Displaying items by tag: theatre

Wild Door Theater presents the Midwest premiere of Maybe Tomorrow, a darkly funny and unsettling new play by Max Mondi and directed by Andrew Gallant, April 13 - May 24, in Studio B at The Athenaeum Center for Thought and Culture, 2936 N. Southport Ave. The performance schedule is Fridays at 7:30 p.m., Saturdays at 3:00 p.m and 7:30 p.m. and Sundays at 3:00 p.m. The running time is 80 minutes with no intermission. Tickets are $25–$39 and are available at WildDoorTheater.com. 

Inspired by a true story, the play plunges audiences into the increasingly fractured world of Gail and Ben, where a cough in the bathroom may signal something far more sinister and the boundaries between reality and imagination begin to dissolve. Reuniting Mondi and Gallant, who first collaborated while on faculty together at Dean College in Massachusetts, Maybe Tomorrow is a gripping, meta-theatrical puzzle that explores marriage, perception and the unnerving human need to be seen.

Blending psychological suspense with sharp, offbeat humor, Maybe Tomorrow invites audiences into an intimate theatrical experience where nothing is quite as it seems. As Gail searches for comfort amid a growing sense of unease, and Ben struggles to maintain control, the play spirals into a haunting exploration of doubt, intimacy and the stories we tell ourselves to feel safe. With its inventive structure and shifting realities, Mondi's script keeps audiences questioning what is real, what is imagined and what lies somewhere in between.

"I saw the New York production of Max's play last year," says Director Andrew Gallant, "and I immediately wanted to bring it to Chicago. With all of its improvisational elements and the intense communion with the audience it requires, this play is perfectly at home here."

"It's rare to encounter a script that feels this alive," Gallant continues. "Every performance is a little different, shaped by the actors and the audience in real time. That unpredictability mirrors the play's central tension, the feeling that something is just slightly off, just beyond our understanding. It's thrilling, unsettling and unexpectedly funny all at once."

The cast of Maybe Tomorrow includes Isabella Isherwood (she/her, ensemble); Lucky Star (he/they, ensemble) and Roxi Pope (they/them, understudy). 

The production team is Andrew Gallant (he/him, director); Lauren Secrest (she/her, assistant director/assistant stage manager); Joshua Bennett (he/him, stage manager); Jose Martinez (he/they, scenic designer); Saawan Tiwari (she/they, costume designer); Kate Schnetzer (she/her, sound designer); Josiah Croegaert (he/him, lighting designer) and Joe Mazza/brave lux (he/him, production photographer). 

ABOUT MAX MONDI, Playwright

Max Mondi is a writer and teacher based in Boston. His plays include Maybe Tomorrow, No One Asked For This, House Of Karen and Personhood. He has developed work with Abingdon Theatre Company, Orchard Project, HERE, The Tank (New York City), The PIT, SoHo Playhouse and Project Y Theatre. Mondi is a professor of playwriting and dramaturgy at Dean College. He holds an M.F.A. in playwriting from Columbia University and a B.A. in theatre history/criticism from the University of Vermont.

ABOUT ANDREW GALLANT, Director

Andrew Gallant holds an M.F.A in acting from DePaul University, a postgraduate diploma from the Liverpool Institute for Performing Arts, a BA in theatre from UW-Madison and is a proud member of Actor's Equity. For the last 15 years, Gallant has worked professionally in Chicago as an actor, playwright, director and artistic director. His plays I Wish to Apologize to the People of Illinois, At the Center and Out of Tune Confessional were staged at The Agency Theater and his play Mackerel Sky is currently being adapted into a short film with festival submissions pending.

ABOUT WILD DOOR THEATER

Wild Door Theater embraces bold theatrical storytelling to create transformative experiences for Chicago audiences. With roots in the city's storefront theater scene, they value truthful, ensemble-driven performances as they reimagine classics and develop new works that challenge, connect and inspire the community. On stage and beyond, they are committed to cultivating emerging talent, championing unexpected perspectives and recentering theater as vital to civic life.

Wild Door Theater presents the Midwest premiere of Maybe Tomorrow, a darkly funny and unsettling new play by Max Mondi and directed by Andrew Gallant, April 13 - May 24, in Studio B at The Athenaeum Center for Thought and Culture, 2936 N. Southport Ave. The performance schedule is Fridays at 7:30 p.m., Saturdays at 3:00 p.m and 7:30 p.m. and Sundays at 3:00 p.m. The running time is 80 minutes with no intermission. Tickets are $25–$39 and are available at WildDoorTheater.com. 

PRODUCTION DETAILS:

Title: Le Bal

Devisor/Director: Stephen Buescher

Cast (in alphabetical order): Dan Cobbler, Genevieve Corkery, Cat Evans, Emily Nichelson, Gus Thomas, Jasz Ward and Carl Wisniewski.

Location: Trap Door Theatre, 1655 W. Cortland St. Chicago, IL 60622

Dates: Regular Run: Thursday, May 14th –Saturday, June 20th, 2026

Curtain Times: Thursdays, Fridays, and Saturdays at 8:00 pm, and Sunday 6/7 and 6/14 at 3PM.

Tickets: $32 with 2-for-1 admission on Thursdays. Tickets are currently available at www.our.show/le-bal or by calling (773) 384-0494.

Group tickets: Special group rates are available. For information, call (773) 384-0494 or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Plan your visit:

Free street parking is available.

Buses: #9 (Ashland), #50 (Damen), #72 (North), #73 (Armitage).

Metra: Clybourn metra stop.

Oil Lamp Theater, currently presenting the highly recommended political comedy The Outsider through February 22, is proud to announce the cast and creative team for its next production of its 2026 season, Poor Behavior, written by Theresa Rebeck and directed by Lauren Katz, April 10 - May 10, at Oil Lamp Theater, 1723 Glenview Road. The schedule includes two preview performances Friday, April 10 at 7:30 p.m. and Saturday, April 11 at 3 p.m., with an opening performance Saturday, April 11 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 3 and 7:30 p.m. and Sundays at 3 p.m. There will be additional Wednesday performances April 15 at 11 a.m and 3 p.m.; April 22 at 7:30 p.m. (understudy performance); April 29 at 11 a.m. and 3 p.m. and May 6 at 7:30 p.m. Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org. 

A visit from old friends takes an unexpected turn when a bombshell accusation throws niceties out the window. Hospitality turns to havoc. Sanity shatters into shambles. Manners take a backseat as two couples are pushed to their limits during a weekend in the country. Will they be able to pick up the pieces over wine and muffins or will their poor behavior leave them irrevocably broken? Find out in this sharp-witted play by acclaimed playwright Theresa Rebeck. 

The cast of Poor Behavior includes Sam Fain (he/him, Ian); Lauren Paige (she/her, Maureen); Ksa Curry (she/her, Ella); Jack Morsovillo (he/him, Peter) with understudies Cooper Bohn (he/him, Ian U/S); Cait Kelly (she/they, Maureen U/S); Jaime Nebeker (she/her, Ella U/S) and Adrian Briones (he/him, Peter U/S). 

The production team includes Lauren Katz (she/her, director); Connor Windle (she/her, production manager and stage manager); Trenton Jones (he/him, scenic designer); Elly Burke (she/her; properties designer); Danielle Reinhardt (she/her; costume designer); Paige Klopfenstein (she/her, intimacy director); Daniel Friedman (he/him, lighting designer); Alex Trinh (he/him, sound designer); Andy Cahoon (he/him, technical director); Sienna Laurent Choi (she/her, assistant stage manager) and Rose Leisner (she/her, company manager). 

CONTENT ADVISORY: Poor Behavior contains strong language and mature themes including discussions of mental health and suicide. 

ABOUT THERESA REBECK, PLAYWRIGHT 

Theresa Rebeck is a prolific and widely produced playwright, whose work can be seen and read throughout the United States and abroad. Last season, her fourth Broadway play premiered on Broadway, making Rebeck the most Broadway-produced female playwright of our time. Other Broadway works include Dead Accounts, Seminar and Mauritius. Other notable New York and regional plays include: Seared (MCC), Downstairs (Primary Stages), The Scene, The Water’s Edge, Loose Knit, The Family of Mann and Spike Heels (Second Stage), Bad Dates, The Butterfly Collection and Our House (Playwrights Horizons), The Understudy (Roundabout), View of the Dome (NYTW), What We’re Up Against (Women’s Project), Omnium Gatherum (Pulitzer Prize finalist). As a director, her work has been seen at The Alley Theatre (Houston), the REP Company (Delaware); Dorset Theatre Festival, the Orchard Project and the Folger Theatre. Major film and television projects include “Trouble,” starring Anjelica Huston, Bill Pullman and David Morse (writer and director), “NYPD Blue,” the NBC series “Smash” (creator) and the upcoming female spy thriller “355” (for Jessica Chastain’s production company). As a novelist, Rebeck’s books include Three Girls and Their Brother and I'm Glad About You. Rebeck is the recipient of the William Inge New Voices Playwriting Award, the PEN/Laura Pels Foundation Award, a Lilly Award and more. 

ABOUT LAUREN KATZ, DIRECTOR 

Lauren Katz is thrilled to be back directing at Oil Lamp. Favorite directing credits include: It’s a Wonderful Life: A Live Radio Play, The Marvelous Wonderettes, Mary's Wedding (Oil Lamp), A Midsummer Night’s Dream and Women of 4G (Babes With Blades), The Prom (Highland Park Players), Tick, Tick… Boom and A Grand Night for Singing (Dunes Summer Theatre), Grease and Legally Blonde the Musical (Beverly Theatre Guild), Hershel and the Hanukkah Goblins (Strawdog) and This is a Chair (Haven). Other collaborations include: About Face Theatre, Goodman Theatre, Steppenwolf Theatre, Victory Gardens Theatre, and Writers Theatre. She is the education + engagement producer at Steppenwolf Theatre. 

American Blues Theater, under the continued leadership of Executive Artistic Director Gwendolyn Whiteside, concludes its 40^th anniversary season with the hit jukebox musical Always...Patsy Cline created by Ted Swindley, with band and vocal orchestrations by August Eriksmoen and Tony Migliore. The production is directed by Harmony France, with music direction by Ensemble Member Michael Mahler. Always...Patsy Cline runs May 1 – June 7, 2026, at American Blues Theater at 5627 N Lincoln Ave, Chicago. 

This musical play, complete with down home country humor and big-hearted emotion, includes hits "Crazy", "I Fall to Pieces", "Sweet Dreams", "Walkin' After Midnight" and more! Starring Ensemble member and award winner Liz Chidester as Patsy Cline and featuring guest artist Molly Hernández as Louise.

Tickets, priced $34.50-$64.50, are on sale now the American Blues Theater box office, online at www.americanbluestheater.com, or by phone at (773) 654-3103.

Always...Patsy Cline

Created by: Ted Swindley

Band & Vocal Orchestrations by: August Eriksmoen & Tony Migliore

Directed by: Harmony France

Music Direction by: Ensemble Member Michael Mahler

Featuring: American Blues Theater Ensemble member Liz Chidester as Patsy Cline and Molly Hernández as Louise.

Dates: May 1 – June 7, 2026

Schedule:                   

Wednesdays: 2:00 PM (except May 6); 7:30 PM (May 6 only)
Thursdays: 7:30 PM
Fridays: 7:30 PM (except May 8 @ 7:00 PM)
Saturdays: 3:00 PM (May 16 & May 30 only); 7:30 PM (May 2, 9 & 23, June 6)

Sundays: 2:30 PM

Location: American Blues Theater, 5627 N Lincoln Ave, Chicago

Ticket prices: $34.50 - $64.50 (no hidden fees)

Box office: Buy online at www.americanbluestheater.com or by calling (773) 654-3103.

Special Access Events

Tickets: $34.50 – call theater for special rate

Touch Tour: Sunday, May 31 at 1:30 PM
Audio Described Performance: Sunday, May 31 at 2:30 PM
American Sign Language-Interpreted Performance: Friday, May 22 at 7:30 PM

American Blues Theater is excited to offer audiences even more ways to engage with artists, neighbors and the larger community through its two programs The Commons and @Home Accessibility Series.

The Commons features readings, live concerts, open mics, game nights, town halls and more at American Blues. The @Home Accessibility Series features readings, live concerts, and town halls from the comfort of home via Zoom. For the most up-to-date programming schedule or to purchase tickets, visit www.americanbluestheater.com. Additional programming will be announced throughout the season.

About American Blues Theater

Winner of the prestigious National Theatre Company Award from American Theatre Wing (Tony Awards). American Blues Theater is an Ensemble of artists committed to producing new and classic diverse stories that ask the question: "What does it mean to be American?"

The diverse and multi-generational artists have established the second-oldest professional Ensemble theater in Chicago. As of 2025, the theater and artists received 246 Joseph Jefferson Awards and nominations that celebrate excellence in Chicago theater and 44 Black Theatre Alliance Awards. The artists are honored with Tony Award and Pulitzer Prize nominations, Academy Awards, Golden Globe Awards, Emmy Awards and numerous other accolades.  

CALL ME ELIZABETH, a one-woman show about the life of Elizabeth Taylor, will be presented May 8-10 by PrideArts at the Hoover-Leppen Theatre in Center on Halsted. The critically acclaimed production, written and performed by Kayla Boye and directed by Michael Weber, returns by popular demand in an expanded two-act version. PrideArts presented the previous one-act version in May 2025.

Through an intimate conversation at the Beverly Hills Hotel, CALL ME ELIZABETH examines Elizabeth Taylor's life, career, and loves as she grapples with the culture of celebrity and embraces her greatest role as a humanitarian.

Boye has developed this new two-act versionin collaboration with dramaturg Guy Masterson, an Olivier Award-winner and Taylor's grand-nephew (twice) by marriage to Richard Burton. Act One, set in 1961, focuses on the formative events of Taylor's life and career leading up to the filming of CLEOPATRA. Act Two, set in 1985, focuses on Taylor's relationship with Richard Burton and her subsequent reinvention and entry into the fight against AIDS.

Since premiering in the 2022 Hollywood Fringe Festival, CALL ME ELIZABETH continues to tour internationally following sold-out runs Off Broadway at 59E59 Theaters' "East to Edinburgh" Festival (2023), the Edinburgh Festival Fringe (2023), and Mexico's San Miguel Solo Theatre Festival (2024). Presentations of the piece have been awarded grants by the Arts Midwest Touring Fund and Illinois Arts Council. 

Boye states, "I am thrilled to return to PrideArts with the expanded CALL ME ELIZABETH. Working with dramaturg Guy Masterson, the material has deepened in its authenticity and immediacy, allowing audiences both new and familiar to Elizabeth's story to be inspired by her life. I am excited to explore the pivotal moment when Elizabeth found her purpose as an activist, and I hope Elizabeth's story can be inspiring for anyone seeking to make a positive impact on the world."

Performances are Friday, May 8, at 7:30 p.m., Saturday, May 9, at 7:30 p.m., and Sunday, May 10, at 3:00 p.m. General admission tickets are available now for $35 and may be purchased by visiting pridearts.org or by calling the Box Office at 773-857-0222.

LISTING INFORMATION

CALL ME ELIZABETH

Written and performed by Kayla Boye  |   Directed by Michael Weber

Friday, May 8, 7:30 p.m.

Saturday, May 9, 7:30 p.m.

Sunday, May 10, 3:00 p.m. 

1 hour, 45 minutes with an intermission

Hoover-Leppen Theatre at Center on Halsted

3656 N. Halsted, Chicago, IL  60613

Tickets $35 (general admission), available at 

pridearts.org or 773-857-0222

Nearly a decade after it first upended the American musical, Hamilton returns to Chicago’s CIBC Theatre as part of Broadway In Chicago’s 2026 season, and its cultural voltage hasn’t dimmed one bit. Inspired by Ron Chernow’s book, Alexander Hamilton, Lin‑Manuel Miranda’s genre‑shifting epic — part biography, part political thriller, part hip‑hop opera — still hits with the force of a story determined to be heard. Having seen it in its inaugural year, I can say this revival lands even sharper, richer, and more assured than ever.

Alexander Hamilton didn’t just witness the birth of the United States — he helped engineer its architecture. As a delegate at the Constitutional Convention, he argued fiercely for a unified national government, and though not the primary drafter, he became one of its most influential defenders, authoring the majority of The Federalist Papers to secure the Constitution’s ratification. His imprint only deepened from there: he built the nation’s financial system from the ground up, established the U.S. Treasury, championed a national bank, and laid the groundwork for the country’s credit, industry, and economic identity. In Hamilton, these achievements aren’t treated as dry civics lessons but as the combustible fuel of a man determined to transform a fragile collection of states into a functioning nation — a legacy as complicated as it is foundational. The musical captures not just his ascent, but the way his ideas became the scaffolding of a country still deciding what it wanted to be.

Through songs like “My Shot,” “The Room Where It Happens,” and “Hurricane,” Miranda reframes the Founding Fathers not as marble statues but as flawed, hungry, deeply human figures fighting to define a nation and themselves. What Miranda is ultimately trying to convey — and what this production underscores beautifully — is that America’s story has always been messy, contested, and built by people who rarely saw themselves as the heroes of their own narrative.

Director Thomas Kail’s staging remains a masterclass in kinetic storytelling. The turntable choreography, the razor‑sharp transitions, and the way bodies carve through space all contribute to a sense of history constantly in motion. Under his direction, the show feels both epic and immediate — a revolution unfolding in real time.

l-r-Tyler Fauntleroy as Alexander Hamilton and A.D. Weaver as George Washington in Hamilton at CIBC Theatre. Photo by Joan Marcus.

What continues to astonish about Hamilton is how much storytelling power resides in its deceptively simple visual world. David Korins’ now‑iconic set — all timber, ropes, brickwork, and scaffolding — frames the action like an unfinished nation still under construction. The exposed architecture becomes a living metaphor for the country Hamilton is trying to build, while the revolving stage keeps history literally turning beneath the actors’ feet. Paul Tazewell’s costumes layer silhouettes with subtle modern inflections, allowing the cast to move with the velocity the score demands while still grounding the story in its 18th‑century roots. The palette shifts almost imperceptibly as alliances form and fracture, and the contrast between the Schuyler sisters’ elegance, the soldiers’ grit, and King George’s absurd opulence adds texture to every scene. Together, the set and costumes create a world that feels both historical and urgently contemporary — a perfect visual match for Miranda’s reimagined revolution.

This Chicago cast brings its own intensity. The Chicago engagement of Hamilton boasts a powerhouse company led by Tyler Fauntleroy, who delivers a relentless, razor‑sharp Alexander Hamilton—equal parts tactician, poet, and live wire. His performance feels carved from pure momentum, capturing both Hamilton’s brilliance and his self‑destructive drive. Opposite him, Jimmie “J.J.” Jeter turns in a magnetic, exquisitely controlled Aaron Burr, layering charm, calculation, and simmering envy into a portrayal that peaks beautifully in a soul‑baring “Wait For It” and a show‑stopping “The Room Where It Happens.” Lauren Mariasoosay brings warmth, emotional clarity, and a quiet steel to Eliza Hamilton (through April 12th), while Amanda Simone Lee commands the stage with fierce intelligence and vocal fire as Angelica Schuyler. Lily Soto shifts effortlessly between the wide‑eyed innocence of Peggy Schuyler and the seductive, wounded edge of Maria Reynolds through April 12th, with Nadina Hassan stepping into the roles beginning April 14th. A true force, A.D. Weaver anchors the production with statesmanlike gravitas as George Washington, and Christian Magby all but steals the show with his dual swagger as Lafayette and Jefferson—two performances so distinct they feel like separate universes. Nathan Haydel brings youthful fire and heartbreaking vulnerability to both John Laurens and Philip Hamilton, while Eddie Ortega grounds the ensemble with muscular presence as Hercules Mulligan and James Madison. And rounding it out, Matt Bittner delivers a perfectly petty, wickedly funny King George III, milking every entrance for maximum delight, stealing the moment with a perfectly calibrated blend of comedy and menace in “You’ll Be Back.”.

Musically, the production remains a marvel. The blend of hip‑hop, R&B, traditional musical theatre, and lyrical density still feels revolutionary, and the orchestra at the CIBC gives the score a muscular, propulsive energy. Even familiar numbers feel newly alive in this space. The production is expansive and brimming with moments that land with exhilarating force.

The run at the CIBC Theatre continues through April 26th, giving audiences a generous window to revisit — or finally experience — the show that redefined what Broadway could be.

In a city that knows its way around bold storytelling, Hamilton still stands out. It’s a reminder that history is not a fixed monument but a living argument — and that the voices shaping it are far more diverse, complicated, and compelling than the textbooks ever let on. Whether you’re seeing it for the first time or the fifth, this production makes the revolution feel brand new.

Highly recommended.

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

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

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

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

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

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

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

About Burt Bacharach

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Some nights in the theatre create a hum with the kind of energy you can feel in your chest - nights when the performers aren’t merely revisiting history but reliving it, reigniting it, and passing that fire straight into the audience’s hands. That’s the voltage running through Stolp Island Theatre’s exhilarating production of Million Dollar Quartet, staged with remarkable precision, pulse, and musical instinct by director Jim Corti.

Set inside the intimate jewel‑box space perched along the Fox River, the production transforms Stolp Island Theatre into a full‑blown time machine - Sun Records beautifully simulated and reborn in the heart of Aurora. The moment you step inside, you’re whisked straight to 706 Union Avenue in Memphis. Even before the show begins, the lobby sets the tone: a 1950s soda‑fountain concession stand invites you to grab a drink, a gleaming vintage motorcycle begs for a photo op, and the walls are lined with memorabilia that feels lovingly plucked from rock ’n’ roll history. Wander a bit further and you’ll find yourself inside a beautifully crafted reproduction of Sam Phillips’ own small office - warm, worn‑in, and full of history you can actually touch and walk through. 

Then, with a sudden shift, the doors open and you find yourself standing inside a true-to-size replica of the original Sun recording studio, set up as a theater in the round. 

This small but elegant one‑of‑a‑kind environment where Elvis Presley, Johnny Cash, Carl Perkins, and Jerry Lee Lewis aren’t just characters on a stage, but living, breathing artists hanging out, cracking jokes, and making music mere feet away. I’ve seen many great productions of Million Dollar Quartet in beautifully designed houses, but this is the first time where I actually felt the breath of Elvis on my neck as he entered the stage or the sweaty frenetic energy of Jerry Lee Lewis brushing my hand with every single entrance to the stage which made the show very exciting as an audience member. 

Madison Palmer and Corey McKinney in Paramount's Million Dollar Quartet at Stolp Island Theatre.

Paramount’s restaging is as fun as it is brilliant. The audience isn’t simply watching a musical; they’re dropped directly into the legendary jam session of December 4, 1956, when Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins unexpectedly found themselves sharing the same room for one unforgettable night. What begins as a casual drop‑in quickly erupts into a spontaneous collision of talent, ego, and raw creative electricity - the kind of alchemy that could only ignite once, and only inside a cramped Memphis studio run by a visionary who believed in these young artists long before the rest of the world caught on.

Through a propulsive blend of music, sharp‑edged banter, and simmering backstage tensions, the show digs into the crossroads each man finds himself standing at - the tug‑of‑war between loyalty and ambition, the pressure of sudden fame, and the shifting identities of artists still discovering who they are and who they might become. What emerges is not just a snapshot of a legendary night, but a portrait of a pivotal cultural flashpoint, a moment when rock ’n’ roll was still being forged in real time and four rising stars found themselves sharing the same room, the same microphones, and the same uncertain horizon.

Sam Phillips may have discovered these artists and shaped them into the icons they’re becoming, but the question hanging in the air is whether loyalty to a small, scrappy label like Sun Records can still serve them - or whether they’ve simply outgrown it, destined for the bigger machines of Columbia and RCA. The show drops us right into that critical juncture, that uncomfortable, high‑stakes conversation where ambition, gratitude, and survival all collide. 

It’s a charged moment in the story, and the production meets it with a cast more than capable of carrying that weight.

And that weight is carried first by Garrett Forrestal who doesn’t just play Jerry Lee Lewis - he unleashes him. From the instant his fingers hit the keys, he’s a live wire: mischievous, magnetic, and gloriously unhinged in all the right ways. His piano work becomes its own spectacle, and his razor‑sharp comedic instincts make him the spark plug that keeps the entire night crackling.

Garrett Forrestal in MDQ at Stolp Island Theatre.

Corey McKinney follows with a beautifully layered Elvis - yes, the swagger is spot‑on and the voice is uncanny, but it’s the vulnerability beneath the rhinestone shine that makes his execution unforgettable. He captures a young King at a turning point: confident yet conflicted trying to make the best decision for his career while remaining loyal to the man who gave him his first break. 

Brian Grey, performing as Johnny Cash the evening I attended, offers a deep, velvety counterweight to the surrounding chaos - resonant, restrained, and quietly commanding. He nails Cash’s signature rolling, two‑step pulse. The emotional depth of Grey’s portrayal of Cash is really felt by the audience as his eyes blaze with the same fierce righteous honesty during his dialogue. Grey has a tremendous amount of gravitas and the miraculous, unbelievably low notes he hits while singing “Folsom Prison Blues” make the crowd go wild. Grey is hands down one of the best MDQ cast Johnny Cash’s I’ve ever seen. 

Rounding out the rock ’n’ roll trailblazers is Matt McClure, who gives Carl Perkins the spotlight he’s long overdue. His crisp, fiery guitar work pairs with a performance full of grit and verve, playing Perkins with a chip on his shoulder and a fire in his gut. McClure’s guitar work is strikingly assured, each riff delivered with a clarity and confidence that elevates every moment he’s onstage.

Madison Palmer as Elvis’s girlfriend, Dyanne - a confident vocalist in her own right - brings it big time. Her sultry, simmering take on “Fever” tantalizes the audience and brings all the sexy female energy missing from this quartet of machismo! Palmer is a delight; she has a great vocal range and panache that this production’s lead female singing role requires. It is implied by Elvis that her character is talented enough to record with these icons and that she, too, might be a voice ready to burst into the spotlight. 

Jake Saleh adds humor, rhythm, and charm as Brother Jay, his tight, expressive bass lines and playful physicality keeping the momentum buoyant throughout. Robert Brandon matches that vitality as W. S. ‘Fluke’ Holland, his grounded, stylish percussion giving the music shape and elevating the ensemble’s chemistry.

The cast and band deliver musicianship of exceptional caliber, playing with such precision, passion, and force that the entire production feels supercharged. They really play their hearts out.

Connor Green isn’t part of the musical lineup, yet his portrayal of Sam Phillips binds the entire production together - warm, gritty, and quietly authoritative. We can’t help but appreciate the situation he’s in. Phillips is the man who believed in these boys before the world did, radiating both pride and heartbreak as he watches his protégés outgrow the nest he built for them.

Having experienced Million Dollar Quartet in a range of productions across the years, I can say this one stands out as the most fully realized and emotionally resonant. The intimacy of the staging, the sheer talent of the cast, the way the studio set becomes a living, breathing character in its own right, and the meticulous attention to period detail all combine to create something rare.

The Stolp Island Theatre’s intimate 98‑seat layout feels tailor‑made for this show - the band is practically within arm’s reach, the sound warm and immediate, and the closeness so sharp it’s as if the audience is eavesdropping on history in real time. The design team leans fully into the Sun Records aesthetic, all wood tones, warmth, and lived‑in detail, creating a space that looks and feels less like a set and more like a working Memphis studio caught in the middle of something extraordinary.

This Million Dollar Quartet shines even brighter thanks to a top‑tier creative team working in perfect sync. Directors Jim Corti and Creg Sclavi steer the production with a confident mix of musical precision and character‑forward storytelling, shaping an evening that feels both tightly crafted and effortlessly alive. Kory Danielson’s musical direction fuels the show with irresistible drive and authenticity, while Jeffrey D. Kmiec delivers a Sun Records set that’s so textured and atmospheric it practically hums with history. Matt Guthier’s era‑sharp costumes complete the world with style and specificity. And Garrett Forrestal, also working as Associate Music Director, adds a final layer of polish that keeps the ensemble sounding crisp, unified, and thrilling from start to finish.

Million Dollar Quartet at Stolp Island Theatre is a high‑octane celebration of rock ’n’ roll history, ignited by powerhouse performances and a setlist packed with classics like “Blue Suede Shoes,” “Great Balls of Fire,” “Hound Dog,” “Long Tall Sally,” and a haunting rendition of “Ring of Fire.”  The show captures the thrill, spontaneity, and sheer musical joy of that legendary night, and brings the energy of 1950s rock ’n’ roll roaring back to life.

Part concert, part play, and all adrenaline - Million Dollar Quartet turns into one heck of a ride. This production is highly recommended and runs through March 31st, offering a chance to experience this electrifying slice of American music history.

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

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

There are thousands of stories you’d love to see brought to the stage. Stories that slip into the lives of people who walk through the world either unseen or are barely considered by those possessing more standard existences.  People who, because of the way they look or talk or are intrinsically wired to move through life find themselves on the periphery.  Or who mask their true selves by pretending to be something they’re not.  With all the same desires, hopes and dreams of a common human being, something about them hinders them from freely striving for type of self-actualization we all crave.

How they see themselves, relate to others and fulfill their aspirations can produce illuminating and often engrossing stories about who and what we, as a species, inherently are.  They’re in the family of stories queer focused About Face Theatre has been telling boldly and honestly since 1995.  And it’s current production by playwright Preston May Allen, Modern Gentleman, fits snugly in the theater company’s oeuvre of truth.  

By stepping into and exploring the life of Adam, a trans man living in present day New York, About Face again provides a platform to enlighten through alternative storytelling.  Uniquely structured, and under Landree Fleming’s novel direction, Modern Gentleman presents ideas, beliefs and circumstances that provoke serious and stimulating contemplation.  Despite all the things it either suggests or leaves a mystery, it’s the common threads of life that stand out most distinctly.

Passion, drama and rewardingly precocious humor are the trinity that pervade this profile of a person trying to live their most complete life in the gender they feel most comfortable. 

Its passion that opens the play as Adam (Alec Phan) and his girlfriend Lily (Kaylah Marie Crosby) tumble through the front door of Adam’s apartment tearing at each other’s clothes in their rush to get busy between the sheets.  A young articulate couple, they’ve been together for five years and have that satisfyingly acclimated aura of a happily nested pair.  The only odd note is that after a certain point, they seem to be a little awkward about undressing in front of one another.

It isn’t long before the barely visible specter of foreboding that steals over them gets pulled from the shadows.  Sometime since they’ve been together, Adam’s found the courage to confess his desire to transition from being a woman and become male.  When they originally met, they were two women, lesbians whose relationship led to love.  It may have been a startling revelation for Lilly. But that depends on the amount of candor that defined their union.  Others in her position would have left immediately.  Lilly stayed, but two years into a regimen of testosterone treatments and the transformation of her once girlfriend’s physical appearance, and Lilly is experiencing a change of heart.  She eventually tells Adam she can’t go do it and leaves. 

Her departure though doesn’t prove final.  She keeps resurfacing, coming back to the apartment to house sit and care for Adam’s diabetic cat when he needs to travel for work.  Stopping by repeatedly to clarify her position and probe his.  Through their back and forth, we get an enlightening, indeed an enlivened picture of the complexity and far-reaching ripple effects a single very personal decision can produce.

Because they’re both so expressive, so fluent in disclosing their innermost feelings, we learn the rupture isn’t at heart due to superficialities.  It seems to center on personal perception of self and how they both want to experience intimacy beyond sex.  

Because he has allies, Adam enjoys the benefit of other insights.  His friend Samuel (Omer Abbas Salem), whose “gayese” is superb and whose piquant wit is lined with razors, has tons of excellent advice.  Adam’s sister Natalie (Ashlyn Lozano) is equally supportive and just savvy as Sam.  We never know why neither Samuel or Natalie seem to care for Lily who, despite the amount of time she has on stage and the good sense she consistently demonstrates, seems bereft of boosters in her corner. 

A woman Adam meets at a family social event and eventually hooks up with, Alycia, played with wonderfully brash assurance by Emma Fulmer, helps paint a bracing image of what dating looks like 2 ½ decades into the 21^st century.  Through her frankness, she lets Adam get a clearer picture of how a trans man who hasn’t had any below the belt alterations can fit into today’s sexual cosmos.

Milo Bue’s subdued polished set offers an unobtrusive and pleasing backdrop to this edifying drama of the heart.  Ethan Korvne’s sound design and original music bring unexpected texture to Adam’s story and shows how well composed sound elements can complement dramatic theater.  And thanks to Catherine Miller’s cosmopolitan approach to casting, we gain a promising view into the possible. 

Language that sometimes strays toward the ponderous, and occasionally less than fluid scene transitions, prove only mildly distracting.  They don’t lessen the suspense of how Adam will come to fully accept himself as the man he now is rather than some fantasized ideal.  Nor do they leave us less curious of about how that kind of epiphany will impact his relationship with Lily.  

What Modern Gentleman does most gratifyingly is shed thoughtful and intelligently humane light on one of the unseen and unheralded in our midst to give us a fuller understanding of ourselves.

Modern Gentleman

Through April 18, 2026

About Face Theatre

Venue:  Raven Theater

6157 N. Clark Street

Chicago, IL  60660

For more information and tickets:   https://aboutfacetheatre.com

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