Displaying items by tag: Theatre Chicago

Writer and performer Eileen Byrne brings her acclaimed one-woman play Running with Coffee to Chicago for two performances only, presented at Lookingglass Theatre Company's Water Tower Water Works. Following successful runs in the Chicago suburbs and New York City, this intimate and deeply human solo performance will be presented Saturday, May 16, at 7:00pm and Sunday, May 17 at 1:00pm on stage in the Lookingglass lobby in the historic Water Tower Water Works, 163 Pearson Street.

Tickets, $35, are available through the Lookingglass box office at 312.337.0665 or This email address is being protected from spambots. You need JavaScript enabled to view it.. Proceeds will benefit North Shore Senior Center. Seating is limited to 85 per performance.

In Running with Coffee, Byrne portrays eleven characters in a tour-de-force solo performance drawn from her own lived experience. When a daughter opens her home to her separated parents, one living with dementia, she finds herself navigating the emotional, logistical, and deeply personal realities of caregiving. Blending humor with poignancy, the play explores memory loss, mental health, and the quiet isolation that can exist within families.

Writer/performer Eileen Byrne comments, "This is a very personal story for me, balancing humor with real-life, mid-life struggles. By stepping into the shoes of these characters, I portray the chaotic beauty of this family faced with dementia and decades of distance. There is an incredible, healing power in finally telling your own story and I am overjoyed to be sharing it again with Chicago audiences."

Critics have praised Byrne's dynamic performance and emotional depth. Theater Pizzazz called the piece "a tale that touched the heart with sadness, regret, and guilt," noting that Byrne "assumed the characters in her personal orbit... shifting quickly into each... masterfully." Wilmette Living described the work as "a hilarious yet heartfelt look at caregiving, mid-life challenges, mental health, and the everyday chaos of a family adjusting to major life changes."

With limited seating and just two performances, Running with Coffee offers Chicago audiences a rare opportunity to experience this moving and timely work in an intimate setting. To learn more about the production, visit www.eileenbyrne.org/running-with-coffee.

Eileen Byrne is a playwright and actress who portrays eleven characters in the critically acclaimed Running With Coffee, which she recently performed off-Broadway in the United Solo Festival, Theater Row. She earned a Best Actress nomination for her performance in the 2024 1st Irish Festival. The show was first workshopped and staged for the Br!nk New Play Festival for women playwrights in Milwaukee in September 2022. Byrne's other works include The Middle (Playwrights and Artists Festival, Know Theatre in Binghamton, NY), The Gettysburg Redress (Rockford New Words Fest -West Side Show Room in Rockford, IL),. Snowglobal Warming (Players Theatre/ Zoom), the Best in Show--2019 BooFest winning play Wingman, Tenants (NYC Fest-Players Theatre), Allegations (2nd Act Players/MeToo Festival in Evanston and The One That's a Play (Stage 773).

A native of Queens, New York, Eileen Byrne is a graduate of Fordham University and holds a Master's degree from Northwestern University.

FACT SHEET / Running with Coffee

Title: Running with Coffee
Written and Performed by: Eileen Byrne

Schedule: 

Saturday, May 16, 2026 at 7:00pm

Sunday, May 17, 2026 at 1:00pm

Location:  Lookingglass Theatre Company, 163 Pearson Street, Chicago          
Outer Lobby (East Wall Stage)

Run Time: Approximately 90 minutes

Tickets: $35

Box Office:  Buy online at lookingglasstheatre.org or by phone at (312) 337-0665

The Lookingglass box office is located at Water Tower Water Works, 163 Pearson Street, Chicago, IL 60611

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

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

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

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

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

PERFORMANCE DETAILS

Keerah

Dates: May 29 – June 28, 2026

Previews: May 29 – June 2, 2026

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

Tickets: On sale now at definitiontheatre.org

ABOUT DEFINITION THEATRE

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

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

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

Shakespeare’s comedies share a familiar architecture: mistaken identity, disguises, intersecting plotlines, a generous helping of prose, and language that delights in wordplay and double entendre. They are also, crucially, driven by sharp, intelligent women who often see more clearly than the men around them. With that foundation in mind, Chicago Shakespeare Theater’s production of The Merry Wives of Windsor leans confidently into these conventions - and then accelerates them - resulting in a delightfully mischievous evening.

Directed with precision and pace by Phillip Breen, the production wastes no time settling in. It moves briskly, almost breathlessly at times. Breen understands that comedy, especially Shakespearean comedy, thrives on rhythm. Doors must slam at just the right moment, disguises must be revealed a beat too late, and jokes must land before the audience has time to anticipate them. Here, the timing is razor-sharp, aided immeasurably by a cast of 22 actors who navigate the text with clarity and ease.

Max Jones’ set design cleverly situates Windsor in a contemporary world of affluence and quiet excess. This is a town where privilege is not just visible - it is assumed. Children attend private school, men play rugby, and women occupy a social sphere of lunches and shopping that doubles as a kind of informal power network. The Garter Inn, rendered as a dimly lit bar with a billiards table anchoring the space, becomes a playground for Falstaff’s schemes. In contrast, Dr. Caius’ sterile office reception area offers a clinical absurdity, while the Ford household gleams with white carpeting, glass, and sweeping staircases - its opulence undercut by the chaos unfolding within. A particularly fluid set change transforms the space with near-magic, reinforcing the play’s obsession with illusion and transformation. The final forest scene, textured with dirt mounds and trees, grounds the production just enough before it tips fully into theatrical fantasy.

What emerges most clearly in this production is the idea that Windsor is a world turned slightly askew. No one is quite what they claim to be. The knight, Sir John Falstaff, is anything but noble - he is vain, opportunistic, and gloriously ridiculous. The doctor, Caius, is less healer than hot-headed rival, perpetually threatening violence. The clergyman’s thick accent renders him a subject of humor rather than authority. Even the Justice of the Peace seems more eager for confrontation than civility. It is a community in which status is worn like a costume—and just as easily discarded.

Photo by Kyle Flubacker.

At the center of it all are the “merry wives,” who prove themselves to be the most grounded and perceptive figures on stage. Ora Jones’ Mistress Page and Issy Van Randwyck’s Mistress Ford  anchor the production with wit and composure. They are never merely reactive; they orchestrate the action, turning Falstaff’s attempted manipulation into a series of escalating humiliations. Their intelligence drives the comedy, ensuring that the laughter always has a point of view.

The supporting cast is equally strong. Chike Johnson’s Master Page exudes an easy confidence, while Timothy Edward Kane’s Master Ford leans fully into the character’s jealousy, finding both humor and unease in his suspicion. Nate Burger’s Dr. Caius is a comic standout, his bluster and indignation landing with delightful force. Nancy Voigts brings a bustling energy to Mistress Quickly, threading together the play’s many schemes, while Paul Oakley Stovall’s Justice Shallow captures the absurdity of self-importance.

And then there is Jason Simon’s Falstaff - a performance that embraces the character’s excess without apology. Legend has it that Queen Elizabeth I so adored Falstaff that she demanded to see him in love. Here, however, Falstaff is in love with nothing so much as himself. Simon leans into that vanity, crafting a figure who is both despicable and irresistibly watchable. His repeated downfalls never diminish him; instead, they reveal the elasticity of his ego.

Ultimately, this production succeeds because it trusts the mechanics of Shakespearean comedy while fully committing to its world. Disguises are embraced, identities are blurred, and language sparkles with innuendo. Yet beneath the laughter lies a sharper observation: that power, status, and even identity itself are often performances. In Windsor, everyone is playing a role - some just play it better than others.

Highly Recommended

When:   Through May 3

Where:  Chicago Shakespeare Theater 800 East Grand Avenue in Chicago

Tickets:  $60 - $120

Box Office: 312-595-5600

Info: www.chicagoshakes.com

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

As I entered the black box studio at Chicago Shakespeare Theater, I’ll admit - I wasn’t in the best frame of mind. Before leaving home, I’d watched the news: the endless cycle of violence, bombings, and that tired “us versus them” narrative that seems to define our moment. My spirit felt worn down. On top of that, I had spent the day finishing a review from earlier in the week, so I arrived more drained than inspired. Theatre, on this night, felt like an obligation.

Then Mrs. Krishnan’s Party happened - and everything shifted.

Instead of the usual routine of being guided to my seat by The Saints, I was greeted at the door by James (Justin Rogers), dressed in an outfit that immediately caught my attention. He asked my name. We talked. It wasn’t forced or performative - it was genuinely human. By the time he led me to my seat, the invisible barrier between audience and performer had already begun to dissolve. He introduced me to the people around me: to my left, a well-traveled gentleman from Ohio by way of India; to my right, a mother and daughter who helped identify James’s attire as a South Indian costume, rich with cultural specificity. Already, I wasn’t just watching a show - I was part of a group.

That’s when I realized we were not simply audience members, but guests of James, who was hosting a surprise party for his landlady. The occasion is Onam - a vibrant harvest celebration rooted in the southern Indian state of Kerala. What unfolds is not just theatre, but an act of radical hospitality. Music pulses. Conversations bloom. Strangers become co-conspirators in joy. This show is more than immersive - it is enveloping, dissolving the line between performer and audience until you’re no longer watching a story, you’re living inside it.

This approach is the hallmark of Indian Ink Theatre Company, the New Zealand-based ensemble behind the production. Founded by Justin Lewis and Jacob Rajan in the late 1990s, the company has earned an international reputation for creating intimate, actor-driven works that blend South Asian storytelling traditions with contemporary theatre. Their work explores identity, migration, and cultural hybridity through a deeply human - and often humorous - lens. More than anything, they prioritize connection: their productions don’t just tell stories; they build shared experiences.

And that’s what undid me.

Photo courtesy of Indian Ink Theatre Company.

When Mrs. Krishnan (Kalyani Nagarajan) finally arrives, she is startled to find the back of her small shop filled with strangers. There’s hesitation - this wasn’t her plan - and beneath it, something heavier lingers. As the evening unfolds, we begin to feel the weight she carries: the loss of her husband, the quiet ache of a son - an architect - now gone. These moments settle into the space with a tender gravity, reminding us that her warmth is hard-earned.

And yet, just as the story begins to lean into that sorrow, the play grabs and lifts us again. Laughter breaks through, balloons appear. Music returns. The room brightens. What begins as disruption transforms into delight as she embraces the gathering and, in a gesture both intimate and communal, decides to cook daal for all of us. In that moment, grief and joy exist side by side—each making space for the other.

Somewhere between the laughter, the dancing, and the smell of daal, the heaviness I carried into the theatre dissolved. Not in a naïve or escapist way, but in a way that felt necessary. Soundly directed by Justin Lewis, the show doesn’t ignore the fractured world outside; it quietly insists on another possibility within it: community, warmth, shared humanity.

By the end of the evening, I realized I hadn’t just watched a play - I had been in community with people different than me, yet deeply the same. In a time when division dominates the headlines, Mrs. Krishnan’s Party offers something deceptively simple and profoundly radical: a room full of strangers choosing, for a moment, to be together.

And that, right now, feels like everything.

Recommended

When: Through May 3rd
Where: Chicago Shakespeare Theatre 800 East Grand Avenue in Chicago.
Tickets: $74 - $90

Box Office: 312.595.5600
Info:  www.chicagoshakespeare.com

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

Depending on the source, Bat Out of Hell ranks among the top‑selling albums of all time, so its eventual leap to the stage in 2017 felt almost inevitable. Written by Jim Steinman and performed by Meat Loaf, the album’s grandiose ‘70s sound hardly suggests a post‑apocalyptic narrative, yet that’s the unexpected framing audiences encounter here. Meat Loaf’s music has always thrived on high‑energy rock‑opera theatrics  - a powerhouse voice wrapped in oversized emotion and unapologetic melodrama -  so while this storyline wouldn’t have been my first guess for a theatrical adaptation, it surprisingly fits. What works especially well is the way the show taps into the romantic rebellion that defined his performances, echoing the presence of an artist who approached each number as a miniature piece of theatre.

For its one‑night‑only performance at the Auditorium Theatre, Bat Out of Hell - The Musical opens with a confident burst of energy, pairing Steinman’s masterful songbook with a theatrical approach that’s more measured than its reputation suggests. Rather than presenting Meat Loaf’s iconic album as a straightforward rock spectacle, the creative team leans into the material’s operatic sweep and dystopian romance, shaping it into a visually engaging and musically cohesive piece of rock theatre. In the Auditorium’s spacious setting, the cinematic staging and amplified aesthetic settle in comfortably, allowing the show’s size to register without overwhelming the story at its center.

Set in the neon‑lit sprawl of post-doomsday Obsidian, Bat Out of Hell - The Musical centers on the charged relationship between Strat (Conor Crowley) - the eternally young leader of a band of renegade teens known as The Lost - and Raven (Carly Burns), the sheltered daughter of the city’s iron‑fisted ruler, Falco (Travis Cloer). Strat moves through a world shaped by rebellion and restless freedom, while Raven has grown up behind barricades built as much from fear as from concrete. Caught between them is Sloane (Tori Kocher), Falco’s long‑suffering wife, whose presence adds a more human counterpoint to the household’s rigid control. Their intersecting tensions spark a collision between desire and authority, youth and power, with Steinman’s sweeping rock anthems amplifying every emotional turn.

As Strat and Raven navigate the risks of their forbidden bond, the story widens to reveal the fractures within Falco and Sloane’s marriage - a counterpoint that exposes the weight of time, compromise, and regret. Meanwhile, The Lost struggle to hold onto their identity in a city determined to contain them. The narrative unfolds less as a traditional plot than as an atmospheric journey, laced with youthful rebellion and driven by Steinman’s music, which propels the characters through a world where love becomes both an act of defiance and a means of survival.

The show’s design builds around Steinman’s biggest showstoppers, threading them through the narrative with the kind of theatrical sweep that has long defined his work. Signature numbers such as “Bat Out of Hell,” “I’d Do Anything for Love (But I Won’t Do That),” “Two Out of Three Ain’t Bad,” and “Paradise by the Dashboard Light,” delivered with standout vocals and sizzle from Travis Cloer and Tori Kocher, form the musical backbone of the evening, each landing with the scale and intensity fans expect. Rather than serving as simple nostalgia cues, these songs shape the emotional architecture of the production, driving its crescendos and giving the story much of its momentum. Their presence underscores just how enduring - and theatrically adaptable - Steinman’s catalog remains.

As the production’s central pair, Conor Crowley and Carly Burns offer grounded, complementary performances as Strat and Raven. Crowley brings a clear vocal presence and an easy confidence to the role, while Burns provides a calm, steady counterpoint that helps shape the emotional arc of their scenes together. Their dynamic feels natural and unforced, giving the story a solid center without overpowering the production’s broader stylistic choices.

Production phot of Bat Out of Hell - The Musical by Chris Davis Studio 2

The ensemble moves with an easy rhythmic cohesion, offering strong vocal moments that add texture and dimension to Jay Scheib’s vision. Their presence helps fill out the world of Obsidian, giving the production momentum even when the staging remains intentionally spare. Scheib’s use of a live onstage cameraman adds another layer, capturing close‑up details that are projected onto two large overhead screens and lending the performance a subtle filmic quality. The choice works on both a practical and stylistic level, allowing the show to shift between the intimacy of the camera lens and the broader sweep of the stage. What initially feels like a distraction quickly becomes part of the visual language of the production, blending in so seamlessly that the cameraman all but disappears from notice.

The physical world of Bat Out of Hell - The Musical unfolds across a vast industrial landscape that captures the fractured, glow‑soaked atmosphere of Obsidian. The set itself is relatively simple, but the production makes sharp use of dynamic lighting to build atmosphere, scale, and momentum. A towering network of platforms, staircases, and metal scaffolding creates a vertical playground where the cast can vault between levels and stage the show’s most high‑energy moments. One of these platforms houses the live band, led by Greg Paladino, whose presence adds both immediacy and a welcome sense of rock‑concert authenticity.

Bat Out of Hell threads its spectacle with clear symbolic beats: The Lost, frozen in age, embody youth suspended between rebellion and stagnation, while Obsidian’s crumbling, fluorescent‑hazed skyline reflects a society shaped by fear and control. Strat and Raven’s romance becomes a tug‑of‑war between liberation and confinement, and Falco’s fortress stands in for every system determined to hold change at bay. Even the production’s constant motion suggests a world enthralled by spectacle yet uneasy with evolution.

It’s gratifying to see that the legacy of Jim Steinman and Meat Loaf continues to reach new audiences, while also resonating with longtime fans - some of whom sing along to every word of certain songs throughout the performance. The material’s larger‑than‑life sound remains a recognizable cultural marker, and this musical now holds a distinct place for many who appreciate the intersection of rock and musical theatre.

In the end, Bat Out of Hell - The Musical isn’t aiming for subtlety, but that’s part of its charm. It delivers an energetic surge powered by Steinman and Meat Loaf’s expansive songbook and a cast that commits fully to every moment. The storyline undoubtedly edges into corniness here and there, yet it matters little when the production is this unabashedly fun - and the sheer force of the music makes the ride worthwhile on its own.

The bat may well fly back again someday, but for now, Bat Out of Hell - The Musical arrived as a one‑night‑only event. For more information, visit https://batoutofhellmusical.com/.

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

The world premiere of Marbled brings drama, history, and art to the Greenhouse Theater Center this Spring. Melanie Ann Apel promises a riveting experience with this new play by Joseph Anthony Rulli.

Chicago, Illinois – April 16th – A Joe & Melanie Thing Theatre Company is proud to announce its production of Marbled by Joseph Anthony Rulli, from April 16th to 26th at the Greenhouse Theater Center, 2257 North Lincoln Avenue. Tickets are on sale at www.greenhousetheater.org

This production of Marbled is directed by Melanie Ann Apel and features Chicago area actors in the cast. Set in present times and in a large city, see Michelangelo's life as it might have been: 
Witness the tensions between art and propriety, spirituality and religion, self and society.

"We have a solid piece on our hands with very dynamic actors and crew committed to manifesting great theatre in this theatrical city," says Director Apel. "We want to showcase the dramatic, life-affirming, and humorous levels of art, sexuality, and acceptance in our lives."

Performance Schedule:
Wednesday, April 15  – 7:00 P.M. – Dress Rehearsal/Press Night
Thursdays, April 16 & 23  – 7:00 P.M. – Opening Night (April 16 th )
Fridays, April 17 & 24 – 7:00 P.M
Saturdays, April 18 & 25 – 2:30 P.M. & 7:00 P.M.
Sundays, April 19 & 26 – 2:30 P.M
Tickets:
General Admission – $25
About A Joe & Melanie Thing Theatre Company:
We are Chicago-based artists who seek to bring original works to the stage. We are overly dramatic types who cannot resist the call of the Muses. Since 2024 we have produced works of satire (Accidental Election of an Anarchist, 2024, and Vulcan Sleeping, 2025) as well as family-friendly fare (Hanukkah, Shmanukkah!, 2025)

Teatro Vista Productions, Chicago's premier Latine theatre company, today released four out of a series of five original short prequel films on YouTube, expanding the world of its upcoming production, BOTH, beyond the stage into a digital storytelling experience. Audiences can watch the full series at this link. 

The short film series, which arrives ahead of BOTH's run April 11 – May 10 as the first production in TVP's residency at Steppenwolf Theatre Company, offers audiences an early entry point into the play's themes, characters, and the creative process. Each film, approximately three minutes long, centers on a different character and introduces key moments leading up to the events of the play. All five films will be released simultaneously as a bingeable series on YouTube, with additional short-form content shared across Teatro Vista Productions' social media platforms. 

Written by Paloma Nozicka and directed by Georgette Verdin, BOTH is co-presented with Steppenwolf Theatre Company and marks the first production in a new, multi-year residency between the two organizations. The partnership brings Teatro Vista Productions into Steppenwolf's 1700 Theater for a full-length production each season over the next three years, expanding opportunities for the company's artists while deepening collaboration between the two institutions. 

The short films reflect Teatro Vista Productions' evolution as a multidisciplinary production company, translating its work beyond live stage performances into film and digital media that connect with audiences in new ways. Inspired by the play's exploration of family, memory, and competing versions of truth, the series offers a character-driven lens into the world of BOTH. The series is written and directed by Paloma Nozicka, with cinematography by Chris Rejano, editing by Ana Christian, and produced by Cruz Gonzalez-Cadel and Amy E. Powell. Wendy Mateo and Lorena Diaz serve as Executive Producers.

"This moment represents a meaningful evolution in how we share our work," said Wendy Mateo, Artistic Director, and Lorena Diaz, Executive Director of Teatro Vista Productions. "As we begin our residency with Steppenwolf, we're thinking beyond the stage and creating opportunities for our artists to tell stories across mediums and for audiences to engage with those stories in new and more accessible ways."

The initiative is supported by a $210,000 grant from the Walder Foundation, awarded through its Organizational Innovation in the Performing Arts program and distributed over two years. The funding supports Teatro Vista Productions' efforts to develop new approaches to storytelling, audience engagement, and long-term sustainability. 

The short films are part of Teatro Vista Productions' ongoing investment in multimedia storytelling, creating new opportunities for artists and audiences to engage with its productions both onstage and beyond. 

BOTH runs April 11 – May 10, 2026, at Steppenwolf's 1700 Theatre, 1700 N. Halsted St. Tickets ($47) are available at www.steppenwolf.org and the box office at (312-335-1650. For more information, including updates on the short film series, visit www.teatrovista.org and follow Teatro Vista Productions on social media. 

Filament Theatre, the Northwest Side's premier theater for young audiences, is delighted to announce the cast of the world premiere of Farewell Opportunity, written by local Chicago playwright Georgette Kelly and commissioned by Filament Theatre in 2019. The piece was a finalist for the John F. Kennedy Center's New Visions/New Voices workshop/festival, which is dedicated to supporting the development of new plays and musicals for young audiences. The show officially runs May 2 – May 17, 2026, with previews beginning April 25, at Filament Theatre. 

Written by Georgette Kelly and directed by Raquel Torre, the cast of Farewell Opportunity includes: Veronique Le (Tara), Takeisha Monet (Dr. Silva), Osiris Gabriel Mundo (Opportunity), Emily Zhang (Halley), Arielle Conrad (Understudy) and Miranda "MT" Taylor (Understudy). This galactic story explores complex themes through poetic language and magical realism, asking its young audiences, "How do you keep on roving when you—or someone you love—faces a dust storm that threatens to block out the sun?" 

"This production is about creating space (in outer space) to talk about mortality and completion with younger audiences," shares Director Raquel Torre. "From my first reading of Farewell Opportunity, I was struck by its honesty, poetry, and joy. My favorite niche in theatre making is tackling tough topics through joyful language, which this play truly exemplifies!"

Farewell Opportunity will be performed on Wednesdays at 10 AM, Saturdays at 11 AM & 2 PM, and Sundays at 2 PM & 6 PM. Performances begin on April 25, with the official run spanning from May 2 through May 17. All ages welcome, best enjoyed by ages 5+. School and community group pricing available. Tickets at www.filamenttheatre.org. To inquire about school field trips or group buy-outs, please email This email address is being protected from spambots. You need JavaScript enabled to view it..

Farewell Opportunity

By Georgette Kelly

Directed by Raquel Torre

At Filament Theatre

May 2 – May 17, 2026 (with previews beginning April 25)

Farewell Opportunity follows Halley, who visits the NASA Jet Propulsion Lab and meets the Opportunity Mars rover. The two share a curious spirit and a shortened life expectancy. Halley and the NASA scientist in charge of the Mars mission find themselves transformed by an unlikely friendship—with each other, and with a rolling robot millions of miles away. 

The Creative and Design Team of Farewell Opportunity includes Georgette Kelly (Playwright), Raquel Torre (Director), Korey Pimental (Assistant Director & Disability Access Advocate), Jojo Wallenberg (Stage Manager), Emily Brink (Properties Designer), E. Tylkowski (Production Manager), Kelsey Chigas (Audience Engagement Designer), Kyle Anthony Cortés (Sound Designer), Seojung Jang (Lighting Designer), Jazmin Aurora Medina (Costume Designer), Joonhee Park (Scenic Designer), and Joel Zishuk (Projections Designer).

Filament Theatre's Producing Team and Staff include: Krissi McEachern (Managing Director), Reji Simon (Producing Artistic Director), Julia Stemper (Assoc. Director of Advancement), Caroline Watson (Filament's Assoc. Director of Engagement), and Arielle Conrad (Operations Assistant).

Cast and Creative Team Bios

Georgette Kelly (Playwright) is an internationally recognized playwright with one foot in Chicago and the other in New York. She writes for audiences of all ages, and her work has been developed with The Kennedy Center, The National New Play Network, The Alliance Theatre, and schools and universities across Chicagoland.  Plays include: Ballast, I Carry Your Heart, North Star, Faith in A Fallen World, In the Belly of the Whale, How to Hero, and currently in development: Small Planets, a new play for babies and their caregivers, co-created with Julie Ritchey.  A resident playwright at Chicago Dramatists and a member of the Dramatists Guild of America, Georgette holds a B.A. in Performance Studies from Northwestern University and an M.F.A. in Playwriting from Hunter College. GeorgetteKelly.com

Raquel Torre (she/her/ella) (Director) is a Boricua theater-maker based in Chicago. She was the 2024/25 Goodman Theatre Michael Maggio Directing Fellow and has co-led La Vuelta Theatre Lab since 2013. Select Chicago directing credits include BOOK UP!, The Lizard y El Sol (Goodman); Aquí o Allá (Actors Gymnasium); Memorabilia (Teatro Vista); Kid Prince and Pablo (Lifeline Theatre); Back in the Day (UrbanTheater Company). Select Associate/Assistant Director credits include: Eureka Day (Timeline Theatre); BUST, Betrayal, Inherit the Wind (Goodman), POTUS (Steppenwolf Theatre). She holds a BA in Theatre from the Universidad de Sagrado Corazón (Puerto Rico), a certificate in Movement and Devised Theatre from Cabuia Teatro (Argentina), and an MFA in Devised Performance Practice from LISPA/Columbia College Chicago (Germany/USA). raqueltorre.com

Veronique Le (she/they) (Tara) is a Vietnamese American actor, musician, and writer from Minneapolis, MN. They earned their BFA in Acting from The Theatre School at DePaul University, where they appeared in Do You Feel Anger? (Sofia), Peerless (L), A Wrinkle in Time (Mrs. Whatsit/Reader #5), and Much Ado About Nothing (Margaret/Seacole). Chicago credits include Seagulls (Masha) and Dummy in Diaspora (Nic Demon). In addition to acting, Veronique is passionate about storytelling and music-making—especially when collaborating with friends. They recently released their debut single, "Wondergirl Cookie Bun," available on all music streaming platforms, with a music video on the way. As an artist, they are committed to amplifying untold stories and hope to illuminate the Vietnamese American experience. @verohnick · veroniquele.com

Takeisha Monet (Dr. Silva) is excited to join the cast of Farewell Opportunity as Dr. Silva. This role marks a meaningful shift in her artistic journey—stepping into a character who blends warmth, intelligence, and curiosity in a story created for young audiences and families. Takeisha is thrilled to explore a role that stretches her range in a new, heartfelt direction. Her recent screen and stage work includes The 4th Wall (Chassidy), the series Sunday Evenings, True Deception, Undercover, and Guess Who's Coming to Dinner. She also appeared in the festival version of Trauma Attraction, which won its category, and will later return for its full production. Across her projects, Takeisha is known for bringing emotional depth, honesty, and a grounded presence to every character she embodies.

Osiris Gabriel Mundo (ki/kin) (Opportunity) is a Disabled Mexican Yoreme (Indigenous) Artist. Ki is a professional actor, an experienced writer/playwright, a classically trained singer, teaching artist, and emerging Director. Credits include Lizard y El Sol (Goodman Theatre), Skyflint pt 1 (Haven Theatre), Rebirth of Osiris (Haven Theatre), SPARK! Artist in Residence (Filament Theatre), as well as "Hora de Cuentinflas"; an hour of Mexican Songs and Spanish Storytime (NOITP Grant Recipient). This summer, Osiris co-wrote and performed the music for "El Barzon" (Free Street Theatre) and teaches with Changosnakedog. Ki creates theatre that illuminates the obscured and inspires innovation; often at the intersections of identity (race, ethnicity, gender, sexuality, and Disability). Ki is driven by the need to express in a way that everyone can understand, regardless of age and capacity. Directing credits include; Gutenberg! The Musical at A/C Theatre Company, Credible Women with Proud Mary Theatre, The Rebirth of Osiris at Haven Theatre, and Floating Girls Go To The Moon for the We Women Play Fest with Artemisia Theatre. Osiris can also be found @Cuentinflas on Instagram.

Emily Zhang (she/her) (Halley) is a Chicago-based actor and is so excited to be performing with Filament again. In addition to Farewell Opportunity, she is currently performing in Theater of the Mind created by David Byrne and Mala Gaonkhar, at The Goodman Theatre. Favorite Chicago credits include The F*ck House (Strawdog Theatre), Hannah and Halmoni Save the World (Filament Theatre), Next Door (Producingbody), Among the Dead (Jackalope Theatre), Flush (Campfire Repertory), Woo Girls (The Factory Theatre), RACECAR RACECAR RACECAR, Blood of My Mother's (Bramble Theatre). Film/TV credits include System of Colors. Additionally, she performs improv and sketch comedy, and is a producer and workshop leader with Asian American Arts Chicago. She is a Northwestern University graduate, a SAG-AFTRA member, and is represented by Gray Talent Group.

Arielle Conrad (she/her) (Understudy) is so thrilled to be a part of Farewell Opportunity! You may have seen her in FORTS here at Filament, or working as Filament's General Operations Assistant. Arielle is a Chicago-based actor, artist, singer, storyteller, and streamer. She has a deep passion for story telling, helping and advocating for others, and creating meaningful art. Before moving to Chicago 3 years ago, Arielle moved from Southern Indiana, where she grew up, and worked for Florida Repertory Theatre. She spent time touring to schools all across Florida, bringing theatre to young people throughout the state. When she's not at Filament, Arielle enjoys spending time with her 3 cats, streaming video games to a lovely community of folks online, and doing lots of crafts.

Miranda Taylor (she/they) (Understudy) is a type one diabetic, Chicago-based actor, director, stage manager and production manager. Miranda studied at Gordon College and received her master's degree from Adelphi University in Theatre Education. She has worked with Writers Theatre, Lifeline Theatre, Proboscis Theatre, Artistic Home, Paramount Theatre, Kerfuffle TVY, Paramount Theatre, Skyline Children's Theatre, and has been a part of a number of new works projects. They are passionate about developing new works for and with young artists, creating safe spaces for artists of all abilities and provoking empathy. 

About Filament Theatre

Filament Theatre, on Chicago's Northwest Side, has been creating innovative theatre for young audiences since 2007, serving thousands of families annually, often at no cost, through theatre programming, camps, school residencies, and classes. The mission of Filament Theatre is to create a more equitable society by celebrating and amplifying the perspectives and experiences of young people through the performing arts. Creating immersive and site-specific theatre that inspires, empowers, and activates young people and their communities, Filament's unique production process welcomes young people into the room as essential collaborators.  Filament imagines a world where young people are the experts and adults are the allies working to build a more just world for all. As the only theatre of its kind in Chicago, Filament is a vital home for innovative artists and young people finding and using their power through the performing arts. Awards: TYA Artistic Innovation Award - FORTS: Build Your Own Adventure (2025), Chicago Tribune Best Off-Loop Theatre (2016), Illinois Theatre Association Award of Excellence in Theatre for Young Audiences (2020), Bayless Family Foundation Stepping Stone Grant Recipient (2022). 

Filament Theatre is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events, The Growing Tree Foundation, Laura Fox Charitable Foundation, Mark Edelman Theater Fund at the Jewish Community Foundation of Greater Kansas City, The Illinois Department of Commerce and Economic Opportunity, the Illinois Arts Council, and more.

4041 N MILWAUKEE AVE. CHICAGO IL 60641 - (773) 270-1660 -  WWW.FILAMENTTHEATRE.ORG