Displaying items by tag: Wendy Mateo

Based on the novel by Junot Díaz, The Brief Wondrous Life of Oscar Wao follows neurodivergent and perpetually lovelorn college student Oscar as he fixates on the fukú – a generational curse he believes has haunted his family’s love lives for decades. Oscar’s college roommate and his sister Lola by his side, the trio journeys to Santo Domingo, uncovering more about Oscar and Lola’s family history and the fukú than none of them bargained for.

At the heart of the story is the trio of Oscar (Lenin D’Anthony Izquierdo), Yunior (Kelvin Grullon), and Lola (Julissa Calderon), who are as messy, spirited, and loving as three college kids can be. Their chemistry feels genuinely lived-in: the easy humor, the sharp edges, the quiet loyalties. Their dynamic perfectly captures the complexities of chosen family, blurred boundaries, and sibling devotion, all while keeping the audience constantly laughing. 

While often sharp and funny, Oscar and Lola’s mother, Beli (Yohanna Florentino), delivers the production’s most devastating performance. She embodies the tension of someone trying – fiercely, desperately – to do right by her children, yet repeatedly falling short. Florentino’s performance is astonishingly intimate; even in a full theatre, she makes it feel as though her pain is being shared one-on-one with each audience member.

The show – especially in its first act – is funny, self-aware, and unabashedly camp. Although set among college-aged characters in the 1990s, Director Wendy Mateo has made the show feel timeless and accessible to audiences of all ages. The script incorporates a significant amount of Spanish, most often through colloquial phrases and biting insults, yet the cast’s physicality and clarity ensure that no translation is required to follow the emotional stakes. It’s a compelling reminder that audiences don’t need to speak Spanish to fully appreciate bilingual storytelling when the performances are this grounded.

Where the production occasionally stumbles is in its visual storytelling, particularly once the setting shifts to Santo Domingo. The scenic design’s abstract, college-forward aesthetic serves the first half well, but meshes less cohesively with the production’s second act shift into heightened spiritual and video game-inspired imagery. This evolution also introduces more disruptive set transitions – unlike the fluid, almost invisible shifts of Act One, several Act Two changes require full stops in the action, interrupting momentum and dampening the pacing. At its best, the projections and gaming motifs cleverly mirror Oscar’s inner grasp of reality and the story’s mythic foundation. At their weakest, however, they overtake the truly human stakes at the center of the narrative.

One moment in particular – a key story from Beli’s past – is partially rendered through animation and projection rather than live performance. Given the emotional precision already established onstage, the stylistic shift feels jarring and unintentionally distances the audience from what should be an intimate revelation. The production’s reliance on heightened, game-like aesthetics resurfaces in later confrontations as well, occasionally pushing character choices toward exaggeration at moments that call for gravity. The result is a tonal imbalance that slightly undercuts the weight of the story’s final turns.

While the stage adaptation diverges in notable ways from the novel, the production stands strongest when viewed as its own interpretation rather than a strict retelling. That said, the emotional core of Oscar’s story remains intact and, by the final moments, the theatre is silent enough to hear a pin drop – a testament to the emotional weight the cast ultimately earns.

The Brief Wondrous Life of Oscar Wao is running in The Goodman’s Owen Theatre through April 12th. Tickets are available at https://www.goodmantheatre.org/show/the-brief-wondrous-life-of-oscar-wao/.

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

The Goodman announces an eight-performance extension for the world premiere of Marco Antonio Rodríguez's English stage adaptation of The Brief Wondrous Life of Oscar Wao— based on the Pulitzer Prize-winning novel by Junot Díaz. Teatro Vista Artistic Director Wendy Mateo directs this world-premiere production, featuring Humboldt Park's Lenin Izquierdo in the title role of Oscar, leading a majority-Dominican cast. The Goodman's production complements Rodríguez's Spanish-language production, La Breve y Maravillosa Vida de Oscar Wao, which he wrote and directed for New York's Repertorio Español, where it currently appears in selected dates. The Brief Wondrous Life of Oscar Wao is on stage now, running through April 12 (opening night is March 2), in the 380-seat flexible Owen Theatre; extension week performances include April 7, 8 and 10 at 7:30pm, April 9 and 11 at 2pm and 7:30pm and April 12 at 2pm. For tickets ($34-94, subject to change), visit the Box Office (170 N. Dearborn), call 312.443.3800 or purchase online at GoodmanTheatre.org/Oscar. The Goodman is grateful for the support of The Elizabeth Morse Charitable Trust (Lead Sponsor of IDEAA Programming).

"I still remember how I felt after I saw Marco's Spanish adaptation in New York—stunned, like my world had just tilted," said Junot Díaz, who won the 2008 Pulitzer Prize and National Book Critics Circle Award for his book The Brief Wondrous Life of Oscar Wao. "The play didn't just surprise me—it blew me away. The stage version is both a brilliant distillation and a powerful re-imagining of the novel's deep material, but what is extraordinary is how truthfully Marco's script engages with the traumas, histories of resilience and irrepressible hearts that made the story what it is. I'm very grateful to everyone at The Goodman—the crews, the actors, the folks behind the scenes making the magic happen. To be given two gifts like Marco's play in two different languages is more than I ever expected in my lifetime."

Oscar (Lenin Izquierdo) knows that a nerdy Dominican college freshman isn't anyone's idea of a romantic hero. But with the encouragement of Yunior (Kelvin Grullon), his new roommate, he is determined to give love another chance. As Oscar sets out from New Jersey to Santo Domingo to prove his undeniable hope, can he shake the dark "fukú" that has haunted his family for generations? Junot Díaz's novel comes to vivid life in this English-language world-premiere adaption—a celebration of risk and the power of perseverance against all odds. 

Junot Díaz is the author of the critically acclaimed Drown; The Brief Wondrous Life of Oscar Wao, which won the 2008 Pulitzer Prize and the National Book Critics Circle Award; and This Is How You Lose Her, a New York Times bestseller and National Book Award finalist. His first picture book, Islandborn, was a New York Times Bestseller and won the CLASP Américas Award 2019. 

Marco Antonio Rodríguez is a Dominican-American, award-winning bilingual writer.  Named Top 50 Figure in LatinX and Latin American Theatre by Routledge. Acclaimed plays Ashes of Light and Barceló on the Rocks performed all over the world and published by NoPassport Press (available-Amazon.com & lulu.com). Acclaimed Spanish stage adaptation of Junot Díaz' The Brief Wondrous Life of Oscar Wao just celebrated five years Off-Broadway at the Spanish Repertory Theatre. His play, Bloom, acclaimed run-New York's IATI theatre. Published by TRW. Half-hour pilot, Our Friendly Neighbors, produced in short film format by DominiRican Productions. National Hispanic Media Coalition Scriptwriters Program Fellow. The Movement Theatre Company x Black List Playwriting Commission winner where he developed his play, Walk-In. New play, Domino Effect, commissioned by People's Theatre Project, to have Off-Broadway world premiere-spring 2025. Recipient-New York Stage & Film and Space on Ryder Farm Residencies. Voices "Uncle Nestor" in Emmy nominated PBS Kids series Alma's Way and "Alo" the unicorn on Netflix animated series Barbie: A Touch of Magic. 

Wendy Mateo is the Producing Artistic Director of Teatro Vista and an actor, writer, director, filmmaker and content creator. Mateo has been seen throughout Chicago's stages including the Second City and Lookingglass Theatre where she is an ensemble member. Mateo's directing credits include the play Not for Sale 2.0 by Guadalis del Carmen at UrbanTheater Company and ¡Bernarda! By Emilio Williams at Teatro Vista. On television and film, Mateo can be seen on Chicago Med (NBC), as Ronnie in Station Eleven (HBO) and Steve McQueen's Widows. As a filmmaker, Wendy has written, directed and produced three short films including the latest, Hair, written and directed by Lorena Diaz and Wendy Mateo, now embarking on a film festival tour.

Founded in 1968, Repertorio Español produces an unparalleled repertoire of contemporary and classical plays from Spain, Latin America and the Latinx/e diaspora. Its rich programming spans Spanish Golden Age masterpieces by Calderón de la Barca, Lope de Vega and Ana Caro de Mallén; nearly the complete works of Federico García Lorca, including the rarely staged The Public; acclaimed plays from Argentina, Brazil, Venezuela, Cuba, Mexico, Chile, Uruguay and Puerto Rico; original adaptations of novels by Gabriel García Márquez, Junot Díaz, Julia Álvarez and Isabel Allende; and groundbreaking works by contemporary Latinx playwrights such as Nilo Cruz, Carmen Rivera, Caridad Svich and Marco Antonio Rodríguez. Presenting approximately 200 performances each year, Repertorio draws diverse audiences from across New York and beyond. The Company's artistic excellence has been recognized with five OBIE Awards, two Drama Desk Awards and two New York State Governor's Arts Awards. For tickets and more information, visit Repertorio.nyc.

Company of The Brief Wondrous Life of Oscar Wao (in alphabetical order)

By Marco Antonio Rodríguez

Based on the novel The Brief Wondrous Life of Oscar Wao by Junot Díaz

Directed by Wendy Mateo
Original Spanish production by Repertorio Español

Rossmery Almonte...La Inca 
Julissa Calderon...Lola 
Yohanna Florentino...Beli 
Kelvin Grullon...Yunior 
Jalbelly Guzmán...Jenni/Ybon/Trujillo Woman 
Lenin Izquierdo...Oscar 
Arik Vega...Dionisio/Manny/Capitan/Goon

Understudies include Berny Balbuena (Oscar Wao), Jasmine Bracey (La Inca), Gabriela Furtado Coutinho (Jenni/Ybon/Trujillo Woman), Trey DeLuna (Dionisio/Manny/Capitan/Goon), Melissa F. DuPrey (Beli/Lola) and Adriel Irizarry (Yunior). 

CREATIVE TEAM

Costume Designer...Raquel Adorno 
Projection Designer...Stefania Bulbarella 
Set Designer...Regina Garcia 
Lighting Designer...Max Grano De Oro 
Sound Designer...Willow James 
Cultural Consultant...Rey Andújar 
Dialect & Language Coach...Marco Antonio Rodríguez
Dialect & Language Coach Assistant...Yolanny Rodriguez 
Intimacy and Violence/Movement Coordinator...Gregory Geffrard 
Intimacy and Violence Assistant...Tatiana Bustamante 
Movement Assistant...Chels Morgan 
Script Assistant...Octavio Montes De Oca 
Assistant Director...Lo Williams 
Assistant Dramaturg...Anna Rogelio Joaquin 
Line Producer and Dramaturg...Kat Zukaitis 

Casting is by Lauren Port, CSA. Isabel Patt is the Production Stage Manager.

ENHANCED AND ACCESSIBLE PERFORMANCES

Visit GoodmanTheatre.org/Access for more information about The Goodman's accessibility efforts.

ASL-Interpreted...March 13 at 7:30pm – An ASL interpreter signs the action/text as played. 
Audio-Described...March 14 at 2pm; Touch Tour; 12:30pm – Action audibly enhanced via headset. 
Spanish-Subtitled...March 14 at 7:30pm – Spanish-translated dialogue via LED sign.
Open-Captioned...March 15 at 2pm – LED sign presents dialogue in sync with the performance.

ABOUT THE GOODMAN

Since 1925, The Goodman has been more than a stage. A theatrical home for artists and a gathering space for community, it's where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves.

Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection and change through new plays, reimagined classics and large-scale musicals. With distinctions including nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson's "American Century Cycle." In addition, the theater frequently serves as a production partner—with national and international companies to Chicago's Off-Loop theaters—to help amplify theatrical voices.

But The Goodman believes a more empathetic, more connected Chicago is created one story at a time, and counts as its greatest legacy the community it's built. Generation-spanning productions and programs offer theater for a lifetime; from Theater for the Very Young (plays designed for ages 0-5) to the long-running annual A Christmas Carol, which has introduced new generations to theater over five decades, The Goodman is committed to being an asset for all of Chicago. Education and Engagement programs led by Clifford Director of Education and Engagement Jared Bellot and housed in the Alice Rapoport Center use the tools of theater to spark imagination, reflection and belonging. Each year, these programs reach thousands of people (85% from underserved communities) as well as educators, artists and lifelong learners across the city.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago's early cultural renaissance. That spirit of creativity and generosity endures today. In 2000, through the commitment of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—The Goodman opened the doors to its current home in the heart of the Loop.

Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals. 

TICKETS HERE

Steppenwolf Theatre Company, the nation's premier ensemble theater company, and Teatro Vista Productions are pleased to announce the world premiere production of TVP Artistic Collective member Paloma Nozicka's* BOTH, as a part of a new, multi-year partnership between the two Chicago institutions. Directed by Georgette Verdin, BOTH will play April 11 – May 10, 2026 in Steppenwolf's 1700 Theater, 1700 N. Halsted St. in Chicago. A special Steppenwolf member and Teatro Vista Productions VIP pre-sale begins Tuesday, February 3, 2026 at 12 pm. Tickets go on sale to the general public Thursday, February 5, 2026 at 12 pm at steppenwolf.org and the Box Office at (312) 335-1650.

The multi-year partnership between Teatro Vista Productions and Steppenwolf brings two of Chicago's most vital ensemble theaters together to present ambitious productions to Chicago audiences. Teatro Vista Productions is set to stage a full-length run of a play each season over the next three years in Steppenwolf's 1700 Theater, in an exciting collaboration reflecting the unique artistic ambitions of both companies. The innovative partnership also provides opportunities for Teatro Vista Productions to build institutional capacity after recent record-breaking artistic achievement with shows including The Dream King and Memorabilia. With Teatro Vista Productions in residency at Steppenwolf, both companies look forward to modeling a relationship that they hope will inspire further collaboration in Chicago's iconic theater community amongst organizations of all sizes.

BOTH follows on the success of Teatro Vista Productions' recent world premiere productions in the 1700 Theater: La Havana Madrid (2017), Enough to Let the Light In (also by Nozicka, 2022) and ¡Bernarda! (2023).

Steppenwolf Executive Director E. Brooke Flanagan comments, "For the last decade, Steppenwolf and Teatro Vista Productions have been frequent collaborators, but under this new, multi-year model, we are weaving the two institutions into an even closer relationship. We are thrilled to play host for the ambitions of this extraordinary company: from rehearsals to performances, from donor events to audience engagement opportunities."

"Staging the world premiere of BOTH by TVP Artistic Collective member, Paloma Nozicka, as the kick-off to our multi-year Steppenwolf Theatre Company residency is the ultimate fulfillment of our mission," shared TVP Artistic Director Wendy Mateo and Executive Director Lorena Diaz. "BOTH is a gritty, character-driven look into complicated family dynamics and chosen truths. Great family dramas are a signature of the Steppenwolf brand. To provide our artists with this stage, in the birthplace of ensemble theater in Chicago, is a dream come true. This synchronicity is a moment of profound pride for our theater. As we celebrate our 35th year, we continue to lean into the idea of radical abundance. And with the support of Steppenwolf Theatre Company, we get to do just that. Pa'lante, Juntos. Forward, Together."

BOTH will feature TVP Artistic Collective members Charín Álvarez*, Eddie Martinez*, Ayssette Muñoz* and Paloma Nozicka* with Brian King and Yona Moises Olivares.

*Denotes TVP Artistic Collective member

About the Production:

Xochi is dealing with a lot: a difficult pregnancy, a new relationship, a family that can't stand her and the loss of her twin brother Sebastian, who was declared missing last year. As she tries to navigate her life (and keep her sanity), the impossible happens: Sebastian reappears. Her family is overjoyed, but Xochi is suspicious: where has he been? And why does this version of Sebastian seem so different than the one she knew? BOTH is an eerie examination of family, love, memory, and which version of the truth is the one worth believing.

The creative team includes Sotirios Livaditis (Scenic Design), Johan H. Gallardo* (Costume Design), Maximo Grano De Oro (Lighting Design), Satya Chávez (Sound Design), Shokie Tseumah (Properties Design), Greg Geffrard (Intimacy and Violence), Estrellita Beatriz (Production Manager), Janyce Caraballo (Assistant Director), Adelina Feldman-Schultz* (Casting Director), Julie Jachym (Production Stage Manager) and Olivia Ellery (Assistant Stage Manager).

Production Details:

Title: BOTH
Playwright: TVP Artistic Collective member Paloma Nozicka*
Director: Georgette Verdin
Cast (in alphabetical order): Charín Álvarez* (Angela), Brian King (Sam), Eddie Martinez* (Juan), Ayssette Muñoz* (Cynthia), Paloma Nozicka* (Xochi) and Yona Moises Olivares (Sebastian)

Covers: Aaron Barker (Cover Sam), Tatiana Bustamante (Cover Cynthia), Lorena Diaz (Cover Angela), Leonel Garza (Cover Juan), El Río (Cover Sebastian) and Amelia Roque (Cover Xochi) 

Location: Steppenwolf's 1700 Theater, 1700 N. Halsted St., Chicago

Dates: Previews: Saturday, April 11 – Thursday, April 16, 2026
Press performance/Opening: Friday, April 17, 2026 at 7:30 pm
Regular run: Saturday, April 18 – Sunday, May 10, 2026
Curtain Times: Wednesdays, Thursdays, Fridays and Saturdays at 7:30 pm; Sundays at 3 pm. Please note: there will not be a 7:30 pm performance on Saturday, May 9, 2026

Tickets: Single tickets for BOTH ($47*) go on sale to the general public Thursday, February 5, 2026 at 12 pm at steppenwolf.org and the Box Office at (312) 335-1650. All preview performances and Wednesday performances will be Pay-What-You-Will. *Price includes a $3 processing fee

Artist Biographies:

Paloma Nozicka (Playwright) is an actor, writer and filmmaker based in Los Angeles. Playwriting credits include Enough to Let the Light In (2023 Jeff Awards nominee for Best New Work) and BOTH (2025 O'Neill National Playwrights Conference finalist). Screenwriting credits include Enough to Let the Light In (feature), Horns (feature), Each Lovely Thing (short), HUGE (short). Directing credits include Each Lovely Thing (official selection at the Austin Film Festival, Cleveland International; "Best Screenplay" at the New Filmmakers LA "Best of 2024" awards). She was a member of the 2023/2024 Geffen Playhouse Writer's Room. She is a member of the Teatro Vista Productions collective, a company member with Jackalope Theatre Company and a member of SAG-AFTRA.

Georgette Verdin (Director) is the Associate Artistic Director of Northlight Theatre and a member of Rivendell Theatre Ensemble. Recent directing credits include: the World Premieres of Louisa May Alcott's Little Women (Northlight Theatre); The Singularity Play (Jackalope Theatre); A Mile in The Dark (Interrobang Theatre Project/Rivendell Theatre Ensemble); Enough to Let the Light In (Teatro Vista Productions) and Spay (Rivendell Theatre Ensemble); the U.S. premiere of The Writer (Steep Theatre); and the Chicago Premieres of Mary Jane and Dial M for Murder (Northlight Theatre), This Wide Night (Shattered Globe/Interrobang Theatre Project) and Ironbound (Raven Theatre). Georgette is a five-time Joseph Jefferson Awards nominated director, the 2022 Michael Maggio Directing Fellow at Goodman Theatre and was a 2024 3Arts Award nominee. She's been profiled in NewCity's 2023 "Players: Who Really Performs for Chicago" and in Chicago Reader's "Best of Chicago 2022." She is an associate member of the Stage Directors and Choreographers Society. georgetteverdin.com

Charín Álvarez's (Angela) theatre credits include: A Home What Howls, I Am Not Your Perfect Mexican Daughter, La Ruta, The Infidel, Ordinary Yearning, Fermi at Steppenwolf Theatre; Lettie, Mojada, Oedipus El Rey, Anna in the Tropics, A Park in the House at Victory Gardens Theatre; The Scene at Writer's Theatre; Inherit The Wind, 2666, Pedro Paramo, El Nogalar, Dollhouse and Electricidad at Goodman Theatre; Anna in the Tropics, Passage, Skin of Our Teeth and Clean House with Remy Bumppo' "Bernarda!, In the Time of the Butterflies, Our Lady of the Underpass, I Put the Fear of Mexico in 'Em, Dreamlandia, Another Part of the House with Teatro Vista; Water by the Spoonful at Court Theatre; A Work of Art at Chicago Dramatists Theatre; What We Once Felt with About Face Theatre; Kita & Fernanda with 16th Street Theatre; Esperanza Rising with Chicago Children's Theatre; Two Sisters and a Piano at Apple Tree Theatre; Generic Latina with Teatro Luna; La Casa de Bernarda Alba with Aguijon Theatre. Film/TV credits include: Somebody Somewhere, Paper Girls, Ripple Effects, Chicago Med, Easy, Shameless, Chicago Fire, Mob Doctor, Boss, Chicago Code, Approach Alone, Rooftop Wars, Arc of a Bird, Were the World Mine, Chicago Overcoat, First and Only Lesson, Dogwalker, Rogers Park, Olympia: Manual on How to Live Your Life, Signature Move, En Algun Lugar, Princess Cyd, Single File, Teacher, Hala, Saint Frances, The Rounding, Heartsong, Museum, Last Drop, Single Car Crashes, Adult Children, Ghostlight, Ask a Punk and Kombucha.

Brian King (Sam) was recently seen in HBO's Somebody Somewhere, NBC's The Irrational and Showtime's The Chi. Other TV credits include Chicago Fire, Chicago Med, Boss, Leverage, Empire, Detroit 1-8-7, Crisis, Mob Doctor and Prison Break. His most recent film credits include Candyman, Widows, Man of Steel, Seneca and A Light Beneath Their Feet. Other Chicago stage credits include TimeLine Theatre's Hundreds and Hundreds of Stars, Steppenwolf Theatre's Fair Use, The North Plan and The Drunken City.

Eddie Martinez (Juan) is a member of Teatro Vista Artist Collective previously seen in Parachute Men, Fade and Hope (Victory Gardens and Den Theatre). Other credits include: I Am Not Your Perfect Mexican Daughter, Our Lady of 121st Street (Steppenwolf); Native Gardens (Old Globe); Fade (Denver Center, Cherry Lane, Theater Works Hartford); As You Like It (Denver Center); Big Lake Big City, Cascabel, Circus Quixote (Lookingglass); Rightlynd (Victory Gardens); Bull (Paramount); Ugly Lies The Bone (Shattered Globe). Film/TV credits include: Sense8 (Netflix), Sirens (USA), Chicago Fire (NBC), Shameless (Showtime) Justified: Primeval (FX) and The Dilemma (Universal). Member of Actors' Equity Association.

Ayssette Muñoz (Cynthia) is a Mexican American actor/director from the Rio Grande Valley. In 2015, the Chicago Tribune featured her as one of the "Top 10 Hot New Faces of Chicago Theatre'' and in 2019, she was nominated for "Outstanding Supporting Actor in a Play" from the Alliance of Latinx Theatre Artists of Chicago. She is a proud teaching artist at Steppenwolf Theatre and an Artistic Collective Member at Teatro Vista. Favorite acting credits include: Teatro Vista, Goodman Theatre, Steppenwolf, Chicago Shakespeare Theater, Lookingglass, Rivendell Theatre, A Red Orchid Theatre, Definition Theatre. On-camera credits: The Bear, Chicago Med, Chicago P.D. Associate directing credits: Arthur & Friends Make a Musical (Marriott Theatre), An Educated Guess (Definition Theatre, Jeff Recommended), Somewhere Over the Border (Teatro Vista, Jeff Recommended, winner of Best Director, Best Ensemble and Best Production of a Musical) Represented by Big Mouth Talent. ayssettemunoz.com

Paloma Nozicka (Xochi) is thrilled to make her Teatro Vista debut. Chicago theatre credits (selected): The Thanksgiving Play (Steppenwolf Theatre Company), Teddy Ferrara (Goodman Theatre); Native Gardens (Victory Gardens Theatre); Bobby Clearly (Steep Theatre); The Harvest (Griffin Theatre); In the Canyon, The Light Fantastic, Exit Strategy, Long Way Go Down (Jackalope Theatre Company). Regional: Citizen Detective (Geffen Playhouse); Boeing Boeing (TheatreSquared). Television: The Irrational, Chicago Med, Proven Innocent, Chicago P.D., The Red Line, Empire. Nozicka was a 2023 Jeff Awards nominee for "Best New Work" for her play Enough to Let the Light In. She is a member of the TVP collective, a Jackalope Theatre Company member and a proud member of SAG-AFTRA.

Yona Moises Olivares (Sebastian) Chicago: Much Ado About Nothing (Chicago Shakespeare Theater); Sanctuary City (Steppenwolf Theatre Company); Gender Play, or what you Will (About Face Theatre); Anna in the Tropics (Remy Bumppo); Same Sects (Haven Chicago); When Harry Met Rehab (Greenhouse Theater). Regional: Anna in the Tropics, The Winter's Tale (American Players Theatre); How to Defend Yourself, We've Come to Believe, A Christmas Carol, Dracula (Actors Theatre of Louisville). Education: University of North Carolina at Chapel Hill.

Accessibility:

Steppenwolf's 1700 Theater is equipped with an induction hearing loop and assistive listening devices (ALDs) are available upon request. Our building features wheelchair-accessible seating and restrooms, push-button entrances, a courtesy wheelchair, and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/plan-your-visit/accessibility or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information:

The LookOut Series is supported in part by the Walder Foundation. United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul M. Angell Family Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, Walder Foundation, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Steven and Nancy Crown, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, Joyce Foundation, Harold and Mimi Steinberg Charitable Trust, The Orlebeke Foundation, Polk Bros. Foundation, Bryan Traubert and Penny Pritzker, Sacks Family Foundation, Smart Family Foundation of Illinois, and Vinci Restaurant. Steppenwolf also acknowledges support from the Illinois Arts Council and the City of Chicago Department of Cultural Affairs and Special Events.

About Teatro Vista Productions:

When the Chicago theater world wasn't ready for us, Teatro Vista Productions made space. For 35 years, we've told true stories that reflect our community. We're not just building on this amazing legacy; we're strengthening and expanding it for the future. Today we continue to actively engage in advocacy that seeks to increase the authentic representations of us on stage and screen.

Teatro Vista Productions believes we are stronger together — across disciplines, across experiences, across mediums, across diasporas. We center our collective of artists at the heart of everything we do. We empower our artists to create with their own authentic voice by providing the tools and resources they need to thrive in the industry. Our work is timely, relevant and authentically reflects our community. Now, as always, We Are Theater With A View.

Lorena Diaz (Executive Director), Wendy Mateo (Artistic Director) and Cruz Gonzalez-Cadel (Associate Artistic Director).

Follow us on Social Media & YouTube to experience the multidisciplinary talents of our Artistic Collective and stay connected to all things TVP! We'll see you there! @teatrovista

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 49 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theater and Chicago's cultural landscape. Founded in 1976, Steppenwolf started as a group of teens performing in the basement of a church. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.