Marriott Theatre’s Heartbreak Hotel takes on the tricky task of charting Elvis Presley’s early ascent, walking the line between the mythic figure we think we know and the unpolished young man still figuring out who he was becoming. What emerges is a brisk, music‑driven portrait that leans into the volatility of those formative years - the industry pressures that boxed him in, the personal crossroads that pushed him forward, and the creative sparks that hinted at the cultural earthquake to come. It’s a show less interested in polishing the legend than in capturing the restless drive of a talent on the verge of rewriting American music.

Heartbreak Hotel traces Elvis Presley’s early rise with a pace that stays brisk without ever feeling hurried, using a clever device: a ’68 Comeback‑era Elvis looking back on his younger selves. At times the man, the teen, and the 11‑year‑old boy share the stage simultaneously - singing, reminiscing, harmonizing - embodying a life moving faster than any one version of him can fully grasp. The musical follows Elvis from the tentative spark of his Sun Studio sessions into the glare of national attention, tracing how each new opportunity brings both momentum and complication. Producers, handlers, and well‑meaning advisors orbit him constantly, each with a different vision of who he should become, and the show uses those interactions to underline just how precarious his initial ascent really was.

As the demands of fame tighten around him, the story frames Elvis’s evolution as a series of choices - some instinctive, some imposed, all shaping the performer he’s still learning to be. Rather than digging for psychological depth, the plot focuses on the push‑and‑pull between artistic hunger and commercial pressure, capturing the uneasy transition from raw talent to cultural commodity. It’s a portrait of a young man standing at the edge of a seismic career, long before the iconography calcifies and the legend overtakes the life.

At the center of Heartbreak Hotel is Tyler Hanes playing Elvis Presley, who carries the show with a mix of youthful swagger and genuine vulnerability. His performance hinges not just on vocal accuracy but on capturing the restless, slightly bewildered energy of a young man being swept into stardom. His renditions of “Blue Suede Shoes” and “Heartbreak Hotel” land with the right mix of polish and rawness, and his quieter moments - particularly the early Sun Studio sequences and those paired with Priscilla - give the production its emotional grounding.

The show’s Colonel Tom Parker, portrayed by Rob Lindley, is the necessary counterweight: charming, calculating, and always two steps ahead. Lindley brings a slick, almost Vaudevillian charisma that keeps the character from slipping into caricature (although Parker may have been a caricature of himself anyway). His scenes pop with tension, especially in numbers where he orchestrates Elvis’s next move with a smile that never quite reaches his eyes.

Tyler Hanes as Elvis Presley (center) with ensemble in Heartbreak Hotel at Marriott Theatre.

The Sun Studio ensemble - the musicians, producers, and collaborators - provide some of the production’s most engaging textures. Jackson Evans, as Sam Phillips, is heavily featured in the first act and delivers one of the show’s standout performances, offering a steady, clear‑eyed presence that anchors the opening chapters with real artistic purpose. The play digs into Phillips’s instinct for raw talent - his uncanny ability to spot greatness beforehand - and makes clear that his relentless championing of Elvis is what first carried the young singer’s sound across Memphis and into the broader South. His work with the band digs deep and gives us an idea of Phillips’s impact in shaping a new kind of rock ‘n’ roll sound. Their group numbers in the studio, including “That’s All Right,” have an infectious looseness that contrasts sharply with the more commercialized performances later in the show.

The supporting cast adds essential color. Colton Sims offers a sharp, unaffected turn as Teen Elvis, capturing the raw spark before the polish sets in, and Charles Adler Bischoof, as young Elvis, brings a bright, unguarded innocence that reminds the audience just how early the legend began.

Elizabeth Telford lends Gladys Presley a quiet emotional weight, centering the story whenever she’s onstage. Anna Louise Bramlett brings an earnest warmth to Dixie, while Amanda Walker gives Priscilla a steady, grounded presence that subtly deepens the story.

In one of Heartbreak’s most exciting moments, Alexandra Palkovic takes control of the stage delivering a sleek, charismatic jolt as Ann-Margret, hinting at the whirlwind to come. Palkovic dances with real fire, echoing Ann‑Margret’s signature style with crisp precision and an infectious burst of energy. Palkovic later joins Hanes in one of the most touching moments when the two perform a beautiful rendition together of “You’re the Boss.” The addition of a full Ann‑Margret song‑and‑dance number feels especially meaningful, since her on‑screen chemistry with Elvis has always struck me as one of the high points of his physical and emotional vitality.  

Tyler Hanes as Elvis Presley and Alexandra Palkovic as Ann-Margret.

Karl Hamilton gives Vernon Presley a quiet, understated presence, and Naiqui Macabroad stands out in his multi‑role track - Johnny Bragg, Chuck, Jackie Brenston, and the producer for both Steve Allen and Ed Sullivan - slipping between characters with crisp versatility and welcome bursts of personality. Fredrick Webb Jr. also makes a strong impression in multiple roles, notably as Roy Brown, Otis Redding, Fats Domino, and throughout the ensemble.

Going back to the musicians, the live band is one of the show’s more memorable assets. With Jake Busse as Bill Black, Zac Richey as Scotty Moore, and Trevor Lindley Craft as Ronnie (pre-DJ Fontana days) forming the tight onstage trio, the musicians anchor the production with a sound that feels both authentic and freshly charged. Lindley Craft doubles as Frank Sinatra. He and Hanes deliver one of the evening’s highlights as they recreate the famous duet from Elvis’s post‑Army appearance on The Frank Sinatra Show - a stylish medley of “Love Me Tender” and “Witchcraft” that lands with effortless charm.

Melanie Brezil also brings a radiant spark to Sister Rosetta Tharpe, delivering her featured moment with bright, joyful command on both vocals and guitar.  

Together, the band’s instrumental work and the ensemble’s rich harmonies elevate the musical landscape. A mid‑show gospel sequence of “Peace in the Valley” – another one of this staging’s big moments - showcases the ensemble’s vocal power and reminds the audience of the musical traditions that shaped Presley long before fame did.

Marriott’s in‑the‑round setup gives Heartbreak Hotel an expansive energy, with action unfolding on all sides. The cast’s aisle work draws the audience in, creating a surprisingly immersive sense of scale, and the smart use of media and projections amplifies that impact even further. A staging in this intimate space gives the storytelling room to gather real thrust. That quality becomes especially clear as the sequences build toward the emotional high point, when Elvis finally sheds the cookie‑cutter movie image he’d long outgrown and reclaims his artistry in the ’68 Comeback Special, reestablishing his place as the King of Rock ’n’ Roll. 

I’ve always been drawn to stories orbiting Elvis Presley, and Heartbreak Hotel earns its place among them by honoring the legend without embalming him in nostalgia. Elvis wasn’t just a chart‑topper; he was a cultural accelerant, the artist who fused gospel, blues, country, and rhythm‑and‑blues into a sound that detonated across America and permanently rewired its musical DNA. His influence stretched far beyond the stage - reshaping fashion, performance style, youth identity, and the very idea of what a pop star could be. Productions like this one matter because they keep that seismic legacy in motion, passing it from one generation to the next not as a museum relic, but as a living, breathing force that still shapes the music we hear today.

When referring to rock 'n' roll, John Lennon said it himself, “Before Elvis, there was nothing.” Heartbreak Hotel echoes that sentiment.

Directed and choreographed by Deidre Goodwin, this musical bears the imprint of an artist who understands how to propel a story without letting the spectacle swallow it. Her direction shapes the evening with a steady, purposeful rhythm, keeping the focus tight even as the musical numbers expand outward. Goodwin’s fantastic choreography blends period flavor with a clean, contemporary precision, giving the show a kinetic pulse that feels both rooted in its era and alive in the present. It’s her sense of balance - between nostalgia and freshness, between narrative drive and musical release - that ultimately gives the production its lift.

Elvis devotees will find plenty to appreciate in Heartbreak Hotel, which treats the King’s formative years and artistic rebirth with genuine affection and a clear understanding of his musical legacy. But the show’s appeal stretches well beyond Presley fandom; anyone who loves American music - from gospel and blues to early rock and soul - will recognize the joy in hearing these sounds brought to life by a superbly talented cast and band. Heartbreak Hotel runs through June 2nd at Marriott Theatre and is an exciting musical experience well worth attending. 

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

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

World renowned ambassadors of Dance and Culture, Alvin Ailey American Dance Theater returns to its Chicago home – The Auditorium, Chicago’s Landmark stage at 50 E. Ida B. Wells Drive – with four dynamic performances debuting six new works, April 24-26, 2026.  Marking its 57^th Chicago engagement at The Auditorium, the company will perform two distinct programs, each featuring Chicago premieres and a finale of the must-see Alvin Ailey masterpiece Revelations. Tickets start at $46 and are now available at auditoriumtheatre.org, by calling 312.341.2300, or at the Box Office at 50 E Ida B Wells Drive in Chicago.  

In 1958, Alvin Ailey and a small group of dancers took the stage in New York and forever changed American dance and culture. One of the country’s groundbreaking greats, Ailey’s company earned a reputation as one of the finest international ambassadors of American culture, promoting the uniqueness of the African American cultural experience and the preservation and enrichment of American modern dance in a universal celebration of the human spirit.

The curtain has risen on AILEY’s next era under the leadership of new Artistic Director Alicia Graf Mack, the renowned dancer and educator, guided as ever by Alvin Ailey’s pioneering legacy. Ms. Graf Mack was introduced to Alvin Ailey American Dance Theater under the direction of Judith Jamison and became widely celebrated for her dance artistry. The Company’s 32 extraordinary dancers, renowned for their unrivaled artistry, technique, and spirit, include five from the Windy City area: Solomon Dumas (Chicago); Isaiah Day (Chicago); Donnie Duncan Jr. (Carrier Mills, IL);  Renaldo Maurice (Gary, IN); and Sarah Daley-Perdomo (South Elgin, IL). The two dynamic programs include the Chicago debuts of world premieres from the recent season launch at New York City Center by frequent AILEY collaborator Jamar Roberts, along with contemporary choreographers Maija García, Fredrick Earl Mosley, Matthew Neenan; a new production by the late Judith Jamison, former AILEY Artistic Director; and a company premiere by Medhi Walerski.

“The Auditorium welcomes Alvin Ailey American Dance Theater to our landmark stage each year with tremendous pride, privilege and gratitude.  This April, to conclude our 2025-26 Celebrating Women Leaders in Dance season, we look forward to showcasing AILEY under the company’s new Artistic Director, Alicia Graf Mack.  With two different programs over four performances comes the opportunity for our guests to experience works by many of the most important choreographers in the world of dance today.  This weekend is certain to be a special addition to Chicago’s Spring arts season!” said The Auditorium CEO Rich Regan. 

 “This monumental season draws deeply on Alvin Ailey’s legacy rooted in celebrating the resilience of the human spirit, while extending its truth and bold virtuosity to reflect this moment in time and our hopes for the future. It is an honor to be a caretaker of this ever-changing continuum of inspiration, which is a living testament to the vitality of the tradition Mr. Ailey gave us and the gifts of spirit that Judith Jamison so lovingly nurtured. Along with Matthew Rushing and the company of brilliant dancers whose artistry moves us all, I am proud and excited to be taking our next steps forward on The Auditorium stage, where I and generations of company members have cherished sharing Alvin Ailey’s gift to the world with Chicago audiences.” said AILEY Artistic Director Alicia Graf Mack.

The programs for the 2026 Chicago engagement of Alvin Ailey American Dance Theater are as follows: 

FRIDAY, APRIL 24, AT 7:30 P.M. & SATURDAY, APRIL 25, AT 7:30 P.M.

Blink of an Eye (2025) In an intriguing piece that probes the relationship between dance and music, choreographer Medhi Walerski lays bare the strength and vulnerability inherent in the creative process. The timeless beauty of J.S. Bach’s violin sonatas and partita anchors the athletic movement that is both precise and expansive. 

A Case of You (2005) A new production of this sensual duet—an excerpt from Judith Jamison’s 2005 Reminiscin’—is an emotionally intense showstopper danced to Diana Krall’s sultry rendition of the classic Joni Mitchell song. 

Embrace (2025) Choreographer Fredrick Earl Mosley examines the ups and downs of human connections—messy, beautiful, and everything in between. Set to popular songs by Stevie Wonder, Kate Bush, Ed Sheeran, Des'ree, and Pink, this piece explores what it takes to love deeply, heal fully, and embrace the journey with open arms.  

Revelations (1960) Performed to African American spirituals, song-sermons, gospel songs, and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul. More than just a popular dance work, it has become a cultural treasure, beloved by generations of fans. 

SATURDAY, APRIL 25, AT 1:00 P.M. & SUNDAY, APRIL 26, AT 3:00 P.M.

Jazz Island (2025) In Maija García’s first work for AILEY, a Caribbean folktale comes to life through ancestral rhythms and divine intervention. Inspired by Geoffrey Holder’s “Black Gods, Green Islands” and featuring an original score by Etienne Charles, this theatrical staging explores the spiritual dimensions of human drama and the connective force of love across the Afro-Caribbean diaspora.  Adapted from Black Gods, Green Islands by Geoffrey Holder. Created in collaboration with the artists of Alvin Ailey American Dance Theater. 

Difference Between (2025) Matthew Neenan’s choreographic debut with AILEY features his signature wild abandon and gestural playfulness. Acclaimed singer and composer Heather Christian (a 2025 MacArthur Foundation Fellow) contributes her raw power to an intricate world of strange tensions, potent griefs, and quiet loves.  

Song of the Anchorite (2025) Renowned Ailey choreographer Jamar Roberts gives a fresh take on the 1961 solo Hermit Songs, Alvin Ailey’s reaction to a set of medieval religious texts and the haunting song cycle by Samuel Barber that they inspired. The result is a powerful meditation on passion and devotion—both earthly and spiritual—danced to jazz trumpeter Avishai Cohen’s interpretation of a Ravel adagio. 

Revelations

In addition to these four public performances, the Company will present two student matinees at The Auditorium, reaching thousands of youths with an inspiring excerpt of Ronald K. Brown’s Grace – a fervent tour-de-force depicting individuals on a journey to the promised land – on Thursday, April 23 and Friday, April 24, at 11 a.m.   

PERFORMANCE SCHEDULE AND TICKETS

Alvin Ailey American Dance Theater performs at The Auditorium Friday, April 24, at 7:30 p.m.; Saturday, April 25, at 1 and 7:30 p.m.; and Sunday, April 26, at 3 p.m. Tickets start at $46 and are now  available at auditoriumtheatre.org/events, by calling 312.341.2300, or at the Box Office at 50 E Ida B Wells Drive in Chicago, IL.

About Alvin Ailey American Dance Theater
Alvin Ailey American Dance Theater, recognized by US Congressional resolution as a vital American “Cultural Ambassador to the World,” grew from a now-fabled March 1958 performance in New York that changed forever the perception of American dance. Forged during a pivotal moment in the civil rights movement, the company was established to uplift the African American experience while transcending boundaries of race, faith, and nationality with its universal humanity. Before his untimely death in 1989, Mr. Ailey named Judith Jamison as his successor, and for 21 years she brought the company to unprecedented success. Alicia Graf Mack, widely celebrated for her dance artistry during her years with Alvin Ailey American Dance Theater, was appointed Artistic Director of AILEY as of July 1, 2025. Alvin Ailey American Dance Theater has performed for an estimated 25 million people in 71 countries on six continents, promoting the uniqueness of the African American cultural experience and the preservation and enrichment of the American modern dance tradition. In addition to being the Principal Dance Company of New York City Center, where its performances have become a year-end holiday tradition, and its long Auditorium history, the Ailey company performs annually at The Fox Theatre in Atlanta, Zellerbach Hall in Berkeley, CA, and at the New Jersey Performing Arts Center in Newark (where it is the Principal Resident Affiliate), and appears frequently in other major theaters throughout the world during extensive tours. AILEY also includes Ailey II (1974), a second performing company of emerging young dancers and innovative choreographers; The Ailey School (1969), one of the most extensive dance training programs in the world; Ailey Arts In Education & Community Programs (1992), which brings dance into the classrooms, communities, and lives of people of all ages; and Ailey Extension (2005), a program offering dance and fitness classes to the general public, which began with the opening of Ailey’s permanent home— the largest building dedicated to dance in New York City, the dance capital of the world— named The Joan Weill Center for Dance, at 55th Street at 9th Avenue in New York City. For more information, visit ailey.org

Bank of America is Alvin Ailey American Dance Theater's Global Tour Sponsor

About The Auditorium

The Auditorium, located at 50 E. Ida B. Wells Drive in Chicago, is an Illinois not-for-profit organization committed to presenting the finest in international, cultural, community, and educational programming to all of Chicago and beyond as The Theatre for the People. The organization also is committed to the continued restoration and preservation of this National Historic Landmark that originally opened in 1889.

The Auditorium is grateful for the support of its 2025-26 Dance sponsors The Florian Fund, with additional support provided by Alphawood Foundation Chicago. The Auditorium 2025-26 Season is made possible in part by support from the John D. and Catherine T. MacArthur Foundation and the Illinois Arts Council Agency. The Auditorium’s official hotel partner is the Palmer House, a Hilton Hotel.

The Auditorium thanks Alvin Ailey American Dance Theater Student Matinee Sponsors Denise Littlefield Sobel, Mike Aden and James D. Miller, Deborah and Bruce Crown, and The Robert Thomas Bobins Foundation, and Opening Night Sponsor Helen Hall Melchior.   

For more information on The Auditorium, please visit AuditoriumTheatre.org.

Promethean Theatre Ensemble has announced it will perform the Lewis Galantiere adaptation of Jean Anouilh's ANTIGONE, from May 31 through June 28 at the Den Theatre. Anouilh's play, which premiered in Nazi-occupied Paris in 1944, was itself an adaptation of the Greek play by Sophocles, believed to have been written in 441 BC. In the original myth of Antigone, the heroine defies King Creon's decree forbidding the burial of her brother. In Anouilh's adaptation, Antigone's dilemma is recast as a choice between following one's conscience and moral code versus capitulation to a totalitarian government. The play was a covert symbol of the French Resistance, with Antigone's "No" to Creon mirroring the French refusal to submit to German occupation. Galantiere's adaptation of Anouilh's text, which premiered on Broadway in 1946 replaced Anouilh's formal French with accessible prose that frequently uses American vernacular and has become the preferred version of ANTIGONE for contemporary performances. It also lightly shifted the tone to make the parallels to WWII more explicit for American audiences who hadn't lived through the occupation. This version employs relatable characters, unexpected humor, and accessible yet poetic language. 

Promethean's modern dress production, set in present times in a city very much like ours, will be directed by ensemble member Elaine Carlson, whose many roles with Promethean include Eleanor in THE LION IN WINTER, and the title roles in THE MADWOMAN OF CHAILLOT and MRS. WARREN'S PRFOESSION. ANTIGONE will be performed from May 31 – June 27 at The Den Theatre, 1331 N. Milwaukee Avenue in Chicago.  The production will play through Saturday, June 27.

Carlson says,  "the theme of Sophocles' drama – choosing what is right over what is expedient - is timeless, but Galantiere's adaptation puts it into a setting that makes it even more immediate.  Maybe this time Antigone's courage will be contagious."
 
Carlson's cast will feature Promethean Ensemble members Heather Dennis as Antigone, Artistic Director Jared Dennis as Creon, Meghann Tabor as Ismene, Joshua Servantez as Haemon, Gunner Bradley as First Guard, Brendan Hutt as Second Guard, and Christina Renee Jones as the Chorus. The cast also includes marssie Mencotti (nurse), Gavin Blayne (Third Guard/ Messenger), Anthony J. Harris (Page), and Alex George (Eurydice). Understudies are Alex George (u/s Chorus), Anna Rose Steinmeyer (Antigone), Chris Lysy (Creon), Layke Fowler (u/s Haemon), Dame Grant (u/s Guards/Messenger), and Jennifer Mohr (u/s Ismene/Nurse/Eurydice/Page).

The ANTIGONE design team includes Trevor Dotson (Scenic Designer), Rachel M. Sypniewski (Costume Designer), Stefanie Senior (Sound Designer), RobbyMoe Reeves (Lighting Designer), Maureen Yasko (Violence and Intimacy Designer), and Tristan Brandon* (Props Designer). Also on the production team are Hayley Rice (Assistant Director), Alexa Berkowitz* (Production Manager), Esau Andaleon (Stage Manager), and Jeremiah Barr* (Technical Director).

• Indicates Promethean Theatre Ensemble member.

ANTIGONE
Written by Jean Anouilh, Adapted by Lewis Galantiere
Directed by Elaine Carlson
May 31 – June 27, 2026
Previews Sunday May 31 at 7 pm and Monday, June 1 at 8 pm
Regular Run: Thursdays – Saturdays at 8 pm, Sundays at 3 pm. Additional matinees on Saturdays June 13 and 20 at 3 pm
The Den Theatre, 1331 N. Milwaukee Ave., Chicago 60622
Ticket Prices: $35 general, $25 students and seniors
For tickets, visit https://www.prometheantheatre.org/project/antigone/ or The Den Theatre Box Office, 773-697-3830.

Contemporary adaptation of Jean Anouilh's poetic drama of a woman forced to choose between following her moral compass and obedience to the laws of her rulers. First produced under Nazi censorship in 1944 Paris, Anouilh's ANTIGONE explores the conflict between individual conscience and political expediency. Then as now, "going along to get along" wasn't tragedy from ancient history - it was personal tragedy with real world consequences.

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. 

Fleetwood-Jourdain Theatre today announced full casting and production team for its season-opening production of GEE'S BEND, the 2008 play by Elyzabeth Gregory Wilder, to play Saturday evenings and Sunday afternoons from May 23 to June 7 at the Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center at 927 Noyes Street in Evanston. GEE'S BEND follows a family —Alice, her daughters Sadie and Nella, and Sadie's husband, Macon — from 1939 to 2002 as they experience segregation, family strife, the Civil Rights movement, and celebrity. The play is set in the real-life community of Gee's Bend – an isolated community in West Alabama's Black Belt, which has become known for the hand-stitched quilts made by generations of its women. 

Tim Rhoze, Producing Artistic Director of the company since 2010, will direct the production and design the set. His cast features Toccara Castleman, who is double-cast as Alice, the matriarch of the family, and later as Asia, Alice's granddaughter. Castleman is a multidisciplinary writer and actress whose credits include CONFEDERATES at Redtwist Theatre and I DON'T WANT TO PLAY MYSELF at The Tank in New York City. Alice's daughter Nella will be played by Jasmine Robertson, who performed in the two-actor cast of FJT'S UNTIL THE FLOOD in 2024, and was seen there most recently in 2025's HONEYPOT: BLACK SOUTHERN WOMEN WHO LOVE WOMEN. Cast in the lead role as Alice's youngest daughter, Sadie, is Kaitlyn Fields, a recent graduate of Northwestern University, who was among the cast members of HONEYPOT. Sadie's husband, Macon, will be performed by Rashun Carter, whose Chicago stage credits include GODS AND MONSTERS at Theater Wit and REASONS: A TRIBUTE TO EARTH, WIND AND FIRE for Black Ensemble Theatre.

The GEE'S BEND production team, in addition to Rhoze as director and set designer, includes David Goodman-Edberg (Lighting Designer), Rick Sims (Sound Designer), Kate Parker Barrows (Costume Designer), Sarah Kaiser (Muralist), Ben Blount (Props Designer), Melissa Blount (Quilting Instructor), Howard Godfrey Jr. (Musical Director), Charity Moody (Assistant Musical Director), Tuesdai B. Perry (Movement Specialist), Phil Timberlake (Dialect Coach), Bria Walker-Rhoze (Artistic Associate/Dramaturg), Tara Malpass (Production Stage Manager), Mary Dixon (Assistant Stage Manager), Shadana Patterson (Graphic Artist), Sholo Beverly (Poster Artist), and Shane Rogers (Technical Director/Set Builder). 
 
DC Theater Arts said, "GEE'S BEND weaves the essence of the quilt into a theatrical experience that exalts universal themes of family, faith, and overcoming adversity in a deeply moving way. "GEE'S BEND was commissioned and produced by the Alabama Shakespeare Festival and has been performed at Denver Center, Cleveland Playhouse, Kansas City Rep, Northlight Theatre, Philadelphia's Arden Theatre, and Hartford Stage, among others. 
 
Tickets to GEE'S BEND are $33 and can be purchased at fjtheatre.com. Students and seniors can purchase tickets for $20 at the box office on the day of the performance. FJT is also offering Premium Gold Membership cards for $90.00 that include four reserved seats for any of the productions of the 2026 season, and other exclusive bonuses. The card can be purchased on Evanston's Parks and Recreation site. 
 

LISTING INFORMATION
 
GEE'S BEND
by Elyzabeth Gregory Wilder
Directed by Tim Rhoze
May 23 – June 7, 2026
Saturdays at 7 pm, Sundays at 3 pm
Fleetwood-Jourdain Theatre in the Noyes Cultural Arts Center
927 Noyes St., Evanston
Tickets $33.00, Students and Seniors $20.00 at the box office. On sale at www.fjtheatre.com
Phone 847-866-5914
 
GEE'S BEND is the story of the Pettway women, quilters from the isolated community of Gee's Bend, Alabama. Beginning in 1939, the play follows Alice, her daughters Nella and Sadie, who is inspired by the real-life Gee's Bend descendant Mary Lee Bendolph, and Sadie's husband, Macon, through segregation, family strife, and the Civil Rights movement. Throughout their lives, the women's extraordinary quilts provide a respite from the turmoil around them. In the finale, Part III of the play, it is the year 2002; the quilts have been discovered as highly praised and sought-after folk art. Sadie, now 78 years old, is delighted with the recognition, and despite the lure of celebrity and the big city, she returns home to Gee's Bend and continues her lifelong passion for quilting. Wilder's play explores the resilience of the human spirit, especially as it is expressed in art, language, and gospel music. 

Drury Lane Theatre announces the appointment of Matthew D. Carney as its new Artistic Director. A longtime collaborator and key member of the artistic team at Drury Lane, Carney steps into the role following more than a decade of artistic contributions that have helped support the theatre's signature style and high standard of excellence.

Carney joined Drury Lane Theatre in June 2013 and, over the past 13 years, has served as Associate Artistic Director, Casting Director, and Company Manager. His extensive work with the organization includes directing the upcoming production of Buddy – The Buddy Holly Story, serving as Casting Director for more than 70 productions, and acting as resident director for the annual Theatre for Young Audiences production of A Christmas Carol. He has also worked as assistant director on productions including The 39 Steps, Steel Magnolias, Shrek, and Joseph and the Amazing Technicolor Dreamcoat, and as costume designer for The Gin Game. Carney holds a BFA in Theatrical Design and Technology focused in Costume Design from Wright State University.

Kyle DeSantis, President of Drury Lane Productions, welcomed Carney as the new Artistic Director, "When my grandfather first raised the curtain in 1949, he created something special: a place where families discovered the magic of live theatre, children experienced their first Broadway musical, and a passion for performance was handed down through generations. Matt is just the person to carry on the  Drury Lane legacy. I have worked with him for over a decade – his artistry and leadership never ceases to amaze me. I am looking forward to his continued transcendent journey with Drury Lane. I am elated to collaborate with him as he guides us into the next era of world-class theatre in Chicagoland!

"I am deeply honored to lead the next chapter in Drury Lane's story," said Carney. "I am excited by the opportunity to build on Tony DeSantis' legacy while embracing a fresh perspective for a new generation of theatre goers. My goal is to cultivate a space where artists feel inspired to tell classic stories in new ways, audiences feel welcomed and moved by their experience, and every production reflects the excellence Drury Lane is known for."

In his new role, Carney will oversee artistic programming and production at Drury Lane Theatre, helping to shape future seasons while continuing the organization's long-standing commitment to delivering world-class entertainment. Carney's appointment marks an exciting continuation of Drury Lane's tradition of artistic excellence and collaboration.

About Drury Lane Theatre    

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

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

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

Definition Theatre is proud to present the Amplify World Premiere of Keerah, a quick-witted dramedy by playwright Netta Walker and directed by McKenzie Chinn. Keerah will run from May 29 to June 28, 2026 at Definition @ 55th (1160 E. 55th St, Chicago, IL). Tickets start at $25 and are on sale now through definitiontheatre.org.

Two aspiring young writers meet in a Chicago neighborhood on the cusp of gentrification. Ciara, a Black American poet, and Cormac, an Irish writer on a J1 visa. They connect over their shared love of language, literature, and the art of cruelty. What begins as fun flirtation transforms into an intense summer romance—until immigration, bad decisions, and unspoken truths tear them apart.

Seven years later, now a successful TV writer in London, Ciara faces an unexpected reunion when a journalist named Dedalus arrives to interview her about her hit series—a series based on their relationship. Inspired by the myth of Orpheus and Eurydice, this quick-witted dramedy asks: Can you rewrite the past? Should you? And what happens when the person you immortalized shows up to confront you?

The cast features Netta Walker, Cat Christmas, Beck Nolan, and Jacob Coggshall.

The production team includes Director McKenzie Chinn, Assistant Director Ireon Roach, Production Manager Jordan Stewart-Curet, Stage Manager Ariel Beller, Scenic Designer Isa Noe, Costume Designer Janelle Smith, Lighting Designer Garrett Bell, Sound Designer Aaron Harris Woodstein, Props Designer Cecilia Chan, and Intimacy Director Jyreika Guest.

PERFORMANCE DETAILS

Keerah

Dates: May 29 – June 28, 2026

Previews: May 29 – June 2, 2026

Location: Definition @ 55th | 1160 E. 55th Street, Chicago, IL

Tickets: On sale now at definitiontheatre.org

ABOUT DEFINITION THEATRE

Definition Theatre has been a vibrant force for over a decade, celebrating stories created with, inspired by, and intended for people and communities of color. Through the act of making, Definition expands perspectives, stewards resources, and bridges the possibilities found at the intersection of art, innovation, and education. Known for bold and impactful productions, we've brought to life plays by Oscar-winner Tarell Alvin McCraney, Pulitzer Prize-winners James Ijames and Jackie Sibblies Drury, and Tony Award-winner Branden Jacobs-Jenkins. We strive to promote equity, foster empathy, and enhance the quality of life for our community members by offering opportunities for creative, entrepreneurial, and cultural expression. Our work emphasizes collaboration in theater-making and raises awareness of career paths in the arts. In 2024, Definition leased and equipped a storefront space in Hyde Park, enabling us to engage artists and expand programs as we prepare for our permanent home in Woodlawn on the southside of Chicago. This new theater, community center, and business incubator will amplify and preserve BIPOC voices, promote social justice, and empower the next generation of artists, entrepreneurs, and changemakers to drive positive progress through the transformative power of the arts.

Definition Ensemble members include: Adia Alli, Owais Ahmed, Ariel Beller, Jared Bellot, Carley Cornelius, Ari Craven, Julie Jachym, Willow James, Martasia Jones, Slick Jorgensen, Yeaji Kim, Kristy Hall, James Ijames, Julie Jachym, Willow James, Kiki Layne, Kelson Michael McAuliffe, Victor Musoni, Neel McNeill, Sophiyaa Nayar, Karyn Oates, Alexandra Oparka, Julian Parker, Maya Vinice Prentiss, Tyrone Phillips, Ireon Roach, Jacqueline Rosas, Christopher Sheard, and Dujon Smith.

Definition Artistic Advisory Board members include: director May Adrales, Steppenwolf ensemble member Alana Arenas, actress Shannon Cochran, actor Brandon Dirden, actor Jason Dirden, actor Jon Michael Hill, director Pam Mackinnon, Equity Quotient CEO Keryl McCord, professor JW Morrissette, director Ron OJ Parson, professor/lighting designer Kathy Perkins, media producer and host Troy Osborne Pryor, Tony Award-winning actress and stage director Phylicia Rashad, and Goodman Theatre director in residence Chuck Smith. Tyrone Phillips is the Artistic Director, Neel McNeill is the Executive Director, Willow James is the Civic Engagement Director. For additional information, visit definitiontheatre.org and @definitiontheatre on Facebook and Instagram #stayinit

It’s no secret every new dance season is filled with its own undercurrent of anticipation. Regardless of the company, audiences who follow them silently wonder what will be the prevailing theme that will dominate a troupe’s next major performance. What attributes will signal growth and maturity.  What kind of insights are going to be shared through a gifted choreographer’s storytelling skills.  What unexpected feat of technical or physical prowess is going to once again prove dance’s unmatched ability to translate the full scope our humanity.

Some companies can always be relied on to provide brilliant responses to those kinds of musings.  Giordano Dance Chicago (GDC) is one of them and their Ignite the Soul program at the Harris Theater for Music and Dance Friday night demonstrated that even with more than 60 years’ experience dancing at the top, the growing process never ceases.  The will and desire to keep striving, learning and absorbing does much more than simply avert atrophy.  It fuels the kind of energy that invigorates everyone on the stage and in the seats.  And it enables some of the galvanizing moments found in Ignite the Soul.

A broad ranging show that spanned genres of dance and artistic temperaments, half of the program’s six dance roster consisted of works that have never previously been performed publicly.  Two of the three world premieres were made possible by donors who, not so uncommonly, prefer to remain anonymous.

The show opened with resident choreographer Al Blackstone’s Latin inspired, Sana.  Receiving its own world premier last year, the dance lives as comfortably in the realm of contemporary dance as it does jazz.  Meant to evoke notions of healing, Sana highlights the beneficence of community and the power of the collective.  Thrillingly dynamic and often probing, Stahv Danker’s original score makes for a potent force that enhances Sana’s appeal.

Over the years, GDC has fine-tuned the way it incorporates film shorts to provide supporting information about the company, its history, its dancers, the choreographers it partners with and the wealth of community initiatives it conducts.  Each season these interludes become more polished and prove more indispensable.  One preceded each of the evening’s new dance segments; providing priceless insights into what fuels a talented choreographer’s creative process.  By the time tap dancer, choreographer and arts executive Mike Minery finished his explanation on how My Kind of Girl came about, you couldn’t wait to see the world premier he collaborated with GDC’s Artistic Director, Nan Giordano, to produce for the company. 

Adam Houston and Sasha Lazarus - photo by Zach Kemper.

Through his lead in, we learn how crucial tap is to much of modern dance and how instructive it can be to a dancer’s technical foundation.  Then we were reintroduced to how therapeutic and beautiful the dance form can be when Minery himself took to the stage with GDC’s splendid Erina Ueda to enrapture the hall with a gorgeous tap duet.  In this hyper-digitized, infamously disconnected world, My Kind of Girl is as analog as a warm hug and twice as pleasing.  Loaded with dance prowess of the highest level and bathed in Frank Sinatra’s silky voice backed by Count Basie’s band, the audience couldn’t help but cheer heartily after My Kind of Girl came to its swoon worthy close. 

Following that welcome touch of sweetness, the company brought out the flame throwers with Sabroso, a 2011 torcher crafted by Del Dominguez and Laura Flores.  Quintessential Giordano in its presentation, dancers shimmied and strutted their way through a sassy half dozen Latin dance styles that came packed with plenty of sensual heat.  Flaunting knock-out sequined costumes designed Nina G., the women in the company made sultry soar while their male counterparts wrapped machismo in a thick layer of sophistication.  Adam Houston and Analysse Vance picture perfect Bolero highlighted the exceptional individual artistry dancers bring to a performance.  The kind that always guarantees delight.

Something of the transformational arrived with Jon Rua’s namuH, a dance signifying the power and importance of love at its most basic and pure.  Rua’s video explanation of his personal background and the trajectory of his career from street dancer to choreographer ideally framed the dance that followed.  The word “Human” spelled backward, namuH feels as if it has one foot in the present day and one in the future.  Bjork and Stateless’s music draw an intense landscape.  Rugged and difficult.  Coupled with neutral, utilitarian costumes worn by the dancers and you sense a sterile almost bleak world.  The energy and magnetism come from the dance and the dancers who, despite any obstacle or hardship, invariably end up leaning on each other to keep on keeping on. 

The music, the way the dance unfolds, the unorthodox movements whose origins clearly derive from the grit of urban streets, all draw you in and leave you captivated.  As rewarding as the choreography itself is, the company’s dancers give it life by fully internalizing its precepts and projecting its message so beautifully.   

This is about as far away from jazz dance as you can get, but namuH’s central theme of cohesion and co-dependence; as well as the way it helps us see the latent generosity in all of us, make it an ideal match for this venerable dance company that can shape shift so elegantly.

Excerpts of Ronen Koresh’s 2015 Crossing/Lines preceded the night’s finale and final world premiere, Dumb Luck!, choreographed by Mr. Blackstone.   A salute to the country’s upcoming 250 anniversary and an intentional lighthearted salve to our erratic times, Dumb Luck!, with its nautical pastiche and post-war verve, is a happy escape to nostalgia.  Nina G.’s period sailor outfits take you right back to the grand old days of splashy Hollywood musicals.  Coasting on jazz gold via the sounds of The Nate King Cole trio, the Manhattan Transfer, and Big Bad Voodoo Daddy, dancers cavort while maintaining tight but jaunty dance formations.

A very fine effort, strengthening the dance’s core character would make it more even more distinctive.  

Whetting the appetite for more is what Dumb Luck! and the rest of the dances making up Ignite the Soul’s program do all too well.  Placing those expectation reveries about their next stage outing on high boil once again.

Ignite the Soul

Giordano Dance Chicago

April 10-11, 2026

Venue: The Harris Theater for Music and Dance

205 E. Randolph Street

Chicago, IL  60601

For more information about Giordano Dance Chicago:  https://www.giordanodance.org

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