Displaying items by tag: Writers Theatre

Writers Theatre, under the leadership of Executive Director Kathryn M. Lipuma and Alexandra C. and John D. Nichols Artistic Director Braden Abraham, concludes its 2025/26 Season with the sweeping yet intimate play Leopoldstadt, written by the late, celebrated playwright Tom Stoppard, directed by Carey Perloff. Leopoldstadt is the largest production in Writers Theatre's history and includes a remarkable 29-member ensemble of Chicago actors and script revisions made by Stoppard and Perloff expressly for the Writers Theatre production. 

"Tom Stoppard's final play is one of his most personal, emotionally powerful, and epic in its scope. This summer, Writers audiences will experience Leopoldstadt in the most intimate venue the play has ever been performed in and feel every word of it. It will almost be like you are inside this family's Vienna flat with them through the decades," said Braden Abraham. "With Tom's blessing, and through the ingenuity of director Carey Perloff—one of Stoppard's closest collaborators—her creative team, and a large ensemble of Chicago's finest actors, we are attempting something with this presentation that has never been done before."

Tickets are now on sale for the celebrated play running in the Alexandra C. and John D. Nichols Theatre at Writers Theatre, 325 Tudor Court, Glencoe; 847-242-6000; www.writerstheatre.org.

The all-Chicago cast includes many performers new to the Writers stage, including Steppenwolf ensemble member Ian Barford and Lookingglass ensemble member Joey Slotnik.

Leopoldstadt marks the return to Writers Theatre for Sean Fortunato (The Real Thing, Rosencrantz and Guildenstern Are Dead, The Diary of Anne Frank, Hedda Gabler, among others), Jessie Fisher (Every Brilliant Thing), Kate Fry (Arcadia, Hedda Gabler, Oh Coward, Marjorie Prime, among others), Erik Hellman (Translations, Marjorie Prime, Smart People), Andrew Mueller (Translations, Natasha, Pierre & The Great Comet of 1812), Barbara Roberston (The Detective's Wife), and Sarah Coakley Price (Eurydice) and Emma Rosenthal (The Diary of Anne Frank).

The full cast is: Justin Albinder (Zac/Nathan), Ian Barford (Hermann), Ella Bopari (Young Sally/Mimi), Levi Charnay (Young Jacob/Heini), Hanna Dworkin (Poldi/Older Hanna, Understudy Emilia/Eva), Jessie Fisher (Hilde/Rosa), Sean Fortunato (Ernst), Kate Fry (Gretl), Sam Bell-Gurwitz (Jacob/Leo), Erik Hellman (Fritz/Percy), Asha Dale Hopman (Young Rosa/Bella), Rachel Jones (Ensemble, Understudy Jana/Sally & Wilma), Theo Clark Leber (Young Jacob/Heini). Morgan Medina (Young Rosa/Bella), Andrew Mueller (Otto/Civilian, Understudy Fritz/Percy & Ernst), Grainne Ortlieb (Jana/Sally, Understudy Hanna/Hermine), Sarah Coakley Price (Wilma, Understudy Eva/Nellie), Barbara Robertson (Emilia/Older Eva), Adeline Rosenthal (Young Sally/Mimi), Emma Rosenthal (Eva/Nellie, Understudy Hilda/Rosa), Sebastian Rus (Pauli/Young Leo), Caleb Scherr (Pauli/Young Leo), Joey Slotnick (Ludwig) and Brenann Stacker (Hanna/Hermine). The understudies are: Ani Cohen, Jack Doherty, Ian Geers, Göran Norquist and Rebekah Ward.

Under the direction of Carey Perloff, a frequent collaborator and dear friend of Stoppard's, this new production features script revisions the two made expressly for Writers Theatre. The Tony Award-winning work is the final play from one of our era's greatest playwrights. A Jewish family braves the darkest and most consequential chapters of the 20th century in this epic masterpiece from the late Tom Stoppard. 

The creative team includes: Carey Perloff (Director), Faith Hart (Assistant Director), Tommy Rapley (Choreographer), Ken MacDonald (Scenic Designer), Keith Parham (Lighting Designer), Alex Jaeger (Costume Designer), Tom Watson (Makeup and Wigs Designer) and Eva Breneman (Voice/Dialects/Text).

Leopoldstadt

Written by Tom Stoppard
Directed by Carey Perloff 

Dates: First performance: Thursday, June 4, 2026 at 7:30pm
Closing performance: July 19, 2026   

Performance Schedule: 
Wednesdays: 2:00pm and 7:30pm 
Thursdays: 7:30pm  
Fridays: 7:30pm  
Saturdays: 2:00pm and 7:30pm  
Sundays: 2:00pm and 7:00pm 

Open Captioned Performance: Thursday, June 25 at 7:30pm 

ASL-Interpreted Performance: Saturday, June 27 at 2:00pm 

Pay What You Can Performances: Thursday, June 4 at 7:30pm and Sunday, June 21 at 7:00pm   

Location: Alexandra C. and John D. Nichols Theatre, 325 Tudor Court, Glencoe 

Prices: $55-$125 
Special pricing and full performance buy-out packages are available for groups of 10 or more. Contact This email address is being protected from spambots. You need JavaScript enabled to view it. for more information.

Discounts are available for students, educators, theater industry professionals, active military personnel, veterans, police officers, firefighters, and their immediate families. Information is available at: https://www.writerstheatre.org/plan-your-visit/box-office-and-theatre-center/pricing--special-offers 

Box Office: The Box Office is located at 325 Tudor Court, Glencoe; 847-242-6000; www.writerstheatre.org 

NOTES OF INTEREST 

• Directed by Carey Perloff, a longtime collaborator of the late playwright, this production marks the largest and most ambitious project in the history of Writers Theatre, coinciding with the 10th anniversary of its Jeanne Gang-designed building.
• Writers Theatre is celebrating the 10^th anniversary of its Jeanne Gang-designed building. The first production in the new venue was Tom Stoppard's Arcadia, featuring Leopoldstadt cast member Kate Fry. Staging an epic like Leopoldstadt represents the culmination of what Gang's building has made possible over the last decade.
• In addition to Arcadia, Writers has previously produced Stoppard's The Real Thing, (featuring Carrie Coon and Leopodstadt's Sean Fortunato), and Rosencrantz and Guildenstern Are Dead, (also featuring Fortunato).
• Writers Theatre embarked on a dedicated fundraising campaign to bring the production to fruition. To date, over $1.2 million has been raised from 37 individual donors to support the work.
• This production features specific script revisions made by Stoppard and Perloff expressly for the intimate stage at Writers Theatre. The minor, but impactful changes, included adjustments to the dialogue for American actors by taking out the anglicisms, removing a couple of the minor characters and adding an intermission.
• Leopoldstadt has been a major critical success in the US and UK and won four 2023 Tony Awards, including Best Play and two 2020 Olivier Awards, including Best New Play.
• In celebration of the largest production in Writers Theatre history and the final play from one of our era's greatest playwrights, Writers Theatre presents The Stoppard Series, an unprecedented line-up of special events to enhance the experience of the production. These events have been created to celebrate themes and events complementary to Leopoldstadt. 

The Stoppard Series

Writers Theatre continues its tradition of deep artistic engagement with The Stoppard Series, a curated collection of lectures, conversations, and community events to illuminate the historical and personal layers of Leopoldstadt.  The events, conversations and experiences included in The Stoppard Series are made possible by the Leopoldstadt sponsors. 

Details for a full slate of programming will be available soon and registration will open on May 1, 2026. 

In the meantime, registration is currently open for the following programs as part of The Stoppard Series:

The Green Room: A Conversation with Carey Perloff
Wednesday, May 6 at 7pm

At this event, Perloff will discuss her friendship and working relationship with the late Stoppard, her family's history in Vienna, and the ways this new production is leaning into WT's trademark intimacy. A podcast featuring highlights from the conversation will be available following the live event.

Leopoldstadt: The Final Word Audience Discussion

Sundays, June 28 and July 19 at noon

Join fellow audience members and WT artistic staff for a lively, in-person discussion delving into the characters, production elements and themes of the play. Come share your impressions and uncover new perspectives as we reflect on the story, its characters, and the creative choices behind this staging. Final Word discussions are intended for patrons who have seen the production.

Writers Theatre community partners for The Stoppard Series include: Illinois Holocaust Museum and Education Center, United States Holocaust Memorial Museum, Temple Am Shalom, North Shore Congregation Israel, Glencoe Union Church, Congregation Sukkat Shalom, Northwestern - Crown Family Center for Jewish and Israeli Studies, Northwestern – Hillel, University of Chicago, Folks Operetta, Resetting the Table, Jewish Studio Project and The Art Institute of Chicago.

WRITERS THEATRE 2026/27 SEASON

The recently announced season includes Matthew Libby's Sisters, directed by Jessica Thebus; The Royale by Marco Ramirez (Orange is the New Black, Buena Vista Social Club), directed by Tyrone Phillips; Noël Coward's Brief Encounter by Emma Rice, directed by Shana Cooper and music direction by Matt Deitchman; the Strindberg thriller Creditors, written by Jen Silverman and directed by Braden Abraham; Hershey Felder's brand-new work The Piano and Me.   

Writers Theatre is offering a variety of subscriptions with an option for every theatregoer. Each subscription includes a deeply discounted ticket price, ranging from $275-$385 for one ticket to the five-play series. Flex subscriptions, with options for either four tickets ($280) or five tickets ($350), are available.

Season subscribers receive the new Writers Theatre concierge service for ticket exchanges and questions. Exclusive subscriber benefits include: complimentary ticket exchanges (upgrade fees may apply), special "subscriber-rate" prices on additional tickets, advance access to special events and programs, easy, free parking, exclusive discounts in bar items and merchandise, discounts on rental of Writers Theatre event spaces on Writers Theatre merchandise, event rentals, and more. For a complete list of benefits visit writerstheatre.org.

Season Packages are available online at www.writerstheatre.org, and at the Box Office by calling 847-242-6000.

Single tickets will go on sale for each show approximately two months prior to first preview. Single ticket prices start at $35.

ABOUT WRITERS THEATRE

Writers Theatre proudly celebrates its 35th Season.  

From its beginnings in the back room of a Glencoe bookstore, Writers Theatre established what would become its defining conviction: that vibrant language and exceptional performances in an intimate setting create a transformative theatrical experience. Today, the company is a major cultural destination in the Chicago region with a national reputation for artistic excellence, heralded by The Wall Street Journal as "America's finest regional theatre company." 

Founded in 1992, Writers has produced over 160 productions—from inventive interpretations of classics to groundbreaking new work. In 2016, the company opened a state-of-the-art theatre center designed by the internationally renowned Studio Gang Architects. The new facility includes the 255-seat Alexandra C. and John D. Nichols Theatre and the flexible 100-seat Gillian Theatre, spaces designed to preserve the company's trademark intimacy and bring audiences up close to Chicago's finest actors. The building's striking glass atrium serves as a welcoming gathering space for artists, staff and the community, open daily for reading, working and conversation.  

Led by Executive Director Kate Lipuma and Alexandra C. and John D. Nichols Artistic Director Braden Abraham, Writers Theatre welcomes more than 60,000 patrons each year. The company has established itself as an important originator of new theatrical work, having produced over 30 world premieres in its history—including Manual Cinema's Christmas Carol, Witch by Jen Silverman, Trevor the Musical by Dan Collins and Julianne Wick Davis, A Minister's Wife by Austin Pendleton, Jan Tranen and Josh Schmidt, The Savannah Disputation by Evan Smith and Marilyn Campbell and Curt Columbus's adaptation of Crime and Punishment. 

Education and community engagement remain central to Writers Theatre's mission. Each season, the organization reaches more than 5,000 students and adults through school matinees, in-school residencies and curriculum-based programs that introduce young people to professional theatre. Writers Theatre also offers a wide range of free programs for the broader community, including readings, lectures and partnerships with local organizations that make theatre accessible to audiences of all ages. 

Located just 20 miles north of downtown Chicago, Writers Theatre offers artists and audiences a setting that combines world-class theatre with the calm and accessibility of Chicago's North Shore. As Writers Theatre enters its 35th season, the company continues its commitment to artistic excellence, meaningful storytelling and the uniquely powerful connection that only intimate theatre can create. 

Hershey Felder has made a significant part of his life’s work playing the roles of piano prodigies, and at Writers Theatre he takes on the role of Sergei Rachmaninoff (1873-1943), considered the last of the romantic Russian composers, and a virtuosic pianist. Felder, a very good actor (he received a Jefferson award in his role of Chopin last spring) and remarkable pianist, is perfect in the role, for which he has developed an extensively researched script. The Writers Theatre production, directed by Trevor Hay, is the Midwest premiere of the rolling national debut of “Rachmaninoff and the Tsar.”

Felder has mined this territory for decades, developing shows centered on musical luminaries including historic figures—Chopin, Liszt, Debussy, Mozart , Beethoven—as well as modern figures like Bernstein, Irving Berlin and Gershwin. (He has also produced film versions of some of these stagings.)

Ordinarily performing solo, for “Rachmaninoff and the Tsar,” Felder has for the first time incorporated into the script a second character—Tsar Nicholas II (Jonathan Silvestri), the last Romanoff to rule Russia, until the Bolshevik revolution forced him to abdicate in 1917. Rachmaninoff fled Russia for New York City. This allows for a more robust script, with two characters playing against each other, and sharing the burden of exposition, which can be a downside for story-telling plays. Many other characters are incorporated in silent films shown periodically as a backdrop to what’s on stage.

Jonathan Silvestri as Tsar Nicholas II and Hershey Felder (right) as Sergei Rachmaninoff

The disruption that the Russian Revolution brought to Rachmaninoff’s career meant there were lengthy gaps in his work as a composer. Rachmaninoff was a favorite of the royal family and celebrated across Russia for capturing timeless slavic themes. Felder livens up the story with a creative conceit, set in 1943 as Rachmaninoff lays dying in his Beverley Hills home. On a morphine drip, Rachmaninoff conjures up visions of conversing with Tsar Nicholas II, and the play covers wide terrain as the two converse, and recall their intersecting history.

Throughout, Rachmaninoff takes to the gleaming ebony Steinway concert grand piano, playing 15 works, mostly the musicians own works with one piece by Tchaikovsky, and one by Lvov. At times Felder’s Rachmaninoff plays live against recorded orchestral arrangements, most times he solos. One particularly notable piece was an arrangement Rachmaninoff did of “The Star Spangled Banner.” In open question and answer period at the show, Felder explained the arrangement had been taken from a paper piano scroll recorded by Rachmaninoff himself. It was quite lovely.

Felder also took the time to expound on the reason he added a second character for “Rachmaninoff and the Tsar.” It alleviated the burden of telling the back story and history all by himself. “It gets lonely on the stage,” Felder said. The addition of Tsar Nicholas II also allowed for a divergence into the story of Anastasia, the Tsar’s youngest daughter who for decades was theorized to have survived. Ultimately DNA science dispelled this as myth.

Silvestri as Tsar Nicholas II adopted a growling Russian accented delivery. We learn during the question and answer period that his daughter in real life plays Anastasia in those film reels shown during the performance.

The performances are great overall, and the show is entertaining and engaging, though there is little dramatic tension, and I found my interest lagging in the storyline. Still, “Hershey Felder’s Rachmaninoff and the Tsar” comes recommended, and runs through September 21 at Writers Theatre in Glencoe, IL.

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

In its world premiere at Writers Theatre in Glencoe, “Dhaba on Devon Avenue” is a strong play, from a promising writer, Madhuri Shekar, winner in 2020 of the Lanford Wilson Playwriting Award. A TimeLine Theatre production, it is directed by Chay Yew.

Another of Shekar’s plays, “A Nice Indian Boy,” produced by Chicago’s Rasaka Theater Company in 2015, was adapted to a 2024 film released theatrically (now streaming) —a kind of “Guess Who’s Coming to Dinner” crossed with “My Big Fat Greek Wedding” set in India and with a gay white American boy as the surprise fiance.

“Dhaba on Devon Avenue” is in that vein, but a more serious drama: the widower Neeraj (Anish Jethmalani), patriarch of the struggling Dhaba Canteen, a South Asian restaurant on Chicago’s Devon Avenue, is coaching his sous chef daughter Rita (Tina Muñoz Pandya) on the eve of the restaurant’s 30th anniversary banquet. As Neeraj reveals his secrets of Sindhi cooking (Sind is a region of what is now Pakistan) we move into “The Bear” territory—a bit of demanding “Yes Chef” performance as Rita never seems to get the sauce up to Neeraj’s expectation—despite having made it for years.

We suspect Neeraj is tasting with his emotions rather than his palate, and indeed this proves to be the case. Neeraj is one of those old timers that thinks if we can just get things back to exactly where they were in the old days, the problems will go away. But that’s complicated by a diagnosis of Parkinson’s, with early symptoms just beginning to show.

Though she is frustrated by her father’s demands - Rita has been successfully making these dishes for years - she submits to Neeraj’s demands, starting dishes over multiple times to get the flavors just right. The pressure for this “Big Night” banquet is seasoned with urgent calls between Neeraj and his bank, with a deadline for satisfying his loan closing in. When Rita suggests forestalling foreclosure may be more important than perfecting the meal, Neeraj is dismissive. “We always have money problems,” but we can’t serve “substandard food,” in a cruel slight to his daughter Rita.

While the dramatic force plays between father Nareej and daughter Rita, it is the supporting roles that provide color and flair to “Dhaba on Devon Avenue.” Enter Neeraj’s daughter Sindhu (Arja Daire is terrific), an emancipated married professional living the upper middle class life in Seattle. She tries to connect with her dad, and could advise him well, if Neeraj would only give her the chance. He won’t.

Enter brother-in-law Adil (Muheen Jahan, in an excellent comedic performance), who is inspired to invest in Dhaba Canteen. Reluctant to admit his impending failure, Neeraj responds with a wall of “No,” even as the pressure builds. To add more fuel to the dramatic fire, Rita has struck up a romantic tryst with the line cook, Luc Fuentes (Ina Arcinegas in a solid performance), the one non-South Asian character.

All these components add a lot of baggage to the core of the drama - Neeraj’s resistance to the changes necessary for the business to survive. Or more broadly, a man facing the end of the road by doubling down on the past, and with little grace.

How all this gets resolved is nicely packaged in a 90-minute, no-intermission show. But I couldn’t help feeling that keeping the focus on the patriarch, making it more like Lear or Death of a Salesman, might have made for better drama.

The set (Lauren M. Nichols) with a fully equipped kitchen—commercial range, stainless work surfaces, under counter coolers, even tiled floors—was spot on, but props seemed scant for a truly working kitchen. Transition music between scenes was rather too loud. And in certain scenes—such as Rita rummaging around in a file box for a long lost recipe book—she finds it in seconds. It should have taken longer, perhaps, with more stuff in that box.

Definitely worth seeing, if only to get on the track to follow Madhuri Shekar’s next work, “Dhaba on Devon Avenue” runs through July 27, 2025 at Writers Theatre in Glencoe, IL.

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

Brian Friel’s “Translations,” now playing at Writers Theatre in Glencoe, IL, shows off the renowned Irish playwright’s signature skill in creating a stage full of memorable characters, 10 in this case, each with depth sufficient to fuel their dramatic paths.

“Translations” as Friel tells us, “has to do with language and only language.” Though written and played almost entirely in English, the Irish speak with brogues to “represent” that they are actually speaking in Irish; the British speak in a more formal King’s English. On stage, under the accomplished direction of Braden Abraham and dialect coach Eva Breneman, it becomes clear that Irish is being spoken, and when the few English speakers appear, that the two groups do not understand each other.

Friel treats us to a compelling story line—a love triangle—against a backdrop of an overwhelming British culture, bulldozing its way across the neighboring emerald isle. Set in 1833 in the mythical town of Baile Beag (Anglicized as “Ballybeg”), the action takes place in a “hedge school,” a form of resistance to this British cultural hegemony.

Hedge schools were illegal underground tutoring centers where the Irish adults would go to study ancient Greek and Roman classics, translating them and discussing them in their native Irish tongue.

Indeed, the play is very much about translated language. At the hedge school, we hear Hugh (Kevin Gudahl), a teacher at the hedge school and student Jimmy Jack (Jonathan Weir) reading Homer and Virgil and discussing comparative renderings in Irish. The only English word Jimmy Jack has bothered to learn is “bosom.”

English military cartographers have arrived in Baile Beag to map out the area, and set about developing Anglicized versions of the Irish names for the notable geographic features, rivers, valleys, streams, hills, etc. One character, Owen (Casey Hoekstra) who was born in Baile Beag but left years ago, has returned on retainer to the British as a translator whenever the British want to make themselves understood, or to hear from the locals. Owen also helps Lieutenant Yolland (Erik Hellman), known as “George” for most of the play, in the Anglicizing process.

In one incisive scene Owen explains to George the etymology of a place name for a crossroads: 

“We call that crossroads Tobair Vree. And why do we call it Tobair Vree? I’ll tell you why. Tobair means ‘a well.’ But what does Vree mean? It’s a corruption of Brian—an erosion of Tobair Bhriain. Because a hundred-and-fifty years ago there used to be a well there, not at the crossroads, mind you—that would be too simple—but in a field close to the crossroads. And an old man called Brian, whose face was disfigured by an enormous growth, got it into his head that the water in that well was blessed; and every day for seven months he went there and bathed his face in it. But the growth didn’t go away; and one morning Brian was found drowned in that well . And ever since that crossroads is known as Tobair Vree—even though that well has long since dried up.”

With the weightiness of its backstory, though, “Translations” is primarily entertaining and very funny. “Honest to God,” says one of the hedge school students, Maire (Julia Rowley), “some people aren’t happy unless they are miserable.” The characters are witty, and concerned with the life at hand, not the downside of British dominance.

In the course of the play, our British cartographer, George, falls for Maire, but neither can understand each other at first. We watch them learning bits of each other's languages. This relationship is also complicated by the presence of another hedge school teacher, Manus (Andrew Mueller), who expects Maire to marry him.

The scenes in which George expresses his ardor for Maire in language unintelligible to her are priceless. Over several meetings, they gradually learn some of each other’s language. It’s also notable that Maire abandons the hedge schoo, seeing her future in speaking English and emigrating to England. For Maire, George is her ticket to another life. George, on the other hand, has fallen for Ireland, and sees his future there, with Maire. Neither understands the other's motivation.

At one point, we hear Owen translating an address by Captain Landry (Gregory Linington) to the gathered hedge school students. Since Owen’s “Irish” translation is rendered in English by the playwright’s design, we see a complete disconnect between what Captain Landry states, and the way Owen delivers to the students.
Ultimately there are clashes borne of the magisterial power of the English over the Irish, and this forms a fiery underlay to the human drama playing out.

Set by Andrew Boyce and costumes by James Pytal are excellent. Kudos to dramaturg Bobby Kennedy for his work in identifying this lesser known Friel script. (The playwright’s best known work is probably “Dancing at Lughnasa,” brought to film with Meryl Streep in 1998.) A shout-out for the work of casting director Katie Galetti, CSA, who cast a wide net for the talent on stage. Performances by Andrew Mueller as Manus and Casey Hoekstra as Owen (the two are brothers) are particularly noteworthy, as was Julia Rowley as Sarah, a student with a speech impediment. I have to say I loved watching the angry student Bridget (Chloe Baldwin).

“Translations runs through May 4, 2025 at Writers Theater in Glenco, and comes highly recommended.

“Every Brilliant Thing,” places unusual demands on its lead character, Narrator. Jessie Fisher delivers a carefully calibrated performance from a comedic script that is deceivingly simple, but deeply emotional and upon reading it afterward, I saw that it is beautifully structured, as well. 

Fisher is the center of our attention in this 70 minute monologue that evokes the gamut of emotions—at times poignant and tearful, at others boisterously funny. She relates a sampling of thoughts of people, places and things intended to capture life’s happy and satisfying moments. This was Narrator's lifelong quest, begun in childhood, to stave off her mother’s suicidal tendencies by coaxing her to dwell on the brighter side of things.

In this demanding role, Fisher must be onstage 30 minutes before the “curtain” rises formally, welcoming each audience member with numbered slips of paper, each bearing a charming thought evoking joy: 1. Ice Cream. 2. Water fights. 3. Staying up past your bedtime and being allowed to watch TV. In the course of the performance, we are each called upon to read aloud the item we received. (My companion had #1654: "Christopher Walken's voice." mine was #1655: "Christopher Walken's hair.")

Fisher also eyes the incoming ticket holders as potential stagemates, and several will be called from their seats to play an array of characters from her life: a school counselor, a lecturer, a veterinarian, her father, her spouse, even herself, at one point. As the formal show begins, Fisher narrates the story of her life, and calls on these individuals and others, and all of us eventually, to voice items from the list, or to play the bigger roles. She becomes both actor, and director, and we are transformed from spectators to players, the fourth wall continuously dissolved in this unusual play.

So reliant on the audience is “Every Brilliant Thing,” that each performance varies significantly—yet reading the script afterward, things that I imagined must have been spontaneous or ad libbed, are in fact detailed by the British playwright Duncan Macmillan (with comedian Jonny Donahoe, who played Narrator in the original productions in London and New York). Director Kimberly Senior has guided Fisher to a remarkable performance that is deceivingly natural and immensely convincing. I had a chance to see “Every Brilliant Thing” a couple years ago at WIndy City Playhouse, and this production, in Writers Theatre's more intimate Gillian space is every bit as good as that one.

We see Narrator through stages of her life, in college, getting engaged, married, divorced—all the while growing and maintaining this list of “brilliant things” that make life worth living. In her earlier life, she shared it with her mother, but it made little impact on her. The audience members are cued to read their assigned thoughts by number. As she courses through life, Narrator’s list grows into the tens of thousands, and hundreds of thousands, deepening in complexity. The pace of Narrator's recitation of brilliant things hastens, and she recites many of them herself.

We see that ultimately, this list is for the Narrator, a lifeline to which she clings as a vision of a happier life. 

 “Every Brilliant Thing” runs through January 5, 2025 at Writers Theatre in Glencoe, IL, and comes highly recommended. 

*Extended through January 12th

“Gonna have to study up a little bit if you wanna keep up with the plot ‘cause it’s a complicated Russian novel,” so says the prologue in Writers Theatre’s Chicago premiere of ‘Natasha, Pierre & the Great Comet of 1812’. Don’t let the complicated Russian novel part scare you off because Dave Malloy’s unique take on Leo Tolstoy’s classic ‘War & Peace’ is anything but a living book report. It’s a serious breath of fresh air for musical theatre as a genre.

Nominated for an impressive amount of Tony Awards in 2017, including Best Musical and Best Musical Score, ‘The Great Comet’ was a smash hit to say the least. It’s not often you see a line queued up for a musical adaptation of a very long book, the other most notable being ‘Les Miserables’ in the 1980s. And just like ‘Les Miz’, the playwright has done a lot of trimming to ensure a normal two and a half hour running time. Instead of utmost faithfulness to the source material (as is the case with ‘Les Miz’), Malloy turns the period piece musical on its head. 

‘The Great Comet’ is a chamber opera, in that every line of dialogue is sung-through and the songs further the plot, hence the prologue. What’s really interesting about this particular adaptation is that for one, you do not need to have any familiarity with Tolstoy’s behemoth novel in order to be dropped into the middle of the book. ‘The Great Comet’ is but a small section of the book, but it is arguably one of the most interesting parts of the novel. Dripping with juicy soap opera subplots as well as the richly drawn interior lives of the characters, something Tolstoy was quite adept at. This show also wouldn’t spoil the overall plot of the novel as it leaves some plot points open-ended that are later solved in the novel.

Natasha (Aurora Penepacker) is engaged to Andrey (Matthew C. Yee) who is at the front fighting in the Napoleonic war. For safety’s sake she’s living with her soon-to-be in-laws in Moscow and for the first time in her life seeing the big world and all its temptations. When she meets dashing, but wicked Anatole (Joseph Anthony Byrd), she begins a risky affair that could threaten her future.

Writer’s Theatre’s production is one of the first major revivals since the original Broadway production and under Katie Spelman’s direction, it’s an absolute delight from beginning to end. When the curtain comes down on the first act, you’ll be immediately craving more. More of the music, more of the incredible voices and more of the heartrending music that cuts to the core of what it means to love.

This production culls together some of Chicago’s most formidable singers and actors including Bethany Thomas in the role of Marya (Natasha’s guardian) who gives one of the most electrifying performances of the evening. Not to be outdone, playing Nathasha’s best friend Sonya, Maya Rowe has likely the evening’s best solo with the song ‘Sonya Alone’. Aurora Penepacker does Tolstoy’s vision of the innocent Natasha more than justice, her song ‘No One Else’ provides the first pang of emotion. Though, don’t count Bri Sudia out as Pierre’s philandering wife Helen. She’s delivering pure musical theater magic all night. 

Spelman’s aesthetic for this production moves this musical from the black box to the opera house. Grand in scale, but still intimate. There’s a certain Baz Luhrmann quality to the costumes and the staging, and along with the modern pop soundtrack creates a very satisfying product. It just feels cool.

What will make this niche show continue to prosper in revivals is the music itself. Sophia Copola might be the godmother of putting modern music into period pieces, but Dave Malloy is doing more than just borrowing familiar tunes from his youth. The soundtrack feels like the first truly relistenable soundtrack in decades. Not a bit of the saccharine jukebox music with throw-away lyrics here. And though there is a musical through-line, what this show really benefits from is the unexpected diversity of unique sounding songs. Each song becomes its own world in a way that most modern musicals fail at. It feels like a harken back to the Sondheim era of musical theatre.

‘The Great Comet’ is the perfect musical for people who say they hate musical theatre. At the risk of saying “steampunk”, it’s a refreshing take on both musicals and adaptation. The creativity of both the cast and direction at Writers Theatre makes for an enchanting night at the opera.

Through October 27 at Writers Theatre. 325 Tudor Court, Glencoe, IL. 847-242-6000  

*Extended through November 3rd

If you appreciate classical music and captivating stories about brilliant artists from the past, Hershey Felder’s one-man show, Monsieur Chopin: A Play with Music, is an absolute delight. Felder, an accomplished pianist and composer, has previously wowed audiences with his portrayals of the magnificent music and talents of Irving Berlin and George Gershwin. Now, he turns his attention to the prodigious Polish composer, Fryderyk Chopin, and the result is equally compelling.

Set in post-revolutionary Paris in 1848, Monsieur Chopin runs for an uninterrupted hour and forty minutes. It seamlessly blends theater and concert, with Felder embodying Chopin as he shares personal stories and insights. The audience is transported into Chopin’s salon, where we become students listening to his rehearsals and teachings. Throughout the performance, Felder, still in character, engages in question-and-answer sessions as Chopin, creating an immersive experience that makes theatergoers feel like they are truly in the presence of the master composer.

The staging of the play is elegantly simple, yet haunting. A beautiful grand piano graces the stage accompanied by two candlelit salon tables. The backdrop features projections and archival video from the period, some of which were specially created for this production.

Felder’s talents are commendable. While many actors could portray Chopin or write a script about a famous musician, none can simultaneously play Chopin’s music with the same skill and authenticity as Felder. Conversely, although there may be numerous pianists capable of performing Chopin’s compositions for an hour and a half, none could inhabit the role of Chopin with the emotional depth and believability that Felder achieves.

In the captivating play about Chopin’s life, I discovered several intriguing and often tragic facts that were previously unknown to me, despite him being one of my favorite composers. For instance, Chopin’s renowned ‘Piano Sonata No. 2,’ commonly referred to as the “Funeral March,” was actually composed in response to the death of his younger sister, Emilia. This haunting piece has since become synonymous with funeral music worldwide.

Another revelation was Chopin’s deep affection for the brilliant French novelist George Sand. In the play, Chopin affectionately calls her ‘Madame’ and reveals that she was the true love of his life. Sand’s devotion to him and his music was so profound that she would recline on a chaise lounge directly beneath his piano, allowing her to experience the melodies ‘directly from his heart.’

Furthermore, I learned that Chopin’s musical journey began at an astonishingly young age—he made his debut as a pianist at just seven years old, showcasing his enormous talent. However, as he gained prominence, he grew disillusioned with public performances. Initial reviews criticized him for playing too softly, but the truth was that the enthusiastic upper-class audience drowned out his delicate playing with their chatter.

Monsieur Chopin weaves together many captivating stories, including the tragic childhood loss of his sister, the complexities of his love life, the challenges of safeguarding the women in his life across international borders, and his relentless battle with chronic illness. Sadly, Chopin’s untimely death at the age of 39 resulted from untreated health issues exacerbated by financial struggles. Despite his genius, he struggled to receive proper compensation for his work.

During my interaction with Chopin, I posed the question about the happiness he experienced in his life and whether there was a time when he felt successful and recognized as a genius.

Regrettably, as was often the case, Chopin responded with a resounding ‘No.’ He recounted how, after an initial reception that hailed him as a great talent, he faced subsequent criticism from critics. In response, he shifted away from live performances and instead focused on teaching music—a domain in which he excelled.

Allow me to wholeheartedly recommend this thoughtful, moving, and exhilarating musical theater piece to audiences of all ages. Hershey Felder has once again crafted a historically accurate and captivating portrayal of a brilliant genius brought to life. Throughout the performance, Felder’s intense portrayal, coupled with his remarkable pianistic skill, left the audience yearning for more of his exquisite piano playing.

Monsieur Chopin: A Play with Music, skillfully directed by Joel Zwick, is currently being staged at Writers Theatre until May 12th. For tickets and additional show information, please visit the official website.

Highly recommended.

There are but a few evenings in life that can ultimately change your destiny, David Yazbek’s The Band’s Visit tells the story of one such evening in the lives of those residing in a small Israeli town. When a lost bus drops off an Egyptian Police Band, a community offers to put them up for a night and in return, the band offers them a new perspective. All set to Yazbek’s gorgeous music created on stage by an impressive cast of actors and musicians.

Under the direction of Zi Alikhan in a co-production between Writers Theatre and TheatreSquared, this exciting new revival feels like exactly what the world needs right now. Too often the Middle East is portrayed as a war torn, chaotic region of the world and what this musical shows is that the human spirit is far more complex than ephemeral political moments.

There’s no definitive plot to The Band’s Visit but rather, a series of vignettes between the band members and the townspeople. Instead of the characters dissecting their political or religious differences, they focus on what makes them human.

The stirring music and performances make this immersive musical an unforgettable experience. The incredibly talented Sophie Madorsky leads the Israeli cast as Dina, a cynical widow who has given up on the idea of real love. Her touching evening with band conductor Tewfiq (Rom Barkhordar) is bittersweet and serves to remind us that you can find glimmers of hope at any age.

Optimists will choose to believe the band’s visit saves villagers Iris (Dana Saleh Omar) and Itzik’s (Dave Honigman) flailing marriage, reminding them too that love is complicated but worth it in the end. Their scenes together are at times heartbreaking and Dana Saleh Omar’s performance is one of the strongest assets of this production.

Youthful trumpet player Haled (Armand Akbari) is a bit of a casanova and spends the play helping young lovers find romance, despite his own predestined marriage. This is a musical about love, in all its many forms.

“The Band’s Visit” is not only thought provoking, but also a lot of fun to watch. It’s a rare departure from the ordinary musical theatre traditionally churned out by Broadway. For a musical based on a movie, this is not your typical jukebox musical adaptation that have become all too grating these days. Winner of 10 Tonys including Best Musical, The Band’s Visit is a unique, once-in-a-generation musical that requires just the right casting, direction and audience.

Writers has a hit on their hands. The show perfectly forms itself to the intimate Glencoe theater space. While audiences may shed tears, they’re not tears of pathos, they’re tears of joy. This show may not have all the toe-tappin’ songs that leave audiences singing their way home, but it certainly will leave audiences buzzing with a spirit of connectedness and hope.

Through March 17 at Writer’s Theatre. 325 Turdor Court, Glencoe. 847-242-6000

*Extended though March 24th

“You might cry, you might not,” says playwright Sarah Ruhl in the show notes of Writers Theatre’s revival of her 2003 play ‘Eurydice’. Under new Artistic Director Braden Abraham, there’s a youthfulness in both casting and staging that feels like a big breath of fresh air for the Glencoe theatre company. Sarah Ruhl’s whimsical dialog appeals to a childlike sense of wonder and her bittersweet version of this classic story may unlock parts of yourself hidden away by grown-up practicalities.

We all know the Greek mythology of Orpheus and Eurydice in which a man tries to bring his beloved bride back from the dead with the sound of his music. If he can avoid looking back at her, she can follow him out of the underworld. Easier said than done.

Sarah Ruhl’s play borrows the names and framework of the Greek tragedy, but her quirky adaptation is aimed at a modern audience. In the twenty years since this play was written, Sarah Ruhl has become a regular fixture of contemporary theatre and has been shortlisted for the Pulitzer. Her unique style of balancing small-scale spectacle with arrestingly poetic observations about life is what continues to make her work popular with audiences.

‘Eurydice’ is immediately endearing because of the well-honed aesthetic created by Braden Abraham and scenic designer Courtney O’Neill. Minimal staging makes big moments like an elevator that rains all the more theatrical. Solid casting, especially in the lead roles, makes this production even more loveable.

Sarah Price plays the title character with Kenneth La’Ron Hamilton as her Orpheus. The pair are impeccably styled by Danielle Nieves. Chic fashion combined with great chemistry, it’s nearly impossible to keep your eyes off. Price is perfectly charming throughout and shows a lot of range. Her co-star is equally compelling and together they make a good case for enduring love.

There’s a line in the play at Eurydice and Orpheus’ wedding in which she says, “Weddings are for fathers and daughters.” With that idea in mind, Ruhl richly draws Eurydice’s father into the underworld, and they get to reconnect in the afterlife. These are some of the play’s most emotionally charged moments. John Gregorio plays the role of her father barefoot and vulnerable in a way that men of a certain age are rarely written. It’s here that Ruhl veers from the source material and allows this play to really be an examination of her own life.

As the playwright said, you may cry, you may not, but you will leave with a romantic feeling. Between the spectacle created on stage and the full swath of emotions illicited by the cast, there’s a lot to unpack. Sarah Ruhl’s play has aged well and it’s exciting to see one of her earlier works done to such incredible standards at a theater not far from where she grew up. Writers Theatre’s production feels like a full-circle moment in this decorated playwright’s career.

For tickets and/or more show information, click here.

Playwright Eleanor Burgess has delivered one of the best scripts I've read or seen, in ‘Wife of a Salesman.’ While it may be viewed somewhat as a “prequel” to Arthur Miller’s 1949 classic ‘Death of a Salesman,’ it never directly references that play, and is an intriguing and challenging work of art that is an instant classic. Its world premier, running through April 3 at Writers Theatre in Glencoe, IL, is a theatrical event of the first order.

Produced in partnership with the Milwaukee Rep, 'Wife of a Salesman' is set in the 1950s (television is just arriving), the play opens in the apartment of The Mistress (Amanda Drinkall), a young blonde awakening to her day perhaps still basking in the glow of an amorous adventure the night before. When a knock somes to her door, she opens it, giving us a glimpse of a matronly woman with a briefcase, then slams it shut immediately, scurrying to straighten up the room, and pull herself together. A minute later she opens the door to this visitor, The Wife (Kate Fry) of the title.

From that opening moment The Mistress conveys through a gasp that she recognizes this unbidden visitor. Then the door reopens and The Wife enters, posing as a fabric saleswoman.Moments of increasing intensity follow, The Wife unable to open her sample case, and The Mistress deftly managing it for her. The Wife comments on a figurine of the Madonna, noting awkwardly that The Mistress must be Catholic. “My neighbors are Catholic,” she notes, and adds that they are nice people. She begins her halting sales pitch on the various samples. And soon The Mistress takes her to task for her poor salesmanship, offering with ratcheting intensity examples of how a sales presentation should be made. And the frey begins.

The Wife, we learn, has driven from New York to Boston, to confront her husband’s mistress, grist for any soap opera, a story from time immemorial. But Burgess unfolds this telling with precision strikes, and Kate Fry and Amanda Drinkall do not miss a beat in the imaginative script under the tight direction of Jo Bonney.

Burgess, whose plays include ‘The Niceties,’ plays out this examination of women’s roles in the 1950s with master craftsmanship. Every beat of the performances draw us into the story, the conflict, and to contrast contemporary views of women’s status in society with expectations from an earlier era.

Then, with a magical stroke (no spoiler), Burgess allows us to meet the actresses playing the roles, and see ways their personal lives parallel those of the 1950s characters. We listen to a generational divergence, Millennial vs. Genx types, in how to chart careers.

But the playwright goes further: the actresses ask the director Jim (Rom Barkhorder) to restore two powerful monologues that he has cut, and to let them speak to the playwright directly. In this meta transformation, Burgess is naming several of the fraught dynamics of theater: the tendency of at least some directors to view actors as”necessary evils” in staging plays, like herding cats. Jim also has an indifferent patriarchal power, and he fends off with familiar tropes of male disregard the multiple entreaties by the actresses to be given their due.

The creative team has given the show a set that is a delight to behold. Tickets to this outstanding production of 'Wife of a Salesman' are available at Writers Theatre.