyn Alvarez (u/s Paula), Caitlyn Cerza (u/s Karly), Danny Bennett (u/s Ed), Jonah Cochin (u/s Toby), Joe Giovannetti (u/s Marvin), and Mizha Lee Overn (u/s Velma).

The production team, led by director Keira Fromm, includes JC Widman (Stage Manager),  Nick Sula (Music Director), Laura Savage (Choreographer), Milo Bue (Scenic Designer), Paloma Locsin (Props Coordinator), Maegan Pate (Costume Designer), Maximo Grano de Oro (Lighting Designer), Christopher Kriz (Sound Designer), Ruby Lowe (Master Electrician), Lucy Whipp (Production Manager), Mads Wren (Assistant Director), Faith Locke (Assistant Stage Manager), Hannah Kwak (Assistant Sound Designer), Emmitt Socey (Assistant Master Electrician), Wynn Lee (Associate Scenic Designer), and Catherine Miller (Dramaturg, Casting Director).

Raven Theatre's OCTET runs April 30 - June 7, 2026, with previews April 30 - May 3. Performances are held Thursdays, Fridays, and Saturdays at 7:30 p.m., and Sundays at 3 p.m. on the Johnson Stage at Raven Theatre, 6157 N. Clark St. Tickets are $45, with discounts available for students, military, and industry ($30 previews); to purchase tickets and for more information about Raven Theatre's 43rd season, visit www.raventheatre.com. 

OCTET

Written By: Dave Malloy

Directed By: Keira Fromm

Cast: Joryhebel Ginorio (Velma), Neala Barron (Jessica), Grace Steckler (Karly), Teressa LaGamba (Paula), Elliot Esquivel (Toby), Jordan Golding (Marvin), Sam Shankman (Henry), and Jonah D. Winston (Ed). Understudies are Dani Pike (u/s Jessica), Collin Quinn Rice (u/s Henry), Diana Marilyn Alvarez (u/s Paula), Caitlyn Cerza (u/s Karly), Danny Bennett (u/s Ed), Jonah Cochin (u/s Toby), Joe Giovannetti (u/s Marvin), and Mizha Lee Overn (u/s Velma).

Production Team: JC Widman (Stage Manager),  Nick Sula (Music Director), Laura Savage (Choreographer), Milo Bue (Scenic Designer), Paloma Locsin (Props Coordinator), Maegan Pate (Costume Designer), Maximo Grano de Oro (Lighting Designer), Christopher Kriz (Sound Designer), Ruby Lowe (Master Electrician), Lucy Whipp (Production Manager), Mads Wren (Assistant Director), Faith Locke (Assistant Stage Manager), Hannah Kwak (Assistant Sound Designer), Emmitt Socey (Assistant Master Electrician), Wynn Lee (Associate Scenic Designer), and Catherine Miller (Dramaturg, Casting Director).

Dates: April 30 - June 7, 2026 (Previews TBD)

Schedule: Thursdays, Fridays, and Saturdays at 7:30 p.m.; Sundays at 3 p.m.

Location: Raven Theatre (6157 N. Clark St.)

Tickets: General Admission: $45; Student, Military, and Industry tickets $20. Previews $30.

Box Office: www.raventheatre.com 

Trapdoor Theatre’s “The Cuttlefish” ought to be confounding, but somehow this 1920’s surrealist play from Poland is clear as a bell. Though ostensibly about the philosophical struggle between art and politics, the audience easily recognized echoes of the present-day overall fix in which society finds itself.

Before any dialog, even before house lights go down, “The Cuttlefish, or the Hyrcanian Worldview” (its full title) opens somewhat bewilderingly on a stage with four characters: a masked, gold-clad Statue of Alice D’Or (Keith Surney), whose postures beside a short classic stone column suggest a Greek sculpture. Further backstage is a high ranking church cleric in mitre and liturgical robes, gesturing spiritually—Pope Julius II (Emily Lotspeich), patron of Raphael and Michelangelo. Stage left, a figure in a suit slouches and periodically collapses against a wall, the artist Pavel Rockhoffer (Nicole Wiesner). And a woman wanders, hands outspread—the Mother (Venice Averyheart) of Rockhoffer, who settles into a seat and manages percussion.

What is going on? The audience puzzles through these characters, trying to make sense of the silent tableau, and the lights go down and dialog begins. Rockhoffer has become pessimistic about his creative works, which we learn have been condemned by a government council. “My art is a lie, a carefully planned hoax,” says Rockhoffer.

“Even prisoners serving a life sentence still want to live,” the Statue offers. Along the way Julius remarks, “A man without a worthy adversary is like God without Satan,” and leaving, offers “I wish you a short and unexpected death.” With very little naturalism or conventional exposition, these snippets reveal the conflict that is to be resolved by the end of “The Cuttlefish.”

But it is with the arrival of King Hyrcan IV (David Lovejoy) when the story comes alive. A villainous despot, he smooth-talks Rockhoffer, coaxing him to abandon his dedication to absolute artistic ideals, and come on over to pragmatic freedom of Hyrcania, the land he rules.

Lovejoy is an energetic force on stage, and brings the play to life. “I am a superman, or ‘an uber mensch’” King Hyrcan declares, convincingly. He offers to unchain the artist from historic patronage of entities like Julius, and to have full freedom.
“What do you believe in?” queries Rockhoffer.

“In myself,” King Hyrcan shoots back, and as inexorably as the manosphere today sucks in its lost, wandering adherents, Rockhoffer, after a bit of resistance, falls under his spell. He obeys when Hyrcan tells him to jettison his fiance Ella (Gus Thomas), as unfitting for the new Hyrcanian order. King Hyrcan works his wiles on a weakened Julius, who admits to doubt and crumbles too.

As the action unfolds and the plot thickens, it becomes clearer that the times prophesied by “The Cuttlefish,” which unfolded in the rise of fascist Germany, offer parallels to today —when cultural centers are being expropriated and renamed, arts funding cancelled, and freedom of expression curtailed.

The magic of Trap Door is its penchant for mining an obscure work of 1920s playwright Stanislaw Witkiewicz (translated by Daniel Gerould) to find a work that is regarded as a precursor to later absurdist and expressionist stage works in the 1930s. Under the direction of Nicole Wiesner, what might have been an inscrutable drama instead is intuitively understandable. As we laugh with relief at the line, “One can only hope” (the Mother’s interjection about the end of such terrible times), we may be reminded of Kurt Vonnegut’s advice: “The arts are not a way to make a living. They are a very human way of making life more bearable.”

“The Cuttlefish, or the Hyrcanian Worldview” runs through April 25 at Chicago’s Trap Door Theatre and comes recommended.

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