Displaying items by tag: Drury Lane Theatre

Drury Lane Theatre cordially invites you to the wedding of the season as it opens its 2026/2027 season with Father of the Bride, by Caroline Francke, directed by Michael Heitzman. Heitzman, who last directed Drury Lane's smash-hit production of 42^nd Street, helms this heartwarming comedy, running April 8 – May 31, 2026, at Drury Lane Theatre, 100 Drury Lane in Oakbrook Terrace. 

Father of the Bride is the classic comedy that has touched our hearts for decades. Based on the novel that inspired the Elizabeth Taylor and Steve Martin films, this hilarious yet bittersweet play reminds us that sometimes the greatest love a father can give to his daughter is to let her go.

Single tickets, priced $65-$125, go on sale January 16 and are available by phone at (630) 530-0111 or online at www.drurylanetheatre.com. Groups of 10 or more can receive special group pricing.

Season and Membership Information

The 2026/2027 season includes the wedding of the season in Father of the Bride (April 8 – May 31, 2026); holy hilarity with the Little Sisters of Hoboken in Nunsense (June 10 – August 2, 2026); the toe-tapping tribute to a rock'n'roll pioneer Buddy – The Buddy Holly Story (August 19 - October 11, 2026); the heartwarming family classic Annie (November 4, 2026 – January 10, 2027); and the musical office rebellion in heels 9 to 5 (January 27 - March 21, 2027).

Drury Lane Theatre's performance schedule for the 2025/2026 season is as follows: Wednesdays at 1:30 p.m., Thursdays at 1:30 p.m. and 7:00 p.m., Fridays at 7:00 p.m., Saturdays at 3:00 p.m. and 8:00 p.m., and Sundays at 2:00 p.m. and 6:00 p.m.

Lock in your seats for a season of spectacular theatre with Drury Lane's Membership Program! Members have exclusive access to uniquely tailored benefits designed to enrich their Drury Lane experience, all at a cost savings of up to 50% off single ticket prices. Membership includes Tier One seating for all five Drury Lane Theatre productions, free ticket exchanges, dedicated dining credits at Lucille Restaurant, one complimentary Champagne Brunch, exclusive event invitations, Member pre-sales and unlimited single ticket discounts. Membership prices range from $254 - $285. For more information, Call Memberships at 630-570-7280 or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Group tickets start at $45 and Student group tickets start at just $35. On-site dining is available at Lucille Restaurant with convenient pre-show or post-show prix fixe menus. To book a group of 10 people or more, call Group Services at 630-570-7272 or email This email address is being protected from spambots. You need JavaScript enabled to view it..

Gift certificates to Drury Lane can be purchased in any denomination, never expire, and can be used for performances, at Lucille Restaurant or for Drury Lane Events. Gift certificates can be purchased online at drurylanetheatre.com/gift-certificates or by calling the box office.

Dining and Special Events

Excellence isn't limited to the stage at Drury Lane! Before or after the show, theatergoers can indulge in delicious onsite dining at Lucille Restaurant featuring seasonal pre-fixe menus and an elevated atmosphere to complete their experience. Boasting over a century of collective expertise in hospitality, the dedicated team ensures that you will be cared for with freshly prepared meals, handcrafted cocktails, and exceptional service. At Drury Lane, everything is in one place, so you will never be late for your performance.

Fact Sheet / On Your Feet

Title:                                                    Father of the Bride

By:                                                       Caroline Francke

Directed by:                                         Michael Heitzman

Dates:                                                  April 8 – May 31, 2026

Press Opening:                                   Sunday, April 12 at 6:00pm

Schedule:                                             Wednesdays: 1:30 p.m.

                                                            Thursdays: 1:30 p.m. and 7:00 p.m.

                                                            Fridays: 7:00 p.m.

                                                            Saturdays: 3:00 p.m. and 8:00 p.m.

                                                            Sundays: 2:00 p.m. and 6:00 p.m.                                

Location:                                             Drury Lane Theatre at 100 Drury Lane in Oakbrook Terrace

Tickets:                                               Tickets range from $65 - $125

Group discounts available to groups of 10 or more

Dining and show packages available

Senior discounts available

Box Office:                                          100 Drury Lane in Oakbrook Terrace

                                                            (630) 530-0111

                                                            Monday through Sunday from 10am to 5pm

                        or visit DruryLaneTheatre.com

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.

Something wicked is winding its way through the velvet curtains of Drury Lane Theatre—and it reeks of roses, red wine, and murder. Dial M for Murder, the classic thriller originally crafted by Frederick Knott in 1952 and immortalized on screen by Alfred Hitchcock in 1954, returns to the stage with a razor-sharp adaptation by Jeffrey Hatcher that’s as stylish as it is sinister.

Set against the moody backdrop of 1950s London, the production invites us into the polished yet precarious world of Margot (Amanada Drinkall) and Tony Wendice (Erik Hellman) - a couple whose marriage gleams with charm but conceals a darker undercurrent. Beneath the tailored suits and cocktail-hour smiles lies a web of betrayal, manipulation, and a meticulously plotted murder that threatens to unravel with every twist of the telephone cord.

Hatcher’s adaptation breathes fresh life into the suspense, tightening the dialogue and sharpening the stakes while preserving the noir elegance of the original. The result is a theatrical experience that feels both vintage and vital - a slow burn that simmers into a full-blown psychological inferno.

Tony Wendice, a former tennis star turned calculating husband, discovers his wife Margot’s affair with mystery writer Maxine Hadley (Alexandra Silber). Rather than confront her, he plots her murder with chilling precision, believing one perfect move will reclaim his unraveling life.

But perfection proves elusive.

When the plan collapses, the story spirals into a maze of blackmail, disloyalty, and psychological warfare. Margot becomes both pawn and player, navigating a world where loyalties shift, truths blur, and every silence speaks volumes.

This isn’t just a thriller—it’s a taut exploration of control, vulnerability, and the artful menace of manipulation.

Alexandra Silber, Amanda Drinkall, Erik Hellman in Drury Lane Theatre's Dial M for Murder.

The players are sensational in the dialogue heavy, quick witted, edge-of-your-seat mystery thriller. Erick Hellman delivers a diabolical and shrewd Tony, Amanda Drinkall is delightful as Margot and Alexandra Silber is a true force as Maxine. Johnathan Weir is also tremendous as sleuthing Inspector Hubbard while Ian Paul Custer is perfectly cast as the Tony’s patsy, Captain Lesgate.

Wonderfully directed by Adam Immerwahr in his Drury Lane debut, this production of Dial M for Murder masterfully marries vintage intrigue with a brisk, modern rhythm. It’s not just a revival - it’s a reinvention – and Drury Lane Theatre is the perfect venue to stage this mystery thriller. The bones of Frederick Knott’s original mystery remain intact, but the pacing has been sharpened, the humor dialed up, and the twists recalibrated for a contemporary audience.

Visually, the production luxuriates in noir-inspired elegance, its seductive precision shaped by a powerhouse design team: Paige Hathaway’s scenic work evokes shadow and intrigue, Joshua Schmidt’s sound design hums with tension, Emma Deane’s lighting casts drama in every corner, and Nicole Boylan’s costumes wrap the cast in mystery and allure. Shadow-drenched lighting carves out tension in every corner, while period costumes evoke mid-century elegance tinged with menace. The sound design - subtle yet insistent - acts as an invisible character, underscoring moments of dread, desire, and deception. It’s a production that doesn’t just tell a story; it envelops the audience in its atmosphere.

The result is a theatrical experience that feels both timeless and timely - a stylish homage to Hitchcockian suspense, reimagined with the velocity and wit of modern storytelling.

At its core, Dial M for Murder is a taut exploration of trust fractured by ambition, love corroded by suspicion, and appearances polished to mask peril. The play doesn’t simply flirt with deception - it dissects it. Every gesture, every line of dialogue, is laced with the question: how far will someone go to preserve their illusion of control, or to dismantle another’s?

Dial M for Murder is a psychological chess match where secrets are currency, gaslighting is taken to the extreme and duplicity is both weapon and wound. As the characters maneuver through layers of manipulation and moral ambiguity, the audience is left to ponder not just who’s guilty - but whether anyone is truly innocent.

Running through October 26^th, this is a highly recommended thriller that you won’t want to miss. For tickets and/or more show information visit https://drurylanetheatre.com/dial-m-for-murder/.

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

Always...Patsy Cline is a poignant and entertaining jukebox musical that honors the legacy of iconic country singer Patsy Cline through the heartfelt story of an unexpected friendship, which is currently beautifully staged at the Drury Lane Theatre in Oakbrook. Conceived and written by Ted Swindley, the production is inspired by the real-life bond between Cline and Louise Seger, a devoted fan from Houston who first heard Cline on the radio in the late 1950s. Their connection sparked in 1961 when Seger met Cline before a performance, marking the beginning of a sincere pen-pal friendship that continued until Cline’s untimely death in a plane crash on the way to Nashville on March 5^th, 1963. Patsy Cline was just 30 when her life was cut short, right as she stood on the brink of what many believe could have been a long and illustrious career. Her star was still rising, leaving us to wonder just how far her extraordinary talent might have taken her.

Framed through Louise’s vivid recollections, the musical interweaves narrative and music, featuring over twenty of Cline’s signature songs such as “Crazy,” “Walkin’ After Midnight,” and “Sweet Dreams.” As Louise shares their story, Cline takes the spotlight to perform, offering a touching blend of live music and personal storytelling. The show captures not only the spirit of Cline’s music but also the deep emotional bond that fans can forge with their idols, making it a heartfelt homage to lasting friendship and musical legacy.

There’s a spark of something special from the moment Louise—punctual as ever—spots Patsy Cline sitting alone before the show. Summoning her trademark blend of boldness and charm, she approaches, introduces herself, and warmly invites Patsy to join her table with her family and boss. Cline’s easy reply, “Well, why don’t I just join you?” becomes the turning point that launches an unforgettable evening and the beginning of a heartfelt friendship.

From the moment Louise steps into the neon-soaked nightlife of Houston, Texas, Louise reveals she’s no mere admirer—she’s a woman with grit, savvy, and a spine of steel. That very night, she’s floored to find that country music icon Patsy Cline has arrived entirely on her own—no agent, no assistant, not even a friendly face in sight. It’s a glaring oversight, and Louise isn’t about to let it slide.

The real kicker? Cline is booked to sing for four uninterrupted hours. Outraged, Louise takes charge. She marches straight into the manager’s office, Cline trailing behind, clearly unaccustomed to someone going to bat for her. Louise doesn’t mince words. She calmly but firmly asks: at what time is Patsy expected to start each of her two sets? Her meaning is unmistakable—this isn’t one continuous gig; it’s two full shows, and the artist deserves to be treated—and paid—as such.

The bold move pays off. Cline walks away with double the fee and something just as valuable: a chance to rest her voice and spirit between sets.

But Louise’s backstage hustle doesn’t end there. By sunrise, she’s already secured Cline a slot on a local radio broadcast, giving the singer a quick burst of publicity in the regional market. And when it’s time for Cline to catch her flight, Louise is the one who sees her off, driving her to the airport like a trusted friend. In just 24 hours, Louise proves she’s more than a fan—she’s a fixer, a fierce protector, and someone who understands exactly what it means to lift up another woman.

Aja Alcazar takes center stage as the legendary Patsy Cline, and she doesn’t just step into the role — she owns it. With the grace of a seasoned storyteller and the vocal firepower to match, Alcazar channels the spirit of the Virginia-born country icon in a performance that’s nothing short of electric. Her portrayal is steeped in authentic country warmth, infused with a lively sense of sass and vulnerability that makes Cline feel both larger than life and achingly real.

From the moment she launches into the opening notes of “Walkin’ After Midnight,” Alcazar captivates the room, weaving through a powerhouse setlist that also includes timeless classics like “Your Cheatin’ Heart,” “I Fall to Pieces,” “She’s Got You,” and many more. Each song becomes a showcase not only of her vocal skill but of her ability to emotionally inhabit Cline’s journey — turning beloved hits into deeply personal moments. It’s a performance that doesn't just honor Cline’s legacy; it breathes new life into it.

Bria Sudia is equally impressive as boisterous uber fan Louise Sefer. Sudia is adorable, adding a ton of charisma and energy to the role is - and she is damn funny. Louise serves as the heart and storyteller of the production, guiding the audience through her memories with warmth and wit. Though she doesn't perform full songs, she livens the stage with colorful narration, sharp comedic instincts, and the occasional burst of humming or playful singing - especially in moments when Patsy's music stirs something deep within her.

Collette Pollard’s set design at Drury Lane conjures a warm, inviting honky tonk atmosphere, where a live band dressed in classic western attire strums away in the background. This rustic charm seamlessly blends with the intimate setting of Louise’s small-town kitchen, creating a space that feels both nostalgic and personal. Even before the first note plays, the allure sets in—with strands of vintage string lights draped above the stage, casting a nostalgic glow that instantly invites the audience into the world of the show.

Always… Patsy Cline offers a warm, nostalgic window into the golden era of late 1950s country western music, capturing the charm, grit, and heart of the time. But beyond the rhinestones and twangy guitars, the musical is a heartfelt tribute to one of the most iconic voices in American music history—a woman whose star burned brightly and far too briefly.

At its core, the show is also a celebration of human connection. It tells the improbable, yet true story of a friendship that bloomed between a legendary performer and an ordinary fan, offering audiences a touching reminder of how music has the power to bridge worlds. For anyone who has ever dreamed of meeting their idol, sharing a laugh, or swapping stories over coffee, Always… Patsy Cline is a beautiful, funny, and emotionally rich journey that brings that dream to life.

Always…Patsy Cline is being performed at Drury Lane Theatre through August 3^rd. For tickets and/or more show information, click here.

This delightful musical is highly recommended for all ages.

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

I thoroughly enjoyed Drury Lane's enchanting stage production of Disney’s The Little Mermaid from start to finish. While few are overly familiar with Hans Christian Andersen’s original, darker tale of ill-fated romance, the Disney animated film and this stage adaptation, with a book by Doug Wright and music by Alan Menken, lyrics by Howard Ashman and Glenn Slater, beautifully transform the fairytale into a heartwarming story of love and triumph for the heroine, Princess Ariel.

The mermaid Ariel, portrayed with sunny enthusiasm and skillful vocal stylings by Sarah Kay, is a Princess and the beloved daughter of King Triton, convincingly played by Anand Nagraj. Ariel is captivated by the world above the waves, yearning to experience the sunshine and the joy of walking through green fields. Her fascination with the human world deepens when she falls in love from afar with a human prince.

During a fierce storm, Ariel saves the Prince from drowning, and in that moment, she finds herself falling for him. The Prince, portrayed with sensitivity and earnestness by Patrick Johnson, is captivated by the voice of his rescuer, though he never sees her face as Ariel swiftly returns to the sea, hiding her mermaid identity.

The chemistry between Kay and Johnson enriches their characters, making their blossoming romance both believable and heartfelt. Kay's Ariel exudes innocence and curiosity, while Johnson's Prince captures sincerity and a deep longing to find the mysterious singer who saved his life.

King Triton, wary of humans and deeming them dangerous, has commanded his daughters to stay away from them. This forces Ariel to make a desperate deal with Ursula—her powerful, estranged, octopus-like aunt, who was once banished by King Triton, her brother.

Anand Nagraj as King Titan and Michael Earvin Martin as Sebastian. 

Ursula, portrayed by Sawyer Smith, casts a spell on Ariel, compelling her to give up her extraordinarily beautiful voice in exchange for a chance at love. Ariel must win the heart of the Prince, who must love her so deeply that he is compelled to kiss her. Only True Love's kiss can break Ursula's twisted spell. If Ariel fails to find true love and receive the Prince's kiss, she will be banished to the underworld, and Ursula will claim her soul. Sawyer Smith, as Ursula, is a showstopper! Smith's costumes, makeup and movements are menacing, powerful, yet glamorous all at the same time. Smith’s talent is fully on display during a commanding rendition of “Poor Unfortunate Souls.”

The cast delivers uniformly strong performances throughout. Matt Edmonds also stands out with his impeccable comic timing as Chef Louis, eliciting plenty of hearty laughs with his hilarious solo number “Les Poissons.” 

I valued the emphasis placed on the power of a single woman’s voice and the profound impact of a young woman losing her voice, especially in today’s context. It was heartwarming to see so many young girls in the audience, their faces glowing with delight. They were captivated by the show's humor and romance, yet also deeply moved to tears by the poignant theme of Ariel sacrificing her voice to win the love of a man.

This production, under the skillful direction of Scott Weinstein, with choreography by Kasey Alfonso and a vibrant set designed by Tijana Bjelajac, excels in providing delightful musical theater entertainment for both children and adults. It is truly a pleasure to watch.

Patrick Johnson as Prince Eric and Sarah Kay as Ariel.

The puppetry in this production was extraordinary, among the finest I've seen on a Chicago stage. For instance, the two eels, Ursula’s sinister accomplices, glide gracefully through the audience and across the stage with glittering lights encased in sheer black chiffon, creating an absolutely magical effect. The puppet characters were all exceptionally well played and designed. Notable performances include Sebastian (Michael Earvin Martin), Scuttle (Landree Fleming), Flounder (Maya Lou Hlava), Jetsam (Ryan Michael Hamman) and Flotsam (Leah Morrow). The impressive puppet design was crafted by Chicago Puppet Studio, Caitlin McLeod, and Zachary Sun. 

The set design, featuring the imaginative light projections by Anthony Churchill and the atmospheric lighting by Ryan O’Gara, brilliantly conveyed the sensation of being under the ocean. Their work uniquely and creatively transported the audience to an enchanting underwater world, making the experience both magical and mesmerizing.

The Little Mermaid is a fantastic ensemble piece, and the entire cast brings the house down with their rousing, colorful, and energetic group number in “Under The Sea.” This performance beautifully captures the splendor of the mermaid's underwater home and castle, making it a mesmerizing highlight.

I highly recommend this colorful, ingenious, and lively production for audiences of all ages who wish to experience one of their favorite Disney fairytales come to life! 

Disney’s The Little Mermaid is being performed at Drury Lane Theatre in Oakbrook through January 12th. For tickets and/or more show information, visit https://drurylanetheatre.com/the-little-mermaid/.

It’s hard to believe that Fiddler on the Roof turns 60 this year. It’s even harder to believe that the show, which opened on Broadway in 1964, can still take an audience by surprise. In continuous production around the globe, and with brides continuously walking down the aisle to “Sunrise, Sunset,” Drury Lane Theatre’s new version proves Fiddler’s mettle once again.

Director Elizabeth Margolius and choreographer Rommy Sandhu dispense with some of the standard staging choices, mostly without disturbing the spirit that animates the musical. Evocative tableaux replace folky dances right from the opening number. After Tevye (Mark David Kaplan) ushers us into Anatevka, lights come up on the townspeople in rows that initially suggest a church choir or a Greek chorus.

“Tradition” proceeds in that linear formation, bringing the village to life in a cluster rather than filling the full stage. Then, as Tevye narrates the action, the cast begins to sway and bob, the movement not of Christians or Hellenes but of worshipping Jews. Each group – the papas, the mamas, the sons, the daughters – has its verse, standing upright and illuminated while the others crouch. Roles are specified, expectations declared. Whether expressing the closeness of the community, fear of what lays beyond the shtetl or just the cold Russian climate, these people function as a bickering, intertwined unit.

At least, it starts that way. Jack McGaw’s set puts the flat façade of a house center stage, a piece of scenery that disappears, panel by panel, as the story progresses. With every personal encounter, traditions break down and push everyone towards the empty space of the future. Tevye tells Golde, “it’s a new world.” How comfortable was the old world? Projections, designed by Mike Tutaj, appear on screens throughout the show, and an historic photograph of a shabby shack reminds us that a poor man like Tevye had little in the way of comfort.

There are no props – no dairy cart beside Tevye during “If I Were a Rich Man” or a book for his daughter Chava to exchange with her non-Jewish suitor Fyedka. Though odd at first, it works especially well during “Sabbath Prayer” when the family gathers to light the shabbas candles. Instead of candlesticks, the screens that frame the action fill with images of flames. In group scenes such as this, the use of projections is stirring. During more intimate moments, when the faces of the characters are projected onto the screens, they seem less of an enrichment and more of a distraction.

Several cast members bring new attention to smaller roles, such as Joel Gelman as Lazar Wolf, the widowed butcher who sets his sights on Tevye’s first born Tzeitel. Yes, Lazar Wolf is too old and unrefined for the girl. But Gelman exudes such heartfelt joy at the prospect of marrying her, he inspires sympathy when the deal falls through. In the hands of Janet Ulrich Brooks, Yente the Matchmaker lands the laugh lines that have turned “yente” into a synonym for meddlesome gossip. But Brooks also conveys the loneliness of a woman who has no one to call her own.

What do the inhabitants of Anatevka have to call their own by the end? Not much. Their bickering, intertwined unit scatters in all directions as the Russian authorities confiscate their property. We know these people after 60 years of imagining that fiddler trying to keep his balance on a shaky roof. At Drury Lane Theatre, we meet them once again as tableaux of memory that reach through time and space.  

Fiddler on the Roof is playing now through March 24^th at Drury Lane Theatre in Oakbrook. Tickets are available at www.drurylanetheatre.com

I thoroughly enjoyed this colorful, sumptuous, and romantic production of Rogers + Hammerstein’s Cinderella at The Drury Lane Theatre from beginning to end.

Directed and choreographed with lively and complex numbers by Amber Mak, with musical direction by Carolyn Brady, I felt that the spirit and female empowering themes of the original Cinderella were kept intact. Cinderella is the unlikely and supernatural story of a girl who is treated like a house servant once her stepmother takes charge after her well-to-do father passes away. No longer protected by her father, Cinderella is at the mercy of her resentful stepmother and her two stepsisters. But much to the chagrin of the stepmother, Cinderella’s inner beauty and strong character does not go unnoticed by the kingdom’s prince, who is seeking a bride.

Lissa deGuzman as Cinderella is a genuine delight as the sensitive and "unique" Cinderella. deGuzman has a beautiful voice and really captures the innocence and ingenuity that Cinderella is supposed to exude. The chemistry between her and Prince Topher, played by Jeffrey Kringer, was palpable and they have several romantic embraces and kisses that might have fallen flat if not for their genuine chemistry onstage. Jeffrey Kringer is a multifaceted Prince with a strong masculine yet sensitive presence as the handsome but confused Prince who is forced by his Viceroy to choose a Queen to marry. Viceroy Sebastian is played with good humor by Jeff Parker.

What I liked about this version of the classic tale is that it included the extended storyline wherein Cinderella is not just a victim of her greedy stepmother and a discovery of the Prince, she actually helps the entire village and the prince resolve a longstanding situation regarding the growing starvation and taxation of his subjects and the Royal families reluctance to address these issues fairly until Cinderella asserts herself and is able to open the prince’s eyes. The prince then deems the kingdom as a village of the people and uses their voice to make decisions regarding its management. 

Cinderella's stepsisters, Gabrielle (Christine Mayland Perkins) and Charlotte (Alanna Lovely) were at first ugly on the inside though some people can change as seen by Gabrielle’s lovely extended storyline where she and her secret boyfriend, Jean-Michel (Christopher Llewyn Ramirez) a villager who cries for fairness among the people, end up helping Cinderella to escape the grasp of the abusive gold digger, Madame/Stepmother, masterfully played by Gisela Adisa. Gabrielle, spoiled and bratty at first, turns out to be very sweet and her evolving character is played with glowing depth by Christine Mayland Perkins, who also lands several funny lines to perfection. 

I also have to acknowledge the superb performance by veteran actress McKinley Carter as the Fairy Godmother named Marie. It isn't until Carter's appearance as the wise and beautiful Fairy Godmother who leaves her beggar woman rags behind and sings the song "Impossible" that the young cast seemingly melts into cohesion and radiates collectively.  At the same time, we as an audience then get our first glimpse of the magical power of falling into true love thanks to Carter’s majestic voice and sparkling smile, conveyed as only a mature award-winning actress can pull off. 

I really enjoyed the flowing and heartfelt group dance numbers by the talented ensemble cast including Emily Ann Brooks, Leah Casey, Sophie Liu David, Margot Frank, Dani Johns, Kevin Kuska, Austin Nelson Jr., Justin Payton Nelson, Nolan Robinson, Elizabeth Romero, David Sajewich, Brian Selcik, Andew Tufano, Shelbi Voss, Amanda Walker.

My favorite songs next to "Impossible" include the adoring duets between Prince Topher and Cinderella "Do I Love You Because You’re Beautiful”, “Now Is the Time” and (I Held You) "10 Minutes Ago," which had a great sense of youthful, loving urgency and graceful romance. I only wish they had included the Disney film song "So this Is Love,” as it is recognizable to audiences of any age and to me represents the ultimate love song between the Prince and new Princess that marks their first dance together as a newly smitten couple falling in love for the very first time. 

Riw Rakkulcon’s scenic design is a tiny bit dark but very large in its scope and complex changes. It is luxurious and grand when it needs to be so you really feel that the castle is a castle. I also enjoyed the way the carriage and horse men portrayed the journey to the castle as even Cinderella needs a ride to attend the ball. 

I loved the costumes by multi–Jeff Award-Winning Theresa Ham for everyone in the cast except perhaps for Cinderella. The unique classic style and colorful well-fitting gowns and tuxedos etc. for the ensemble were very well done and varied. The only problem I had with Cinderella's costume changes was with the big reveal when the Fairy Godmother tells her it is not impossible for her to attend the ball and gifts her with a ticket and gown. The effect to do this this was impressive, Cinderella spinning her way from rags to ball dress, though the dress could have been more fairytale-esque. However, to Ham’s defense, in order to make this "magical" change onstage in full view of the audience, Cinderellas magnificent ball gown needed to be hidden under her day dress and as such lacked the largesse and sparkling, puffy wedding gown feeling that little girls have come to expect from that scene. 

With plenty of humor, impressive special effects, brilliant set and costume design and led by sensational performances from Gisela Adisa, Lissa deGuzman, Jeffrey Kringer, McKinley Carter, Alanna Lovely, Christine Maryland Perkins and Jeff Parker, I highly recommend this lush and well-acted and beautifully danced and sung production of Cinderella for audiences of all ages. Rogers + Hammerstein’s Cinderella at Drury Lane is a show that will lift your heart for the holidays and make you believe that finding true love and making it work is most definitely possible! 

Rogers + Hammerstein’s Cinderella is being performed at Drury Lane in Oakbrook through January 7^th. For tickets and/or more show information, please click here.

Fall into the blazing ring of fire that is Johnny Cash’s scorching song catalogue at Ring of Fire: The Music of Johnny Cash at Drury Lane Theatre. Part biography, part music revue, and all entertainment, Ring of Fire will take you on a nostalgic, country music-filled journey through the life, times, and songs of American treasure Johnny Cash.

The original 2006 Broadway production of Ring of Fire lasted only 47 performances, likely because it was riding the coattails of the popularity of the 2005 Johnny Cash biopic Walk the Line starring Joaquin Phoenix, and the Broadway musical treats the same story and songs more shallowly and lightly. Drury Lane Theatre brings back this production in a new context, in a new decade, maybe when we need and miss the country music icon more than ever.

Erik Hellman, Roy James Brown, Ron E Rains, Elleon Dobias, Michael Potter. Photo by Brett Beiner

The modest hour and 45 minute run time consists mostly of music, impressively played live by the six-person cast and band, which was one of the biggest highlights for me. Ron E. Rains portrays an older Cash, narrating the story and exchanging meaningful glances with the younger Johnny, played by Michael D. Potter, as he goes through life making music, headlines, and mistakes. 

Using Cash’s songs, small costume and set changes, and short bits of dialogue, the show takes you through Johnny Cash’s life, from his childhood growing up on a farm, to hitting it big in the country music scene, to his drug addiction, to meeting his soulmate June Carter. 

Aja Wiltshire, Michael Potter. Photo by Brett Beiner

The only complaint I could see one having about the show – and maybe why it didn’t last long on Broadway – is how briskly it skims over the rich life story of Johnny Cash. It feels more like a musical review than a traditional musical. It’s even reminiscent of a similar musical, Million Dollar Quartet, about a recording session at Sun Studios with Cash, Elvis, Carl Perkins, and Jerry Lee Lewis that had a home in Chicago for many years in the early 2000s. If you like the music, you’ll be happy. But if you want a more traditional musical with plot and character-driven songs, this may not be the show for you.

Johnny Cash fans will love hearing both hits and deeper cuts from the Cash catalogue, like “Big River”, “Straight As in Love”, “Cry Cry Cry”, “Hey Porter”, “I Still Miss Someone”, “Five Feet High”, “Daddy Sang Bass”, “Get Rhythm”, “Folsom Prison Blues”, and dozens more. Female voices also shine with Aja Wiltshire as a brassy and sassy June Carter and Elleon Dobias as Cash’s heartbroken first wife Viv.

Ring of Fire: The Music of Johnny Cash is playing at Drury Lane Theatre through October 22, 2023. Tickets can be purchased on their website.

Grease has always been, first and foremost, a stage show. And while the 1978 movie with John Travolta and the late Olivia Newton-John is what lives on in pop culture (as it should), Grease arguably works better on the stage, and this version should get more credit.

Drury Lane Theatre’s production directed by Paul Stancato captures the high school of it all—and the 1950s of it all—in a way the film doesn’t. While the film primarily focuses on the love story between Danny and Sandy, the stage show gives near equal time to all the guys and girls in the group, giving the audience a snapshot of an entire high school class with a range of personalities, quirks, and levels of delinquency.

The story is one we're familiar with: boy meets girl, boy gets girl, boy loses girl, boy fights to win her back. But in Grease, it's wrapped up in a 1950s bow, complete with greasers, bobby socks, and early rock 'n' roll melodies. And with the structure of the story and songs in the stage version, more of the ‘50s songs are featured as solos throughout, like Marty’s “Freddy My Love” she sings with the girls as backup at their sleepover, and “Those Magic Changes” sung by Doody and the other teens on the bleachers. In the movie, these songs are crammed into the dance scene with Sha-Na-Na singing them in the background. Onstage, they get to be full-fledged moments.

Cast of Grease at Drury Lane Theatre. Photo by Brett Beiner Photography.

Led by Jake DiMaggio Lopez as Danny and Emily Schultheis as Sandy, the Drury Lane cast brings energy and spectacular voices to the musical we know and love. Standouts of the cast for me, besides the two leads, were Alina Taber as a snarky but surprisingly vulnerable Rizzo, who finally breaks her cool girl veneer in her act two song “There Are Worse Things I Could Do”, and Billy Rude as Kenickie, who can be described in much the same way, playing the tough guy most of the time but the production giving him moments of more raw emotion.

The sets and costumes also shine, with 1950s high school hangouts like the diner, the bleachers, and teenage girls' bedrooms portrayed vibrantly through backdrops and set pieces. And the costumes felt realistic for the time period with, like the sets, a dash of bright cartoon-y-ness to match the energy of the score.

Billy Rude and Alina Taber in Grease. Photo by Brett Beiner Photography.

Stancato says in his director's note in the program that he wanted to bring together the grit and realness of the original Grease with the polish and flash of the movie. I think this production does just that. It acknowledges the audience's love for the movie while respecting the edginess of the original 1971 stage version (which, interestingly enough, premeried in Chicago—where Drury Lane's production is set).

If you like Grease the movie, this show is a must-see.

Grease is playing at Drury Lane Theatre in Oakbrook Terrace through June 4, 2023. Tickets available by phone at (630) 530-0111 or at drurylanetheatre.com.

Like most things in our lives, what once was old can be new again (looking at you wannabe fanny packs). But some things can stand the test of time and find a resurgence, not to be duplicated but merely rediscovered by a new generation. A Chorus Line, now playing at the Drury Theatre, is just the thing that proves that, without duplication or manipulation, the themes exuded throughout the musical and its numbers speak across generations and stand the test of time and political correctness.

In A Chorus Line, hundreds of hopefuls congregate at a cattle call for Broadway dancers. A sour director and his assistant whittle down the ranks until they're left with 16 dancers (“head up, headband!”). All tell their life stories -- some tragic, some comic -- and explain their love of dance. Tension mounts when Cassie, once both a big star and the director's lover but now desperate for a part, auditions. But Zach must choose only the best for his show.

So what is it about A Chorus Line that gives it such staying power?

Maybe it’s the relateability of putting yourself on the line; working for years and years for a single moment, a single audition. The opening sequence of the musical “I Hope I Get It,” performed by the ensemble cast, brings the audience into the electrifying, heartpounding, anxiety-inducing audition. Aren't we all auditioning for the chorus? From job interviews to dating, we are always putting our best foot forward hoping against all the odds someone chooses us. We can prepare for years, memorize the steps, not miss a single beat, and still not get the part. With each hopeful cast member singing “I really need this job. Please God, I need this job. I've got to get this job,” resonates throughout the audience, and hits hard no matter the decade.

Perhaps it's the theme of understanding where you have come from to accept where you are today, no matter your background. As Zach interviews the cast, we begin to learn about the backgrounds of each hopeful auditioner, as they recall hilarious experiences and share embarrassing details such as “I really couldn't – Sing! I could never really – Sing! What I couldn't do was– Sing!” While recounting where they were, we learn that everyone on that stage dreamed of something bigger than them and we see an homage to youth and overcoming those awkward and challening years with "Hello twelve, hello thirteen, hello love!” Nostaligia can be sweet and innocent or bitter and sad, but they are our formative years. The number really highlights the humor, awkwardness, and tribulations of youth and celebrates it as the necessary path toward becoming who we are today.

It could be the relatability of fighting imposter syndrome, believing that you aren’t good enough. Or when we’re slowly unmasking, realizing you were being encouraged andpushed towards a life and dream that you didn’t really want. When Cassie takes the stage and expresses her only love was not to be a star but to dance, and as she dances her heart out in “The Music and the Mirror” we feel every kick, every headsnap, every spirit finger of emotion. For a single moment we’re all Cassie, wanting to just do what we love without fear, or judgement, or interpretation. To just dance and be allowed the freedom and autonomy to do just that.

For me, it’s the simple honesty of knowing that you tried; regardless of the outcome and if you never truly make it, at least you put yourself out there, and tried. “What I Did for Love” is the perfect balance of bittersweet gratitude, not regretting what you did in pursuit of a dream. It’s this theme that is the most prominent throughout the musical from the opening audition to the closing, glittering kick line.

Drury Lane is quickly becoming my favorite theatre in the Chicagoland area. It continues to deliver incredible performances under the glittering chandeliers of their venue and their 2023 line up is sure to draw even more suburban theater goers to Oak Brook instead of Chicago. A Chorus Line runs through March 19th, get your tickets today at https://drurylanetheatre.com/a-chorus-line/.

Drury Lane has wowed audiences over and over with big song and dance productions. Not only recognized for its intricate choreography, the theater has also been known for its dazzling sets and stunning costume design. From ‘42nd Street’ to ‘Singin’ in the Rain’ to ‘West Side Story,’ impressive musical stage adaptations have practically become common place. In Drury’s latest endeavor, ‘An American in Paris,’ the theatre pulls out all the stops.

Based on the 1951 Academy Award Winning film of the same name that starred dancing greats Gene Kelley and Leslie Caron along with Oscar Levant, Georges Guetary and Nina Foch, ‘An American in Paris’ is the epitome of a big song and dance musical. Taking place in Paris, where love is always the theme, the story revolves around Jerry Mulligan (Josh Drake), a vivacious expatriate who wants to make it as a painter. It’s not long after World War II and Jerry is stricken with the city and has no plans on returning to the U.S. anytime soon.  Jerry’s neighbor, fellow G.I. and friend, Adam Hochberg (Skyler Adams) is a struggling concert pianist who tells us the story - that gets a bit complicated once his long-time friend and associate, French Singer Henri Baurel (Will Skrip), and talented dancer Lise Dassin (Leigh-Ann Esty) get introduced. Turns out the three fellas all have eyes for Lise, and though they talk to each other about their newly found love, they have no idea they are referring to the same person – thus the song “S Wonderful”.

The dancing scenes are certainly the highlight in this production and Josh Drake makes the most of his opportunity as Jerry to astonish the audience with his fancy footwork every chance he gets. Though Drake’s acting comes across a bit rigid, he more than makes up for it with a strong voice and eye-popping dancing prowess. Drake is flat out exciting every time his feet begin to move. Leigh-Ann Esty as Lise also startles with her graceful moves, making the most complicated of motions seem effortless. Also, well-cast is Will Skrip as Henri who is not only very funny in the role but is capable of belting at any given moment – and does so with power and flair. Skylar Adams might just offer the best all-around performance in this dynamic musical as Adam Hochberg, giving a well-balanced display of vocal ability, dancing talent when called upon and strong acting. The already superb cast also gets a lift from Erica Evans who shines as Milo Davenport and a Drury ensemble that is ever-reliable.

Karl Green goes all out with fantastic costume design. According to an Instagram post a few weeks prior to the show’s opening, the team had already spent nearly 2,400 hours on costumes, greatly surpassing the theatre’s average of 1,000 hours per show. And it shows, with costume changes aplenty, each detailed to perfection.

The dance scenes are memorable (thanks to Dance Captain, Allyson Graves) and many of the songs unforgettable such as George and Ira Gershwin’s “I’ve got Rhythm” and “(I’ll Build a) Stairway to Paradise”. ‘An American in Paris’ is a story of perseverance, passion for life, but mostly love. 

Highly recommended.

“An American in Paris’ is being performed at Drury Lane Theatre in Oakbrook through March 29th. For tickets and/or more show information, visit www.drurylanetheatre.com.