Displaying items by tag: comedy

The Den Theatre today announced its lineup of April 2026 comedy shows at the theatre's Wicker Park stages at 1331 N. Milwaukee Ave., This month's highlights include Sammy Obeid on April 3 – 4 and April 6; Mohanad Elshieky on April 10; Sugar Sammy on April 11; Young Black & Funny on April 16; Adam Conover: Special Taping on April 18; Sarper Güven on April 19, Emma Grede on April 21, Michael Longfellow on April 24 – 25; Tinder Live With Lane Moore on April 26; and Dewayne Perkins on April 30. Tickets are now on sale at www.thedentheatre.com or by calling (773) 697-3830.

Sammy Obeid

Friday, April 3, 2026 at 7:00 p.m. and 9:30 p.m.

Saturday, April 4, 2026 at 6:30 p.m. and 9:30 p.m.

Monday, April 6, 2026 at 6:30 p.m.

Tickets: $31 – $75

Sammy Obeid is a Lebanese-Palestinian American comedian born in Oakland, California. He double majored in business and mathematics at UC Berkeley before turning down a job at Google to pursue comedy full-time. Now the host of Netflix's 100 Humans, he has also appeared on NBC's Last Comic Standing and America's Got Talent, as well as TBS's Conan. He is best known for his world record of performing comedy 1,001 nights in a row, a story featured in Time magazine and The New York Times.

Mohanad Elshieky

Friday, April 10, 2026 at 7:15 p.m. Tickets: $22 – $40

Mohanad Elshieky is a New York-based, Libyan-born comedian who made his national TV debut on Conan and has been featured on The Late Show with Stephen Colbert, Don't Tell Comedy and Comedy Central. He has toured with Pop Up Magazine and is currently a writer/consultant for the hit podcast Wait Wait... Don't Tell Me! He previously wrote for Lovett or Leave It and was one of the hosts of Lemonada's podcast I'm Sorry, where each week they unraveled the latest Twitter gaffes, petty beef and not-so-subtle shade.

He has also been featured in Kumail Nanjiani's Little America book. In 2024, Mohanad was selected as one of the SF Sketchfest Dozen, a spotlight series for comics on the verge of becoming the next big thing. In 2018, he appeared in an episode of Epix's Unprotected Sets and was listed as one of Thrillist's "50 Best Undiscovered Comics." Mohanad was also a digital producer on Full Frontal with Samantha Bee.

Elshieky combines a deceptively laid-back demeanor with a whip-smart perspective on politics and culture. The Portland Mercury called him "an undisputed genius of comedy," and he has been featured on podcasts including Lovett or Leave It, Pod Save The People and Harmontown. He has toured across the country with the critically acclaimed storytelling show Pop Up Magazine. Elshieky zeroes in on topics that seem off limits — then surprises you with how hard you're laughing.

Sugar Sammy

Saturday, April 11, 2026 at 7:15 p.m. and 9:30 p.m.

Tickets: $25 – $55

Sugar Sammy is one of the hottest comedians on the international circuit. The New York Times calls him "a fearless comic with a talent for provoking both laughter and outrage." He has performed more than 2,300 shows in 32 countries.

Described as "fluent in funny" by The Washington Post, he tackles cultural, social and political themes with charm and finesse. He is a master of crowd work and audience interaction.

Sugar Sammy's international television credits include specials broadcast on HBO Canada, Comedy Central Asia, Comedy Central India, CTV, The Comedy Network, The Comedy Channel, Dutch TV and Showtime Arabia. A television star on both sides of the Atlantic, he currently serves as a judge on La France a un Incroyable Talent, France's version of America's Got Talent.

Additional praise includes:

"A fearless comic with a talent for provoking both laughter and outrage." — The New York Times

"Fluent in Funny." — The Washington Post

"Sugar Sammy is a provocateur." — The Guardian

"The funniest man in France is a Quebecer." — GQ France

"Master of the punchline, rhythm and improv." — Télérama

"Comedy's new rock star." — Quotidien

Young Black & Funny

Thursday, April 16, 2026 at 7:15 p.m.

Tickets: $22 – $40

This show is produced by Jasmine Burton and Benny Nwokebia.

Jasmine Burton is a barred attorney from Los Angeles living and working in Washington, D.C. She has performed stand-up throughout the DMV, including Room 808, Hotbed, DC Comedy Loft, The Port and DC Improv, and has opened and hosted for Matt Rife, Lil Rel, Zainab Johnson, Tony Woods, Aida Rodriguez, Earthquake and Stavros Halkias, among others seen on Netflix, HBO and Comedy Central. A blend of West Coast and East Coast swagger, Burton is best known for her high energy, punchlines and infusion of the law and her life experience into her comedy. She brings an edgy, witty and intellectual humor that keeps audiences at the edge of their seats — or falling out of them.

Born in Washington, D.C., Benny Nwokebia is half Nigerian and half Ethiopian and grew up overseas in Geneva, Switzerland. He has performed in New York City (Broadway Comedy Club, Stand NY, Greenwich and others), Washington, D.C. (DC Improv, Comedy Loft, Hotbed, Drafthouse and others), and internationally in Switzerland, Mexico and Canada (Zoo Fest, Just for Laughs). He has worked with Matt Rife, DeRay Davis, Nate Jackson, Zainab Johnson, Josh Johnson, Ian Lara and Tony Woods, among others. Most recently, he took second place in the 2023 Seattle International Comedy Competition. He was named runner-up in the Magooby's 2022 Comedian of the Year competition and winner of DC Improv's Comedy Kumite competition.

Adam Conover: Special Taping

Saturday, April 18, 2026 at 7:15 p.m. and 9:30 p.m.

Tickets: $25

Adam Conover is a comedian and the creator, writer and star of the hit series Adam Ruins Everything, an educational comedy that dispels common misconceptions. The New York Times calls it "one of history's most entertaining shows dedicated to the art of debunking" and refers to Conover as a "genial provocateur." On YouTube, his videos have amassed millions of views.

In 2022, his series The G Word premiered on Netflix. Produced in partnership with Barack Obama's Higher Ground Productions, it pulls back the curtain on how the federal government works using comedy and documentary storytelling.

Conover also hosted the Nickelodeon game show The Crystal Maze and recurs on the animated series BoJack Horseman and Tuca & Bertie. As a stand-up comedian, he performs regularly in top comedy clubs and colleges across the country.

Sarper Güven
Sunday, April 19, 2026 at 2:30 p.m., 5:00 p.m., and 7:15 p.m.
Tickets: $30 – $55

Sarper Güven first gained worldwide attention as a reality TV star on TLC's hit show 90 Day Fiancé, where his bold personality and unique humor made him an unforgettable cast member. His presence on the show built him a strong international fanbase that now follows him to the comedy stage.

​​Quickly breaking into the U.S. stand-up scene, Güven delivers nearly one-hour sets filled with sharp, unapologetic takes on relationships, the struggles of marriage and the cultural differences of American life. His high-energy, fearless style and international perspective have already made him one of the fastest-rising comedians to watch.

Emma Grede: Start With Yourself Book Tour

Tuesday, April 21, 2026 at 7:15 p.m.

Tickets: $22 – $70

Emma Grede is the ultimate modern mogul, turning big ideas into some of today's most influential consumer brands. She is the co-founder and CEO of Good American, a founding partner of SKIMS, the co-founder of Safely and Off Season, and the voice behind the Aspire with Emma Grede podcast.

A leader with purpose, Grede also lends her time and expertise to global impact organizations, serving on the board of directors for the Obama Foundation and Baby2Baby, and recently became a King's Trust Ambassador. Her journey proves that success and substance go hand in hand.

Grede lives in Los Angeles with her husband, Jens, and their four children.

Michael Longfellow

Friday, April 24, 2026 at 7:15 p.m. and 9:30 p.m.

Saturday, April 25, 2026 at 7:15 p.m. and 9:30 p.m.

Tickets: $22 – $40

Michael Longfellow is a comedian and stepson from Phoenix who completed three seasons as a cast member on Saturday Night Live. Prior to SNL, he was one of eight comedians chosen for the inaugural "Netflix Introducing..." Next Stars of Comedy showcase at the Netflix Is a Joke Festival. He was also selected as one of TBS's "Comics to Watch" at the New York Comedy Festival and went on to make his late-night debut on Conan. He was a favorite on NBC's comedy talent series Bring the Funny. Longfellow regularly tours festivals and clubs around the country.

Tinder Live With Lane Moore

Sunday, April 26, 2026 at 7:15 p.m.

Tickets: $22 – $50

Tinder Live! With Lane Moore is the critically acclaimed comedy show where Moore projects her dating app onto a screen, swipes through profiles live on stage, and the audience votes whether she swipes right or left, to cathartic, hilarious and surprisingly kind results.

Tinder Live is known as one of the best comedy shows around, selling out shows across the United States and Canada, headlining festivals such as SF Sketchfest, and maintaining a long-running monthly residency in New York City. The show has been named a critics' pick for Best Comedy Show by The New York Times, The Atlantic, Spin, The Guardian, Paper, VICE, Paste, Fast Company, Cosmopolitan, The Washington Post, Entertainment Tonight, Good Morning America, New York Magazine, The New York Post, Time Out, HuffPost, CBS and New York Observer.

Tinder Live regularly features special guests including David Cross, Janeane Garofalo, Anna Faris, Paul F. Tompkins, Amber Tamblyn, Sasheer Zamata, Ed Solomon, Lamorne Morris, Busy Philipps, David Koechner, Jon Glaser, Hari Kondabolu, Aparna Nancherla, Mara Wilson, Stacy London, Ashley Nicole Black, Jo Firestone, Laura Benanti, Amanda Knox, Stephanie March, James Urbaniak, Lizz Winstead, Heather Matarazzo, Scott Adsit, Grace Helbig, Sondre Lerche, JD Samson, Jean Grae and more.

Praise for Tinder Live With Lane Moore includes:

"Truly addictive entertainment... it's ingenious. The way she manipulates tone and pace reveals an artist supremely confident in her form." — The New York Times

"Tinder Live is great, it's so funny. Fantastic. Highly recommend." — David Cross

"Consistently funny. One of the best comedy shows around." — Vulture

"Compassionate and hilarious... it's a smash." — Spin

"A hilarious comedy show. Moore isn't cynical about love; she's just put in a lot of time in the trenches." — New York Magazine

"Tinder Live captures all the magic of this truly ridiculous era in app-based dating in real time. You'll relate to Moore's live-swiping and laugh at her reactions and messages to would-be suitors." — Vulture

"Blisteringly hilarious. In anyone else's hands this could feel mean-spirited, but Moore makes it cathartic, a bracing comedic espresso shot." — Brooklyn Based

"Tinder Live makes light of just how absurd and soul-sucking swiping through an endless procession of other human beings can become. Moore expertly steers the crowd from mean-heartedness to substance with each match." — VICE

Dewayne Perkins: How Being Black And Gay Made Me Better Than You!

Thursday, April 30, 2026 at 7:30 p.m.

Tickets: $22 – $40

Dewayne Perkins is a writer, producer, actor and comedian who has emerged as one of the most-watched Black creatives in film and television today. Named one of Variety's "Comics to Watch," Vulture's "Comedians You Should and Will Know," and one of The New York Times' "Queer Young Comics Redefining American Humor," Perkins has steadily built his comedic portfolio over the years. His work has earned him Emmy, WGA and NAACP Image Award nominations.

Perkins currently stars opposite Seth Rogen in the critically acclaimed, award-winning Apple TV+ comedy series The Studio, which premiered March 26, 2025, and quickly emerged as one of the most celebrated freshman comedies of the year. The series made history as the most Emmy-winning first-season comedy series of all time, earning 13 Emmy Awards, including Outstanding Comedy Series. His role in The Studio followed his appearance opposite Keke Palmer and SZA in Sony's feature film One of Them Days, which was hailed by critics and earned a 100% score on Rotten Tomatoes.

In 2023, Perkins co-wrote, produced and starred in the award-winning feature film The Blackening (Lionsgate), based on his Comedy Central digital short of the same name that went viral with more than 15 million views. The film premiered as a 2022 Toronto International Film Festival Midnight Madness selection and was theatrically released in June 2023. The Blackening earned nominations from the NAACP Image Awards for Outstanding Ensemble Cast in a Motion Picture, the GLAAD Media Awards for Outstanding Film and the Black Reel Awards for Outstanding Ensemble. Perkins received individual nominations for an NAACP Image Award for Outstanding Breakthrough Creative (Motion Picture) and a Black Reel Award for Outstanding Breakthrough Performance. He is currently developing a sequel with MRC and Lionsgate alongside Tracy Oliver and E. Brian Dobbins.

Additional writing credits include Netflix's The Break with Michelle Wolf, Fox's Brooklyn Nine-Nine, and Peacock's The Amber Ruffin Show, which earned him an Emmy nomination. He also holds producing credits on Brooklyn Nine-Nine, Peacock's Saved by the Bell, and Amazon's Sausage Party.

As an actor, Perkins has appeared on Netflix's The Upshaws, Peacock's Saved by the Bell, and IFC's Sherman's Showcase. He has written for the WGA Awards, The Webby Awards and the White House Correspondents Dinner, where one of his jokes was listed in The New Yorker's "Best Jokes of 2018."

As a stand-up comedian, he has been named one of Comedy Central's "Up Next" comedians, a 2019 "New Face" at the Just for Laughs Festival in Montreal, one of Time Out New York's "Breakout LGBTQ Comedians to Watch," and was a finalist on NBC's Stand Up. He has also performed at Comedy Central's Clusterfest, SF Sketchfest and NBC's Breakout Festival.

Perkins splits his time between New York and Los Angeles, where he continues to develop multiple projects.

Broadway In Chicago is is delighted to announce that tickets for SPAMALOT will go on sale on Friday, February 27. SPAMALOT will play Broadway In Chicago’s CIBC Theatre (18 W. Monroe St.) for a limited two-week engagement, May 19-31.SPAMALOT tour production photos here, rehearsal footage here, and B-roll hereSPAMALOT, which first galloped onto Broadway in 2005 after its 2004 world premiere in Chicago, features a book & lyrics by Eric Idle and music by John Du Prez and Eric Idle. The original Broadway production was nominated for fourteen Tony Awards and won three including Best Musical. Following its critically acclaimed 2023 Broadway revival at the St. James Theatre in NYC, SPAMALOT is now on an all-new North American tour. Under the direction and choreography of Josh Rhodes , the production was praised for its inventive staging, design, and exceptional performances, reaffirming the enduring appeal of Monty Python’s distinctly British wit and comedic brilliance. The Broadway revival now brings its celebrated production to audiences across the country. The tour will travel to more than 30 cities in its first year including Cleveland; Los Angeles; Washington, D.C.; Las Vegas; San Francisco; Seattle; Denver; Atlanta; Dallas; New Orleans; St. Louis; Houston; Ft. Worth; Charlotte; Schenectady; St. Paul, Greenville; Rochester; Milwaukee; Hartford and Costa Mesa. For more information, please visit www.spamalotthemusical.com. 

The cast includes Major Attaway (Aladdin) as King Arthur, Sean Bell (Harmony) as Sir Robin, Chris Collins-Pisano (Forbidden Broadway) as Sir Lancelot, Ellis C. Dawson III (Hamilton) as Sir Bedevere, Leo Roberts (Les Misérables) as Sir Galahad, Amanda Robles as The Lady of the Lake, Blake Segal (Mary Poppins) as Patsy and Steven Telsey (The Book Of Mormon) as The Historian/Prince Herbert.The cast also includes Lindsay Lee Alhady, Delaney Benson, Jack Brewer, Connor Coughlin, L'ogan J'ones, Graham Keen, Claire Kennard, Ben Lanham, Nathaniel Mahone, Maddie Mossner, Emilie Renier, Mark Tran Russ and Meridien Terrell.  The creative team includes scenic and projection design by Paul Tate dePoo III, costume design by Jen Caprio, lighting design by Cory Pattak, sound design by Kai Harada & Haley Parcher, wig design by Tom Watson and music supervision by John Bell. Jonathan Gorst is the Musical Director/Conductor. The team also includes Matthew Brooks (Production Stage Manager), Anna K. Rains (Stage Manager) and Dani Berman (Asst. Stage Manager), James Neal (Company Manager) and Kat McIntyre (Asst. Company Manager). Derek Kolluri is the Associate Director, and Michael Fatica is the Associate Choreographer. Casting is by Geoff Josselson, CSA and RCI Theatricals serves as General Manager. SPAMALOT is produced by Jeffrey Finn.
 
Lovingly ripped off from the film classic, Monty Python and the Holy Grail, SPAMALOT has everything that makes a great knight at the theatre: from flying cows to killer rabbits, British royalty to French taunters, dancing girls, rubbery shrubbery, and of course, the Lady of the Lake. SPAMALOT features well-known songs including “Always Look on the Bright Side of Life,” “The Song That Goes Like This,” “Find Your Grail” and more that have become beloved classics in the musical theater canon.   
 

www.spamalotthemusical.com

CONNECT WITH SPAMALOT
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Instagram: @spamalotbway
X: @SpamalotBway
Facebook: @SpamalotBway
TikTok: @SpamalotBway

PERFORMANCE SCHEDULE
Tuesday, May 19 – 7:00 p.m.
Wednesday, May 20 – 7:00 p.m.
Thursday, May 21 – 7:00 p.m.
Friday, May 22 – 7:00 p.m.
Saturday, May 23 – 2:00 p.m. & 7:30 p.m.
Sunday, May 24 – 1:00 p.m. & 6:30 p.m.Tuesday, May 26 – 7:00 p.m.
Wednesday, May 27 – 1:00 p.m. & 7:00 p.m.
Thursday, May 28 – 7:00 p.m.
Friday, May 29 – 7:00 p.m.
Saturday, May 30 – 2:00 p.m. & 7:30 p.m.
Sunday, May 31 – 1:00 p.m.TICKET INFORMATION (as of February 26, based on availability and subject to change)

Individual tickets for SPAMALOT will go on sale Friday, February 27 and range from $35.00 - $125.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the  Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway  Playhouse at Water Tower Place.
 

For more information and tickets, visit www.BroadwayInChicago.com.
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As a longtime comedy fan, seeing a show at Second City has been on my bucket list for years, so when the opportunity to attend Black and Highly Flavored came up, I jumped at it. That excitement, however, was paired with some hesitation: I questioned whether I was the right person to review a show rooted in experiences I do not personally share. By the end of the night, after laughing until I cried, those concerns were completely put to rest.

At a time when diversity in comedy too often comes at the expense of BIPOC performers rather than celebrating their lived experiences, Black and Highly Flavored stands out as a rare gem. Now in its fourth year as Second City’s Black Excellence Revue, the show is a sharp and joyful two-act performance that blends sketch comedy, improv, music, and dance to uplift Black artists while remaining accessible, engaging, and enjoyable – and even relatable – for everyone in the audience.

Jam-packed from start to finish, this comedy show includes upwards of 20 sketches, ranging in length from a few minutes to as short as 15 seconds. The content of the skits is just as wide-ranging, pulling from everything from 70s laugh-track sitcoms to ChatGPT, and from John Steinbeck to Janet Jackson. With such varied material, it’s inevitable that not every joke lands with every audience member; however, the lightning-fast pacing of the show means that even if a joke doesn’t land for you, the show has already moved on to its next laugh.

Not only are the scripted parts of the show hilarious, but it also features improvisation at many points throughout the night. Black and Highly Flavored is particularly smart about how and where improv is incorporated, utilizing the famously divisive style of comedy to connect with the audience through tailored, rapid-fire one-liners, maintaining the polish of the longer, scripted skits.

Under the direction of Julia Morales, the six-person cast is stellar, and each actor truly brought their own distinct charm to the show. Tyler Vanduvall delivers off-the-charts physical comedy to the stage, throwing himself – sometimes literally – into every role, human or not. Kimberly Michelle Vaughn wears her heart on her sleeve on stage, exuding talent and joy, as she sings, dances, and laughs like no one is watching. Lauren Walker’s characterization is unmatched, making every one of her (many, many) roles just as animated and memorable as the last. EJ Cameron engages with the audience like no other, skyrocketing the intimacy of the show through his charisma alone. Jillian Banks is spunky and larger-than-life, adding both laughs and layers to any scene she’s in. Last, but certainly not least, is Jason Tolliver: the improv king of the night. Tolliver is sharply funny – and he knows it – allowing his genuine self-amusement to shine through on stage, making you laugh first at the joke, and then again at his reaction to himself.

Although not technically complicated, Black and Highly Flavored’s production was incredibly well planned and curated. Every lighting cue, sound effect, prop, and costume felt perfectly curated to the skit without overwhelming the show. The use of screens on stage was balanced well to be additive, rather than taking away from the joys of real-life theatre by being overbearing. The production from start to end was incredibly well-paced, void of any painful transitions or dead moments. This is undoubtedly a team effort but could not have been accomplished without Music Director and live musical performer Cesar Romero, who both beautifully and comedically underscored the whole evening. Add to that an in-your-seat food and drink menu, and Second City’s UP Comedy Club might just have it all!

Black and Highly Flavored is running at Second City’s UP Comedy Club on Thursdays and Fridays through March 20th. Tickets are available at www.secondcity.com/shows/chicago/the-second-city-black-excellence-revue-chi.

Paul Slade Smith’s Unnecessary Farce - a 2006 comic whirlwind that is fast becoming a modern staple of the genre - lands with full force in Buffalo Theatre Ensemble’s lively production at The McAninch Arts Center in Glen Ellyn. The show is a reminder of how exhilarating a well‑constructed farce can be when every door slam, double‑take, and spiraling misunderstanding is executed with precision.

The setup couldn’t be more straightforward: two green cops stake out a bargain‑basement motel, poised to catch a small‑town mayor admitting to embezzlement. The camera is trained on the adjoining room, the accountant is prepped to draw out the confession, and everything should go smoothly. Naturally, it doesn’t. What follows is an avalanche of mistaken identities, disappearing clothing, and panicked improvisation as characters burst through the wrong doors at precisely the wrong time.

Smith’s script operates like a beautifully rigged Rube Goldberg machine of mayhem, each beat triggering the next with wicked precision. The comedy lands not because anyone is a cartoon, but because these poor, well‑meaning souls are desperately – hilariously - outmatched by the situation. And just when the chaos feels like it can’t possibly escalate further, in stomps a thick‑accented Scottish hitman, sending the whole affair hurtling into a delirious, side‑splitting crescendo that has the audience laughing at both the gags and the sheer engineering genius behind them.

The production thrives on the strength of a sharply attuned ensemble, each performer bringing a distinct spark that fuels the play’s escalating hilarity. Lisa Dawn, as the ever‑frazzled accountant Karen Brown, and Brad Lawrence, playing the straight‑laced Officer Eric Sheridan, ignite the evening with a rhythm that blends sharp comedic timing and buoyant physicality. Their energy sets the tone long before Frank Nall ambles in as Mayor Meekly, whose beautifully understated, steady presence becomes even funnier as he’s swept - again and again - into one absurd predicament after another.

Laura Leonardo Ownby, as the ever‑eager Billie Dwyer, injects the show with a burst of quick‑witted, slightly off‑kilter energy that’s instantly endearing. There’s a touch of Julie Hagerty in her wide‑eyed charm—funny, irresistible, and just unpredictable enough to keep the audience leaning in. When she hits her big moment, she lands it so cleanly and with such delightful abandon that the crowd breaks into spontaneous applause. Stepping in for Robert Koon for this performance, David Scott Crawford takes on the role of Todd with an easy confidence and a nimble, quick‑thinking presence. He slips into the ensemble’s rhythm without a hitch, matching their pace and tone so naturally that the substitution feels entirely organic.

Doreen Dawson, as Mary Meekly, offers a warm, steady presence that subtly elevates the entire ensemble, giving every twist, turn, and impeccably timed door‑slam an extra spark of comedic payoff. And closing out the company, Bryan Burke storms in as Agent Frank - uproariously funny and armed with expertly dialed‑in bluster that sends the chaos over the top in the best possible way. He leans into the character’s bluster and bravado with such sharp comic instinct that every entrance, line, and reaction becomes its own little punchline. Burke’s presence adds a final, satisfying jolt of absurdity to the ensemble’s chaos. I remember really enjoying his performance in Buffalo Theatre Ensemble’s Native Gardens. That same sharp instinct for timing and that wonderfully unforced comedic presence show up again here.

Together, this ensemble operates like a finely tuned comic engine - fully committed, perfectly synchronized, and clearly delighted by the demands of farce. Their collective precision makes the escalating madness feel effortless, transforming the production into something that doesn’t just execute farce, but celebrates it.

Superbly directed by Kurt Naebig, Buffalo Theatre Ensemble embraces the play’s breakneck rhythm and gleeful silliness, delivering a production that feels both tightly engineered and joyfully unhinged. It’s the kind of show that rewards timing, commitment, and a willingness to lean into the ridiculous - and this staging at The MAC does exactly that.

A crowd‑pleaser from start to finish, Unnecessary Farce proves once again that when farce is done right, it’s irresistible.

For tickets and/or more show information, visit https://atthemac.org/events/unnecessary-farce/.

When the sun plays peek-a-boo and a pre-winter chill settles over Chicagoland, locals inevitably look for ways to warm their hearts as well as their fingers and toes. It’s during this time of year that locals venture indoors and when the Chicago theatre scene offers respite from the bitter cold. Like a favorite holiday treat, there are dozens of choices available to seekers of light and warmth, from recurring favorites and classic retellings to original plays and immersive theatre. There is no better way to celebrate the season and to lighten spirits than a good hearty laugh, or two, or three, or so many your sides hurt the next day. You’ll find no better way of warming up this December than seeing the deliciously dirty fairytale that is Rapornzel now playing at the Hoover-Leppen Theatre.

Rapornzel (yes, you read that right, it is not a typo) is a panto-style reimagining of the classic fairytale of Rapunzel. Many years ago, the King and Queen of a far-off kingdom were blessed with a baby girl with long, magical, downstairs hair. One day, the jealous witch Mother F**ker kidnapped the child and locked her in a tower, selfishly squandering her merkin magic for herself. With the help of local hairdresser Dame Fanny Follicle, her thick-as-s**t son Pascal, the dashing Prince Ride-her, and the Hairy Fairy, will Rapornzel ever come out?

If you couldn’t glean it from the title, Rapornzel is a serious-unserious play. Serious in the fact that the cast and crew put on a spellbinding, side-splitting comedic performance, but unserious to ensure the audience was able to escape the bitter cold reality for a few short hours and simply enjoy a hilarious performance. The story is written in the pantomime style or “panto.” Panto is a theatrical performance style dating back to the 1700s, traditionally performed around Christmas time. The popular form incorporates song and dance, exaggeration, and fourth wall breaks to tell a story. It often interchanges slapstick puns heavy with innuendos and groan-worthy dad-jokes to break the monotony of traditional theatre. Critical to the success of these comedic shows is audience participation. It’s highly encouraged to react and respond to the actors on stage, think “booing” the villain, “cheering” the hero, and responsive questioning from the actors such as: “Chicago is so cold…” to which the audience responds: “How cold is it?” wherein the actors then deliver a witty or punny joke in the tale that may or may not make you laugh, guffaw, or simply groan at how bad it is (in a good way). Panto is not for everyone, nor are puns or dad jokes, but in the Vonnegut style approach of moving the story along, it’s difficult not to enjoy, and even an ostrich chuckle at least once.

But when it comes to Rapornzel, I guarantee you’ll laugh more than once. Rapornzel is what you get if you take a fairytale and remix it with a book of dad-jokes, throw in a general use of 1980s musical bangers, and finish it with the dry wit of 2025. Rapornzel is one of the many bawdy, silly, and immensely entertaining pantomime scripts written by professional performer-writer Tom Whalley. The writer’s works have become a popular holiday season tradition at PrideArts, joining the ranks of Whalley’s other works like Jack Off The Beanstalk, Sleeping with Beauty, and Throbbin Wood. With unimaginable R-rated puns, pop songs, and audience participation, Rapornzel follows a growing holiday tradition within PrideArts. This year’s production is exceptionally acted by Chicago talent like Jeremy Cox, who plays Hairy Fairy Dandruff, Peter Moeller as the local hairdresser Dame Fanny Follicle, and the sexy and incomparable Gina Cioffi as the evil Mother F**ker who kidnaps Rapornzel. For those still tepid about the play or the panto style, don’t worry, the skilled actors utilize their quick wits, improvisation skills, and comedic timing to make this production enjoyable for all, never overstepping where they sense timidity. They read and respond to the audience to both give and get energy to move the story along and draw out a smile from even the most austere theatre goer.

Therein lies the beauty of this type of theatrical play. Whalley’s style of Panto grants permission to the audience to simply lighten up, be silly, and share some laughs. In short, in its seriousness to stage a good production, it masterfully creates a space to be supremely unserious. There aren’t many theatrical stylings that can pull that off these days. 2025 has been wrought with ill humor, tired remakes, and uninspired sequels. It’s refreshing and welcome to see a production that doesn’t take itself too seriously while still representing Chicago theatre, PrideArts, and the theatrical community well. The actors, panto, and Rapornzel itself, beg the attendees to lighten up. It reminds us that we don’t always need to seek hidden meaning between the witty one-liners, and we don’t need to laugh at every joke we’ve heard at countless Thanksgiving tables by distant relatives. We should endeavor to seek out light and warmth as the days grow shorter and the darker nights descend. Rapornzel beckons Chicagoans inside and endeavors to thaw critical hearts this holiday season. It’s a healthy reminder that it’s okay to shout, especially when asked or directed to do so. It’s fine to laugh or simply smile. And it’s encouraged, and I daresay desperately needed, to remember that nothing, including fairy-hairy-overly-share-y-tales, is really that serious. Funny, yes. Serious, no. That in and of itself is a gift.

 Rapornzel is playing for a short while longer through December 14^th at the Hoover-Leppen Theatre in Center on Halsted (3656 N. Halsted, Chicago). Grab your winter jacket and your tickets today, available at www.pridearts.org, and warm up with a few hearty belly laughs guaranteed to shake away your winter blues.

Head to The Second City for a fast, funny, one-of-a-kind night of comedy. The legendary theater announces Thank You, Goodnight, a brand-new production running October 3 – 24 at 7 p.m. in Donny's Skybox Theater. Directed and created by former Mainstage director Rob Wilson, the show combines Chicago's sharpest stand-up with world-class improv for an experience you won't find anywhere else.

Audiences will first catch killer stand-up sets from some of the city's most acclaimed comics. Sam Birru (Just For Laughs, Laugh Factory, Zanies), Kristen Toomey (Netflix is a Joke, Kevin Hart's LOL), and Kellye Howard (Comedy Central, Last Comic Standing) are among the standout performers taking the mic.

Then, The Second City's all-star improvisers jump in, spinning those sets into brand-new, never-to-be-seen-again scenes. It's the best of both worlds—stand-up and improv—rolled into one high-energy show that's fresh every single night.

Thank You, Goodnight is comedy you can't see anywhere else—because it's different every time, and it's only at The Second City.

Tickets start at $20 and are available at www.secondcity.com. Donny's Skybox Theater is located at 230 W. North Avenue. 

About The Second City
The Second City opened its doors in 1959 as a small comedy cabaret and has since grown to become the world's most influential name in improvisation and comedy. Celebrating 65 years of legendary comedy, The Second City's stages, Touring Companies, and Training Centers across North America have proudly been the launch pad and artistic home for many of the funniest performers, writers, directors, and comedic minds on the planet. For more information, visit SecondCity.com

I walked into Steppenwolf Theatre not really knowing what to expect when going to see their new play Noises Off. Turns out, admittedly, I have never heard of the comedic art of British Farce or the original 1982 play by English playwright Michael Frayn called Noises Off. My only goal when selecting this play was to laugh and enjoy my time. I can successfully say that I did laugh a lot, and I enjoyed my time, but it took some time to get there.

The comedy show, directed by Anna D. Shapiro is a play-within-a play with a cast acting as actors, backstage crew and the director of the show preparing for an upcoming play called ‘Nothing On’. The show begins with the opening scene of actress Dotty Otley playing Mrs. Clackett, a housekeeper who is answering the phone while the homeowners are away. This takes place during a late night dress rehearsal just hours away from their opening performance. As the rehearsal carries on, many issues arise amongst the actors and the director. Missed cues, wrong lines, broken doors and lost props drives the cast into a mess. Meanwhile, drama unfolds amongst the cast with secret relationships, personal problems, and the mounting pressure of getting the show right.

The beginning of the show feels a bit confusing, having little context as to what is going on. All of the characters enter on and off the stage, while carrying two identities between their actor character and their play character. This constant movement and character changes make it a bit challenging to follow. By the end of the first act, I got the gist of what was happening and who each of the characters were.

Act I of the show is about the horrendous dress rehearsal that sets the stage and gives you an inside look at the drama and affairs amongst the cast. Act II takes you backstage, where chaos erupts during their opening night performance. And Act III brings you back to the front stage with one of the final shows for the cast. Out of the three acts, Act III is by far the best. All of the preparation, failures, and drama reaches a climax with a dizzying final performance with everything that could go wrong in a play. I found myself laughing along with the majority of the crowd during Act III.

The Steppenwolf Theatre stage hosts the set of the ‘Nothing On’ play the actors are preparing for. The set is the inside of an old British home with a staircase and many, many doors waiting to be slammed. The stage smoothly rotates between acts as you move to the front and back stages. The stage design works well for the show and gives enough dimension to keep things interesting.

I am thoroughly impressed by the cast in this show. Each actor seamlessly switches in and out of their play characters without error. Most of them carry the British accents well, while others could finesse it a bit more. By the third act, the actors were flying off and on stage, changing props, exchanging lines and swapping characters rapidly. I felt my head spinning and was shocked by each actor’s ability to carry on at that pace.

Rick Holmes who plays the Director of the play named Lloyd brilliantly captures the God complex a stereotypical play director holds. He’s condescending, pessimistic and truly vain. Holmes is convincing in his role as the director, and he exudes the distasteful personality of a narcissistic director who gets inappropriately involved with his cast. Meanwhile the cast in the ‘Nothing On’ play is a mixed bag of over-confident, lackadaisical, overly emotional, and dramatic personalities. Each character has a unique personality, which is entertaining to watch as the drama unfolds.

One standout cast member is Andrew Leeds who plays Garry Lejeune and his character Roger Tramplemain. Leeds is a quirky actor who is confident in his role and questions the director on a few of his decisions. I found Leeds to be the most exaggerated character with ridiculous behavior and a very convincing fall down the long staircase. He is quick in his character’s actions and is hilarious in his lines. He seems experienced in all things farce comedy and effortlessly switches in and out of his Garry and Roger roles.

Izumi Inaba’s costume design for the show embraces the 70s era style for the ‘Nothing On’ play with bright vibrant patterns. Each costume accurately portrays the characters each of the actors were playing. Some of the costume pieces eventually become props in the show and work as comedy pieces.

This production runs approximately 2 hours and 40 minutes with two short intermissions. The show itself feels a bit long between the first two acts but quickly picks up speed by Act III. I recommend getting to the theatre early and grabbing a drink and a small snack at the front bar.

As mentioned before, this show is based on a British farce comedy and the touring production of a bedroom farce. Farce is a style of comedy that heavily relies on physical and sometimes violent humor and ridiculous highly exaggerated situations. This show is well suited for adults who are into slapstick comedy and find “Monty Python and the Holy Grail” funny. Not to mention this show is loud in parts. There is a lot of door slamming and the play is ironically named Noises Off. I found this show to be pretty funny as I picked up on farce humor. This show is truly chaotic, stressful, a tad confusing and just downright absurd in the best way.

Noises Off, a Co-Production with Geffen Playhouse, is now playing at the Steppenwolf Theatre Company located at 1650 N Halsted Street in Chicago. This show will run from September 12th to November 3rd. Showtimes include 7:30 p.m. Tuesdays-Saturdays and 3:00 p.m. Saturdays and Sundays. Single tickets for the show range from $20-$148 and are now on sale at steppenwolf.org and at the Box Office at (312)-335-1650.

It’s a truth universally known that the holidays aren’t always a great time for everyone. Holiday traditions and expectations can often leave us feeling emotionally void or overwhelmed, particularly with how bleak 2023 has been for so many. But in every darkness there is joy to be sparked and light to be found, if one is willing to look for it. This holiday season I discovered a shining light in the The Jinkx & DeLa Holiday Show at Auditorium Theatre. 

The Jinkx & DeLa Holiday Show is an internationally acclaimed holiday variety show returning to Chicago following the massive success of their previous holiday tours. Co-written, co-created, and starring global drag icons and RuPaul’s Drag Race stars BenDeLaCreme and Jinkx Monsoon, fans braved the winter cold to witness a fabulous spectacle, whip-smart comedy, and creative song parodies embodying and cleverly critiquing holiday traditions. 

The holiday show harkens back to classic comedy variety shows that used to dominate television and stage. Jinkx and DeLa are an iconic and dynamic duo, with quick and witty banter and humor that is conflict free, a rarity in today’s comedic world. Even more impressive is that the show is entirely helmed by the queens themselves, with BenDeLaCreme in the producer and director’s chairs.  Too often, queer and drag stories are written and produced by people outside of the community. The Jinkx & DeLa Holiday Show and BenDeLaCreme Presents are reminders why authentic queer storytelling is not only necessary but should be widely celebrated. BenDeLaCreme says, “With all the hatred, darkness, and misinformation flying around our world today, it is an honor and a privilege to spend the holidays with tens of thousands of audience members each year, creating joyous community spaces where we can gather strength through laughter and celebration. Whether you consider it the most wonderful time of year or the most troubling, we’re here to tell you… you’re right! So let’s make it our own.” Monsoon adds, “It’s been a wild year, so let’s end it wildly. DeLa and I strive to entertain while we enlighten and enliven. The Jinkx & Dela Holiday Show is not only a moment of respite, but also of community, at a time where we need our chosen family and community most of all. So add us to your holiday plans, or let us BE your holiday plans— either way, you’re welcome to join us.”

The Jinkx & Dela Holiday Show is a shining light within the darkness, and truly a magnificent experience. The Auditorium Theatre audience were loyal followers of Jinkx and DeLa, many having seen their 2023 show in multiple cities on their tour, while others were back for their yearly tradition of seeing the iconic duo perform. In talking with Jinkx and DeLa, we learned this year’s holiday show changed the formula of the variety show, pairing the usual sweet vs. spicy duo as a united front, emphasizing the core message of togetherness and unity amidst an ever divisive and polarizing world. At the end of the show, the stars beseeched the audience to carry the joy, laughter, and love exuded and felt throughout the show out into the dark world; to spark that light within others and be the light so needed in the darkness. With everything that has happened in 2023, and the last few years,  Jinkx and DeLa have channeled their worry, frustration, and anxiety into a beautifully crafted show filled with lightness, and have created an enduring and worthwhile holiday tradition sure to be enjoyed for years to come.

Though the tour only visited Chicago for one night, this show is sure to become a staple in Chicagoland, only growing and getting better with time. One of the prevailing themes of this year’s variety show was that while our traditions anchor us to the holiday season, we can consistently look within ourselves and our communities to create new traditions or adapt and grow our old traditions. And most importantly, if we cannot find a light within the darkness, we ourselves can be the light for those around us. I cannot wait to add The Jinkx & Dela Holiday Show a must-see holiday tradition and I’ll see you all there in 2024.

This year’s tour will run through December 30 across the US, UK, and Canada with the show that proves they’re still the reigning “queens of Christmas'' (Entertainment Weekly). Tickets are available at JinkxandDeLa.com. 

It's Mother's Day today and you know what that means, 

It's the day we honor those who rock cool mom jeans.

Don't pretend you don't own some, they're back in fashion, ya know,

So don those old favorites and step out for a show.

Grab your friends, hire a sitter, and venture out to the city,

To see a play that is irreverent, honest, sharp, and so witty.

Mothering figures will rejoice at this theme that’s well understood,

There is nothing quite like MotherFreakingHood!

The musical comedy plays out in two simple acts,

The songs encapsulating straight motherhood facts,

From pregnancy pee sticks and kid drop-off lines,

To postpartum, pharmacology, and teen robotic crimes.

Three women meet while preggers, each one a mom troupe,

Finding love and support with each in the groupe.

Tafadzwa Diener plays Rachel, the excited new mom,

Whose joy is contagious but she’s anything but calm.

Jacquelyne Jones depicts Angie, the Type A CPA,

Planning every minute of kid life like a project ETA.

Leah Marrow plays Marcia, a seasoned mother of three,

She's blunt and uncensored and longs to break free.

Rounding out the ensemble is the great Maya Rowe,

Who plays “everywoman,” and who often steals the show.

Julie Dunlap and Sara Stotts who wrote the music and book,

Understood the assignment and knew just where to look,

For the content and humor that peppered this play,

For the sometimes sad, lonely, and miserable days.

The long lonely nights, the joy and the pain,

That only a mother figure can capture and explain.

It truly takes a village, we make mistakes and we try,

But like motherhood this musical made us laugh more than cry.

MotherFreakingHood! The musical runs through mid-June

Find tickets here and get to Southport very soon,

Buy the tickets to thank all the moms who’ve been there,

Grab a Mom Water, or two, or three (you don’t have to share!)

While we reflect on this day, with the mothers we love,

Be them our own, the ones we make, or the ones now above,

This world would be greyer without them around,

And remember they’ve loved you, from that first ultrasound.

If we can agree on one thing, it’s that we all do good,

In this crazy, fantastic, thing called MotherfreakingHood!