Marking 70 years of bold, expressive movement, American Icons from The Joffrey Ballet shines as a vibrant salute to the choreographers who shaped American ballet and helped define the company’s enduring legacy. Presented at the stunning Lyric Opera House in the heart of downtown Chicago, the program unfolds under the leadership of The Mary B. Galvin Artistic Director Ashley Wheater, MBE, and President & CEO Greg Cameron. With live accompaniment by members of the Lyric Opera Orchestra, the evening feels grand from the very first note.

Act 1 opens with Kettentanz, choreographed by Gerald Arpino, set to music by Johann Strauss Sr. and Johann Mayer. The curtain rises on a large, beautiful tree center stage, instantly setting a tone of elegance and celebration. The women are dressed in flowing pastel dresses that move effortlessly with each turn, while the men match them with buoyant, precise footwork. The live orchestra, including the delicate, beautiful sound of a harp, adds warmth and richness to the entire act. The dancers are often grouped in pairs, completely in sync, creating a sense of harmony and lightness. The overall feeling is joyful and fresh, almost like welcoming spring. While the choreography feels simple and not overly complex, it works in its favor, allowing the dancers’ technique and musicality to shine. One standout is Hyuma Kiyosawa from Nagano, Japan. He moves with sharp yet graceful precision and a swiftness that immediately draws the eye. His energy radiates across the stage, and when he finishes his time in the spotlight, the audience erupts in applause even as the performance continues. Throughout the act, many dancers take turns in short solos, duets, and pairings, with the men effortlessly lifting the women as they glide through the Viennese-inspired choreography.

After a brief 15- minute intermission, Act 2 shifts dramatically in tone with Secular Games by Martha Graham, set to music by Robert Starer. The curtain rises to reveal six male dancers, shirtless, barefoot, and wearing tights, a striking visual that immediately changes the atmosphere. A woman seated behind me audibly gasps “whoa,” and the audience seems just as captivated. The set includes three ropes, rounded seats, and a ball that the men toss between them. The ball cleverly shifts the audience’s focus, highlighting each dancer in turn as they show off both strength and control. The stage feels almost like a gymnastics practice space, and the opening section carries an intense, competitive energy, as though the dancers are vying for attention and dominance. Each man impresses with powerful movements, one even executes a cartwheel, blending athleticism with artistry.

Eventually, the female dancers enter in leotards of varying colors, adding contrast and balance to the stage. The first duet feels deeply emotional, conveying closeness and intimacy through challenging lifts and seamless transitions. As the act unfolds, the choreography becomes more dynamic and layered, with multiple interactions happening across the stage at once. There is an underlying story of desire and rivalry, a male dancer drawn away from one female partner toward another, competition bubbling beneath the surface. It feels as though everyone is dancing to impress, to attract, to win. One standout here is Lindy Mesmer from Blacksburg, Virginia. She moves with grace and strength, especially during lifts where she holds extended poses high in the air with remarkable control. Her presence feels both powerful and poised, capturing the tension and emotion of the piece.

Act 3 transitions into Postcards, choreographed by Robert Joffrey, set to music by Erik Satie. The mood softens immediately. A male and female dancer, dressed in white, the woman in a flowing white dress, begin a tender duet. Anais Bueno from Córdoba, Mexico and Stefan Gonçalvez from São Paulo, Brazil glide across the stage with a slow, romantic energy. An opera singer enters and begins singing live, a beautiful and fitting addition given the Lyric Opera setting. The dance feels intimate, emotional, and filled with love. Their movements are smooth and connected, almost as if they are breathing in unison. It is a quiet, reflective moment in the evening that allows the audience to pause and feel.

After a second intermission, Act 4 brings the final piece, Voluntaries by Glen Tetley, set to music by Francis Poulenc. The curtain rises to a striking image: a giant white sphere speckled with color dominates the background, echoing the tones of the dancers’ costumes. Victoria Jaiani and Dylan Gutierrez begin the pas de deux in silence, moving without music in a way that immediately captivates. Suddenly, the organ erupts with a dramatic sound reminiscent of Phantom of the Opera, filling the theater with an almost eerie intensity. The duet is fluid and daring, their bodies contorting and intertwining with precision and trust. There is something celestial about the staging, the moonlike sphere, the unusual music, the almost otherworldly costuming. As more dancers join in a pas de trois and multiple couples take the stage, the choreography grows expansive and technically demanding, filled with lifts, flips, and sweeping transitions. While the opening moments are mesmerizing, some sections with the larger groups feel slightly repetitive. Still, the athleticism and difficulty of the choreography are undeniable. The piece ends as it begins, returning to the single couple in silence, bringing the evening full circle.

Overall, the two-hour program moves quickly, each act distinct in tone and style, giving the audience just enough time with each choreographer’s vision. The talent within The Joffrey Ballet is truly remarkable, from the precision of classical pairings to the raw athleticism of modern movement. American Icons is a colorful, dramatic, and thoroughly entertaining night at the theater.

Performances run February 19 through March 1, 2026, at the Lyric Opera House, 20 N. Wacker Drive, Chicago. Showtimes include 7:30 p.m. evening performances (Thursday through Saturday) and 2:00 p.m. matinees on select Saturdays and Sundays. Tickets are available through joffrey.org or directly at the Lyric Opera House box office. For anyone looking for an evening filled with live music, emotional storytelling, and truly impressive dancers, this is a performance well worth seeing.

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The Ensemble Español Spanish Dance Theater’s 50th Anniversary Celebration was a gorgeous tribute to the history, culture and romance of Spanish dance. From the moment the dancers stepped onstage I was immediately drawn in by the burst of color, the pulse of the music and the intricate, lightning-fast footwork.

The celebration took place at the Auditorium Theatre in downtown Chicago on Saturday, November 15th at 7:30 p.m. The evening was led by Dame Libby Komaiko Legacy Artistic Director Irma Suárez Ruiz, Executive Director Jorge Pérez and Associate Artistic Director José Torres.

The show opened with a slideshow of Spanish artwork glowing across the backdrop, which then transitioned smoothly into the first dance. Women glided across the stage with scarves swirling around them as the men tapped their heels in perfect rhythm. It was the kind of opening that instantly set the tone for the night.

A live band added an incredible layer of richness. Acoustic guitar, percussion and an emotive vocalist brought the music to life in a way recordings never could. The dancers clapped, tapped and interacted with the music, weaving it into the fabric of their movement. José Moreno’s voice was especially memorable. His singing filled the auditorium and transported me straight to what felt like a summer night in Madrid.

As the show moved through a variety of pieces, I found myself constantly amazed by the beauty and passion onstage. There wasn’t much in terms of staging or decoration, and it honestly wasn’t needed. The dancers were the artwork. The crowd clearly agreed, cheering, clapping and shouting “jaleos” of encouragement throughout the night.

The ensemble moved easily between styles, from fiery flamenco to graceful classical and folkloric suites, plus a bold new work that managed to feel both modern and rooted in tradition. The live music elevated every moment.

One piece that really stood out to me began in a dramatic way. A bright light beamed out into the audience while the stage remained hidden behind a black screen. Slowly a silhouette of a solo dancer appeared and began moving to a flamenco piece performed live behind him. When the screen finally rose and the light shifted, he burst into sharp, precise movements, clapping and striking the floor with the heels of his boots. The crowd erupted when he finished.

The costumes throughout the night were another highlight. Layered skirts, red flowers, elegant high-waisted pants and rich colors brought the dances to life. Castanets clicked rhythmically in the dancers’ hands. Everything felt thoughtfully chosen and rooted in tradition.

Another favorite moment for me was a duet performed by what seemed to be two older dancers. Their chemistry and elegance were magnetic. The woman wore a stunning blue-green gown with a long-ruffled train that she incorporated into the choreography. The dance began gently, then grew in intensity as the music picked up tempo. It was romantic, soulful and beautifully paced. The audience couldn’t help but call out “Ole!” and “Bravo!”

The auditorium was filled with a wonderfully diverse audience, from young kids to older adults and people from all kinds of backgrounds. Everyone came dressed for the occasion and I even spotted a few Spanish-inspired outfits in the crowd. Floral hair clips, flowing skirts, colorful scarves and flower pins added to the festive atmosphere and made the whole night feel even more celebratory.

One thing I did miss was having a more detailed program. It would have been helpful to see a breakdown of each dance, the performers in each piece and the titles of the songs that were played. With so many talented dancers and musicians onstage, a clearer program would have made it easier to recognize who was who and to remember the music afterward. It felt like a small but meaningful detail that could have added even more depth to the experience.

The finale closed the night with a burst of energy. It mirrored the show’s opening with images of Spanish art and then shifted into a large group number. The women wore bright red dresses with yellow underskirts reminiscent of the Spanish flag, while the men wore sleek black suits with red trim. What started as a slow, deliberate piece exploded into fast spins, clapping and zapateado footwork. When the show ended, the entire crowd rose to their feet for a long and well-deserved standing ovation.

What sets Ensemble Español apart isn’t just the talent onstage. It’s the mission behind it all. For 50 years they have been educating, building community and preserving Spanish dance traditions through their youth company, education programs and partnership with NEIU. They don’t just perform this art form. They protect it and pass it on. That heart and purpose shine through every performance.

This anniversary celebration felt like both a homecoming and a fresh beginning. Ensemble Español doesn’t just perform Spanish dance. They live it, breathe it and make it feel alive for modern audiences. Even though this was their only show for the anniversary, I absolutely recommend seeing any of their future productions. It’s a must for dance lovers, cultural enthusiasts or anyone who appreciates the power of movement and music.

For anyone thinking about seeing Ensemble Español, they’ve announced their upcoming Flamenco Passion 2026 series. Performances will take place June 12, 13 and 14 at the North Shore Center for the Performing Arts. The celebration continues June 15 through 20 with Spanish dance classes, seminars, workshops, community performances and a symposium at Northeastern Illinois University and the Old Town School of Folk Music. More details for events will be announced on their website https://ensembleespanol.org/events.

"White Rabbit Red Rabbit" isn’t your typical night at the theater. It’s unscripted, unpredictable, and unlike anything you’ve seen before. Performed cold by a different actor each night, it’s a play that blends humor, vulnerability, and a quiet kind of bravery—both from the performer and the audience.

There are plenty of ways to spend a Sunday or Monday evening, such as relaxing on the couch, cooking something ambitious (or just heating up leftovers), maybe taking a stroll through the park. I, however, choose to spend my Monday night at one of the most surprising and engaging plays I’ve ever experienced. I head over to TUTA Theatre to see White Rabbit, Red Rabbit by Iranian-German playwright Nassim Soleimanpour. Safe to say, I have absolutely no idea what I’m getting myself into.

"White Rabbit Red Rabbit" is an experimental play performed “cold” by a different actor at every show. The catch? The actor has never seen the script beforehand. There’s no rehearsal, no director, and barely even a set. It’s theatre stripped down to the bones: one actor, one script, one shot. Unable to leave his home country, Soleimanpour offers a deeply personal glimpse into his life in Iran and the complex power dynamics at play, not just there, but everywhere.

As the show begins, the actor for the night, Huy Nguyen, opens a sealed envelope containing the script. He introduces himself, then asks the small audience to count off. It’s Soleimanpour’s way of making sure we all know how many people are about to go on this strange little journey together. Final headcount: 30.

Right from the start, it’s clear Nguyen is a gifted performer. He delivers each line with power and clarity, pausing just enough to let the weight or the weirdness of the words sink in. Through his performance, he brings Soleimanpour’s voice to life, striking a balance between humor, tension, and vulnerability with impressive ease.

TUTA company member Huy Nguyen (left) with audience member Robert Bry Hunter.

Those numbered seats aren’t just for counting heads. Nguyen, following Soleimanpour’s instructions, pulls audience members into the performance. Like it or not, we aren’t just watching the play, we become part of it. Each person is assigned a number, a role, and, weirdly enough, a sense of shared responsibility. Before long, the stage fills with everyday people acting out a strange and quietly heartbreaking tale about a rabbit trying to get into a circus. It feels whimsical at first, but the deeper metaphors quickly surface. These surreal moments offer a glimpse into the constraints Soleimanpour faces, using allegory to explore themes of power, obedience, and isolation.

As the performance continues, it becomes clear that "White Rabbit Red Rabbit" is more than just a theatrical experiment. It creates a deeply personal connection with Soleimanpour as he reaches out to share his trauma and vulnerability with the audience. The play explores what it means to lose power not only as a citizen but also as a performer and audience member. Soleimanpour expresses his strong desire to travel and meet the people watching, to connect fully through shared experience. Throughout the show, Nguyen beautifully captures the deep emotions and longings at the heart of Soleimanpour’s story.

One of the wildest things about "White Rabbit Red Rabbit" is how it keeps you laughing. . .until it doesn’t. One minute, Nguyen is running around the stage pretending to be an ostrich. The next, he’s calmly listing ways people commit suicide. It’s emotional whiplash in the best (and most jarring) way. That sudden shift from comedy to darkness really shows the inner chaos Soleimanpour must have been dealing with. He’s clearly trying to make sense of heavy stuff while still holding on to humor and hope.

This was my first time seeing a “cold read” performance, where the actor hasn’t seen the script before stepping on stage. I was genuinely impressed. The whole thing felt unpredictable, not just for the audience but for the actor too. It created this weirdly intimate vibe where we were all discovering the story together. Surprisingly, nothing felt awkward or forced. Nguyen handled it all like a total natural, even in the most bizarre moments. The rawness of the format made everything feel immediate, real, and kind of thrilling.

I highly recommend "White Rabbit Red Rabbit" to anyone who’s spontaneous and looking for something completely different. It’s a one-of-a-kind experience that keeps you guessing. That said, I’d think twice about bringing kids or anyone who might be uncomfortable with sensitive subjects, especially suicide. The show does dive into some heavy themes that may not be for everyone.

The show has a fast runtime of about 70-90 minutes without any intermissions. Make sure to eat dinner before as the small theatre doesn’t have any concessions but do offer drinks in exchange for a theatre donation.

The production is presented by TUTA Theatre, a company known for its bold and experimental approach to theater in Chicago. The show is brought to life by TUTA’s Co-Artistic Director, who also serves as the Artistic Producer for "White Rabbit Red Rabbit."

TUTA Theatre is located at 4670 N Manor Ave in Chicago’s Ravenswood neighborhood. It’s an intimate space, with the show staged in a small back auditorium through a garage entrance. The venue seats about 30 people, which makes the whole experience feel up close and personal.

"White Rabbit Red Rabbit" runs from July 6 through August 11, with shows on Sunday and Monday evenings at 7:30 p.m. Tickets range from $20 to $60. You can grab yours at tutatheatre.org.

*Extended through September 29th

So if you’re free on a Sunday or Monday night, skip Netflix and take a chance on something different. You might walk away thinking a little deeper…and may even begin looking at rabbits a little differently, too.

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

It was a night of celebration, reflection, and breathtaking talent at the Civic Opera House. Fifty years of song echoed through the hall, but it was the future of opera that took center stage. On Friday, April 25, Ryan Opera Center celebrated their 50th Anniversary Season with 11 opera singers in ‘Rising Stars in Concert’. The concert hosted by the Lyric Opera House served as a moving tribute to the Center’s mission of keeping opera vibrant in Chicago and nurturing the next generation of opera artists.

The evening began with a short video sharing the Ryan Opera’s history with testimonies from alumni about their experience. For context, the Ryan Opera Center was founded in Chicago in 1974 and has been central to Lyric Opera’s commitment to cultivating rising talent. With approximately 300 alumni, many of whom have gone on to international acclaim, the program is known for its intensive training, expert mentorship, and world-class performance opportunities. Reaching the 50-year mark is no small feat, it’s a sign not just standing the test of time, but of the Ryan Opera Center’s continued excellence and impact in the opera world.

The concert, conducted by Lyric’s Music Director Enrique Mazzola and directed by Paul Curran carried on into Part I, Orpheus in the Underworld. An operatic comedy by Jacques Offenbach that humorously reimagines the Greek myth of Orpheus, who journeys to the underworld to rescue his wife Eurydice. The “Rising Stars in Concert” was a more simplified version of the comic opera as the singers were not in costume and the set was mainly a massive bed and Greek pillars in the background. Despite the lack of set design and costumes, the singers entertained the crowd with powerful singing and captivating acting. 

Director Paul Curran.

In the first half of the show, as Orpheus and Eurydice's conflict unfolded, I was especially impressed by Emily Richter’s portrayal of Eurydice. Her soprano voice was not only beautiful but had incredible projection, filling the space effortlessly. Beyond her vocal talent, Richter brought an impressive flair for acting, making her portrayal of the disloyal wife entertaining.

In between each act, the show was narrated by different members in the ensemble in English. Helping the crowd with the movements of the story, while also providing a few jokes to keep us laughing. Various props were used in effort to bring the concert to life, including devil horns for Hades, picket signs with jokes, and teddy bears held by the Greek gods as they slept in the massive bed on center stage.

Following a 20-minute intermission, Part II of the concert transitioned into a varied program of operatic and non-operatic selections. Most of which were solo singer performances accompanied by the orchestra. Adia Evans, a soprano, sang a beautiful opera song from Hérodiade called “Vision Fugitive” by Jules Massenet in French. Evans showcased impressive vocal projection, sustaining long phrases between breaths with a rich, beautiful tone.

Another standout artist was Christopher Humbert Jr., a Bass-Baritone who sang Charles Gounod’s “Le veau d’or” from the five-act opera called Faust. Humbert made a dynamic entrance, cueing the music with a snap before launching into song with his deep, animated voice that immediately drew in the crowd. He brought extra energy by encouraging the ensemble to join him, and his performance stood out for its vocal power and crystal-clear enunciation.

One of the final solo performances stood out for its departure from traditional opera. Baritone Finn Sagal delivered a beautiful rendition of “Que Reste-t-il de Nos Amours?” (“I Wish You Love”) by Léo Chauliac. Entering with a microphone in hand and accompanied by a pianist, Sagal captured the audience with his melodic, Sinatra-style vocals infused with operatic nuance. His heartfelt performance brought out genuine emotion and highlighted the versatility of opera singers, setting him apart from the rest of the ensemble.

The show concluded with the completion of Part II of the Orepheus in the Underworld opera performance with Enrique Mazzola’s brilliant leadership as the musical conductor. Mazzola led the music for Orpheus in the Underworld with great finesse, earning enthusiastic cheers from the audience as he stepped into the orchestra pit. In the second half of the concert, Chi-Yuan Lin took the baton, conducting a wide range of operatic and non-operatic selections. As only the second artist appointed to the Ryan Opera Center’s conductor position, Lin impressed with her precise and supportive accompaniment, skillfully guiding the ensemble through each performance

Throughout the lively evening, the Civic Opera House was nearly full, with concertgoers and proud family members of the ensemble filling the seats. The auditorium rang with enthusiastic cheers between performances, and bursts of laughter echoed often, thanks to the show’s playful humor and lighthearted moments. The night ended on a high note with a well-deserved standing ovation and thunderous applause from the crowd.

The 'Rising Stars in Concert' delivered three hours of musical entertainment, which, while a bit lengthy, felt appropriate given the significance of celebrating the Ryan Opera Center’s monumental 50th anniversary. The performance offered a glimpse into the bright future of opera, showcasing the immense talent of up-and-coming singers. As someone not deeply versed in the opera world, I was thoroughly impressed by the powerful voices and extraordinary musical gifts of the ensemble.

If you are interested in listening to or watching the show, ‘Rising Stars in Concert’ has been recorded and will be broadcast on 98.7 WFMT and streaming on wfmt.com on Sunday, May 18, 2025 at 5:00 p.m. CT.

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.

Despite the fact that I have never read the Newberry Award-Winning children’s book called Last Stop on Market Street, I chose to see the musical adaptation on a sunny Saturday afternoon. And I have to say, I am impressed with this fun-loving musical at the Young People’s Theatre of Chicago. This show is everything you could ask for with beautiful variations of music, singing, dancing and a playful cast.

The show adapted by Cheryl L. West from Matt de la Peña’s best-selling picture book, begins with a young boy named C.J. arriving at his Nana’s house for a short stay while his parents are on a work trip. C.J. is quickly introduced to his Nana’s neighborhood with a joyous welcome song from the neighbors that is contrasted with C.J. 's wishes to go back home. As time goes on, Nana and C.J. reach a point of contention over C.J. wanting to use his electronics and Nana wanting to spend quality time with her grandson. Nana realizes C.J. has been closed off to the world around him and takes him on an adventure through the city on the bus and to a soup kitchen. These experiences challenge C.J. and open him up to the diversity of humans and life around him. Throughout the story C.J, learns valuable life lessons that we all can benefit from.

The backdrop of the stage is a colorful painting of Nana’s street in the city. The buildings and nature on that street are similar to the illustrations in the Last Stop on Market Street book. The setting has smooth transitions from the vibrant neighborhood street to Nana’s old-fashioned living room, and to the bustling soup kitchen. As the stage transforms throughout the story, the cast keeps you entertained by making their way through the crowd.

The six-member cast is packed with talent. Many of them play multiple characters and have fun on stage acting out each of their roles. I love how magnetic the cast is and feel that each of their characters are relatable to those who live around us in Chicago.

One standout cast member is Aja Singletary who plays the main character, C.J. She brilliantly captures the childlike personality of the young boy. She fully embraces the wild ride of emotions C.J. endures as he has his electronics taken away, meets interesting people on the bus, and asks a million questions about the world around him. Despite being an adult woman, Singletary acts as a convincing child who the children in the crowd seemed to have identified with. She takes on C.J.’s mannerisms, whining, imagination, and laughter with ease on stage. 

The wide-range of music is the best feature of this show. The song genres include hip-hop, soul, gospel and Motown funk. I found myself tapping to the beat and bopping my head along with many children dancing along in the crowd. Each song is super catchy and carries a powerful message worth remembering. Last Stop’s wonderful score is by Paris Ray Dozier and his father Lamont Dozier, writer of Motown hits like “How Sweet It Is” and “You Can’t Hurry Love. The lyrics are cleverly written and even left a few of us laughing with interwoven jokes.

Each cast member does a great job singing and dancing along to the music throughout the show. The choreography is on point and complements the music with engaging moves. The cast definitely shows off their talent and even takes their dance moves to the theatre’s aisles among the crowd. Richuan Stewart, who plays as the Tattooed Man and Vernon, shocked me with an impressive vocal range and beautiful singing voice. He captivates the crowd with a few solos and a contagious smile.

If you have an upcoming free Saturday or Sunday, I highly recommend seeing ‘Last Stop on Market Street.’ This musical is an uplifting story filled with diversity and lifelong lessons both children and adults can benefit from. It’s an awesome way to spend some time with your little ones or even on your own. It will leave you feeling joyful and may even give you a new and loving perspective on those who are around you.

Last Stop on Market Street is at the Young People’s Theatre of Chicago located in the Greenhouse Theater Center on 2257 N. Lincoln Ave in Lincoln Park. The show will run May 11th through June 2nd, 2024. Performances run Saturdays at 11:00 a.m. and 1:30 p.m. and on Sundays at 1:30 p.m. This show is best enjoyed by everyone ages 4+, even including adults like me. The show has a quick 60-minute runtime with no breaks. Tickets are $25 for adults and $19 for those under the age of 12. Visit Young People’s Theatre of Chicago’s website at yptchi.org and buy your tickets today!

After many years without seeing the movie or reading the story of Peter Pan, the moment I learned that Peter Pan: The Hit Broadway Musical was coming to Chicago, my inner child couldn’t contain its excitement. I arrived at the James M. Nederlander Theatre, quickly found my seat, and noticed joyful children surrounding me. The adults were definitely outnumbered, but hey, we are still kids at heart and have imagination, too! As expected, on opening night, the theater was filled to capacity, and excitement was palpable.

As the lights dim, theatregoers are welcomed into the shared childhood bedroom of Wendy, John, and Michael. Their parents, preparing for an event that evening, are putting the kids to sleep as they prepare to leave. As soon as the parents are gone, Wendy is woken up to Peter Pan and Tinkerbell rummaging through the bedroom. Wendy confronts Peter, and he explains he’s looking for his lost shadow. Wendy helps him reclaim his shadow, and in the process, wakes up her brothers, John and Michael. One thing leads to another, and before you know it, Peter is sprinkling a bunch of fairy dust on the children. They take flight, and with a magical poof, they soar out of the window, embarking on their journey to Neverland. Sounds familiar, doesn’t it?

While the plot of the show shares similarities with the movie, it also introduces its own unique twists. Notably, a conflict arises between Tiger Lily’s tribe and Peter Pan along with the Lost Boys. The ongoing battle involves accusations of theft between the groups. Surprisingly, once Captain Hook enters the scene, Tiger Lily’s Tribe and the Lost Boys decide to form an unlikely alliance and become best friends.

The unification of Tiger Lily’s tribe and Peter Pan and the Lost Boys is, in my opinion, the best scene in the play. This performance is packed with ambient singing and beautifully choreographed dance. The musical number called “Friends Forever” plays as they dance along and try to find a new handshake to seal their newly established bond. The song boasts a wonderful melody, seamlessly intertwining with the joyous celebration.

The cast of Peter Pan is wonderfully diverse, featuring actors from various racial backgrounds. This production breathes new life into the story, making it feel more inclusive and significantly more multicultural than the original 1953 animated movie. Every actor delivers an outstanding performance, with special recognition for the young Reed Epley, who has captivated audiences on stage since the tender age of four.

Captain Hook, played by Cody Garcia, is excellent. Garcia is everything you could ask for in an antagonist. He is funny, sassy, and downright evil. Throughout the show, we watch him sing and dance his way into wicked plots to kill all of the children. Surprisingly dark for a kids’ show, I must say. Every time Hook is on stage the crowd laughs, captured by his beguilement. He has what sounds like a Scottish pirate accent and owns it with every word. Garcia’s singing is also impressive with a surprising vocal range that has depth and great heights.

Nolan Almeida, portraying Peter Pan, showcases remarkable acting skills. His singing, dancing, and ability to charm the audience with magic are truly fascinating. Almeida flawlessly hits all his cues and fully embraces his character throughout the show.

My only disappointment stemmed from the choice for the character of Tinker Bell. Anticipating the fairy in physical form, I was surprised when the show opted for what appeared to be a flashlight’s glow instead. Despite my reservations, the children in the audience adored the fairy light, with some even declaring Tinker Bell as their favorite character.

The live orchestra is phenomenal. Their music does a wonderful job complementing the show with whimsical sounds and adventurous beats. Each song is sweetly crafted to help tell the story of Peter Pan, the Lost Boys, and the children versus the dreaded Captain Hook. The music by Morris (Moose) Charlap is perfect and brings the show to life.

Beyond the enchanting music, the choreography by Lorin Latarro truly captivates the audience. Every dance, intricately woven into the musical numbers, is a resounding success, executed flawlessly by the talented cast. The exhilarating flips and graceful couple dancing add an extra layer of excitement. Amidst the choreography, the simulated fights between characters during the show provide an entertaining spectacle. And let’s not forget the magical flying sequences, seamlessly orchestrated by Paul Rubin, which transport us into the heart of Neverland.

Costume design emerged as one of my favorite aspects of the show. Anticipating a vibrant array of colors, I was not disappointed. Sarafina Bush, the costume designer, delivers costumes that are not only true to each character but are also bursting with life. Tiger Lily’s group sports a unique tribal look, while the Lost Boys’ attire exudes wildness and adventure.

The set and stage design further enhances the experience. The lush green jungle landscape of Neverland and the cozy children’s bedroom stand out as exceptional set pieces. Each set was thoughtfully interactive, seamlessly accommodating every scene. And within the Nederlander Theatre, the ambiance feels like the perfect gateway to Neverland—just a sprinkle of fairy dust and a glimpse through French casement windows, and you’ll be soaring.

Kudos to director Lonny Price and executive producer Trinity Wheeler for breathing new life into Peter Pan. Their fresh adaptation transports the beloved characters into a modern world, embracing the timeless magic of imagination. Whether you’re a first-timer or a seasoned viewer, this show promises fun for all.

After the show, I chatted with a few audience members to gauge their thoughts on Peter Pan. Cindy exclaimed, “The show was fantastic, and they had a thrilling cast.”

Kelly, on the other hand, shared a different perspective: “It was a great show, but this wasn’t the same Peter Pan I remember from my childhood. It feels like I didn’t recall any of this happening.”

And then there was Steven, brimming with excitement: “This show was fabulous! It’s a classic story with a modern twist—an absolute must-see for all ages.”

In summary, I thoroughly enjoyed the show. Peter Pan: The Hit Broadway Musical rekindled my youthful spirit and left me wistful for the days of unbridled imagination. While the entire performance was entertaining, Act Two held a special place in my heart. My inner child reveled in the magic, and I departed with renewed inspiration to seek out more ways to stay forever young.

Catch Broadway in Chicago's Peter Pan is being performed March 26th through April 7^th at James M. Nederlander Theatre. Performances are Tuesday through Thursday at 7:00 p.m. (with a Wednesday matinee at 1:00 p.m. on April 3rd), Fridays at 7:30 p.m., Saturdays at 2:00 p.m. and 7:30 p.m., and Sundays at 1:00 p.m. (with an additional performance on Sunday, March 31st at 6:30 p.m.).

The run time of the show is about two hours with a short 15-minute intermission. Make sure to arrive early as the line outside of the theatre is likely to be buzzing with anticipation.

Imagine being Jewish and attending a White Nationalists meeting undercover. Sounds crazy, right? In the award-winning comedian Alex Edelman’s acclaimed Broadway Solo Show, Just for Us you get to hear the story of how Edelman does the unthinkable by putting himself in an extremely uncomfortable situation among White Supremacists. It seems very serious but happens to work perfectly for this comedy show.

The show begins with a few cheesy jokes about gorillas and horses, and how Edelman is dedicated to his craft by spending $800 on sign language classes. Things quickly take a dramatic turn when Edelman shares the blatant anti-Semitism he began to face on Twitter years ago. The scenario gets even more interesting when he finds out there’s a meeting for White Nationalists seeking to “answer questions about their whiteness”. This finding leads to Edelman making a brave and possibly stupid decision to attend the meeting in an apartment located in Queens, New York.

Edelman’s experience attending the meeting carries through the rest of the show as he weaves in childhood stories and random funny lines about our society today. His jokes and anecdotes are brilliantly written with clever punchlines that even made himself laugh. This show is disturbingly relevant to the events unfolding in the world today. And as Jew, who was raised Orthodox, Edelman gives you an inside look of his life experience grappling with his Jewish identity and the hardships of anti-Semitism.

Alex Edelman is a stand-out comedian and is entertaining to watch on stage. He is actively moving around and has quirky movements as he shares his strange experiences and ridiculous thoughts. Comedy seems to come naturally to him as he quickly delivers joke after joke. Edelman did an amazing job engaging the crowd and made us feel like we were a part of his story. He even added a few quiet moments for us to feel how uncomfortable it was for him to be in the room full of anti-Semites at the White Nationalist meeting.

Throughout the show the crowd was on the edge of their seats as laughter echoed in the packed theater. Edelman keeps the audience hooked through ups and downs of laughter and intense silence as he unpacks the depths of serious topics of racism, anti-Semitism, and sheer ignorance. Following the show, audience members were raving with a standing ovation, clapping and cheering.

I spoke with a few of them, and many loved the show. A young man named Asher said, “The show was funny, but relatable, especially if you have experienced any form of being different.”

Another crowd member named Margo said, “It was surprisingly hilarious, endearing and came full circle in the end.” She continued, “It was universal for everybody, something we will take with us and carry from here on out.”

“Just For Us” directed by Adam Brace is hilarious and thoughtfully pieced together with each joke. It’s easily one of the best comedy shows I have seen in a long time. I highly recommend everyone attend this show, no matter your background. The jaw-dropping ending is worth every penny.

The Steppenwolf Theatre was the perfect setting for the comedy show. The theater was sold out and offered a variety of drinks at the bar. The Downstairs Theater has two levels of seating including main floor and balcony areas. The theater is accessible for everyone and is intimate enough so that you don’t feel like you are miles away from the stage.

The Just for Us show runs from Thursday, February 15 to Saturday February 24, 2024. The running time is a quick 85 minutes with no intermission. Showtimes vary day to day from 3:00 pm to 7:30 pm. It’s located in the Downstairs Theater at Steppenwolf Theatre Co. located on 1650 N. Halstead St. in Chicago. Tickets start at $52 and are on sale now at steppenwolf.org/justforus or at the Box Office at (312) 335-1650. Make sure to get your tickets soon as they are selling out fast!

After stuffing myself with a fat plate of Thanksgiving leftovers, I made my way over to Theater Wit for the Who’s Holiday! opening show. The show kicks off with a grand entrance of a much older Cindy Lou Who in a dinky trailer home. Cindy gets comfortable with the crowd and even offers a famous Chicago drink as she takes you back in time. She retells the childhood story of her and the Grinch, and also shares the untold stories of her adult life with R-rated commentary and endless rhyme.

After her introduction and drinks are poured, Cindy shares her plans for hosting a Christmas party that evening with some famous Dr. Seuss friends. As her friends flake out on her party, she takes you back in time with her life’s stories. Cindy’s monologue carries you beyond her childhood as you journey through her memories of her bizarre relationship with the Grinch, her struggles with her family, and her adjustment to a not-so cheery lifestyle. Her life story takes a turn for the worst when cops are called, and she finds herself behind bars. Something none of our inner-child selves could have imagined.

Who’s Holiday! directed by Christopher Pazdernik is now in its third outing and continues to draw in large crowds. The comedy by Matthew Lombardo is bawdy and full of holiday and Grinch themed references. Many people in the crowd were filled with laughter and enjoyed the twists and turns of Cindy’s life story.

The show has just one actress, Veronica Garza who plays the 40-year-old Cindy Lou Who. Garza does an outstanding job playing Cindy and never misses a beat. She is captivating, hilarious and has fun engaging with the crowd. She brings the character to life with unclassy mannerisms and a trailer park twang in her speech. She captures her emotions as they rollercoaster through eagerness, sadness, and Christmas cheer. Trailer park Cindy feels like your long lost childhood friend, someone you can totally let loose with.

Despite having a rough life and a few more years under her belt, Cindy still has amazing hair. The wig, makeup and costume design were all on point. Her blonde hair is fabulous and is pinned up with Christmas colored bows that match her red dress. She also has beautiful makeup that aligned with the holiday theme. Not to mention the eye-catching sparkly Crocs and ruffled white ankle socks.

The first thing I noticed when entering the theater was the decked-out trailer home covered in Christmas decor. It looked like an old 70s shack on wheels with red, green, and white accents along with twinkling lights and tinsel garland. The set was perfect for the show. It was cozy and gave an intimate look into Cindy’s trailer park life.

Something that totally shocked me was the music. A Christmas show isn’t complete without a few Christmas songs, and I have to say this Cindy Lou Who delivered. In one of her songs, she breaks out into a hilarious rap about her parents’ disapproval of their “Green Son-in-Law”. It was an impressive performance with a smooth holiday flow. Later on, Cindy wowed the crowd with a beautiful performance of a sad song of her past traumas. After each song she sang, the crowd filled the air with clapping, cheering, and even snapping.

Following this show, I will probably never look at The Grinch Story the same. However, I did enjoy a good laugh and holiday cheer. If you’re looking for some raunchy comedy, a Christmas-themed cocktail and love the Grinch, I recommend checking out Who’s Holiday. Just make sure to leave the kids at home. The show is playing at Theater Wit located in the Lakeview Neighborhood at 1229 W Belmont Ave. Showtimes continue from November 25-December 30th, at 7 p.m. The show runs for about 60 minutes with no intermission. Tickets are $39-$48. Purchase tickets at theaterwit.org or call the Theater Wit box office, (773) 975-8150.

We all know him—the Jazz King—the legend who single-handedly transformed music with a trumpet, gravelly voice, and his big dazzling smile. Louis Armstrong is the man who made us and still makes us desire a Wonderful World. As soon as I heard of the new Broadway-bound musical, "A Wonderful World," would have a short (through October 29) pre-Broadway run at the Cadillac Palace Theatre, I canceled my original plans and jumped in a cab to Randolph Street.

There, as the blue clouds fade and the curtains part, you meet Louis Armstrong’s four wives who sing and dance as they tell you about their old Satchmo. The play quickly transitions you into Louis Armstrong’s humble beginnings in the South. You travel back in time to the early 1900s in a poor neighborhood in New Orleans, Louisiana. Armstrong sees his Jewish adoptive father, Mr. Karnofsky, with a cart full of miscellaneous items, and among them is an old trumpet. Louis begins to play and blows Karnofsky away. The show then takes you on his journey as he rises to his title as the “Jazz King.”

Before you know it, you’re whisked away into the prohibition era of the roaring 1920s in the Red Light District called “Storyville” in the heart of New Orleans. The Land of Sin is introduced to you by Armstrong’s first wife, Daisy Parker, who shows you the world of sex, booze, and jazz through dancing and singing. The costumes blew me away with glittery flapper dresses, pinstriped waistcoats, and flat caps.

You learn how Armstrong began his music career in a band called Fate Marable touring on a steamboat in the Mississippi River. At first, Armstrong’s voice was soft and not the voice we all know. This left me to wonder if they cast the wrong actor for the part. Then I quickly was surprised by a dramatic voice change and came to learn that Armstrong’s voice was damaged by his first jazz tour on the Sidney steamboat. The actor’s voice transition was remarkable. He nailed Louis’ warm raspy voice as if it was second nature to him.

The musical carries on as you watch Armstrong shuffle his way through four different wives, multiple skeezy managers, endless tours, and the challenges of racial inequality as a black man in the United States. The show takes you all over the map from New Orleans, Chicago, Los Angeles, and Queens, New York, with set designs embracing all parts of the United States.

Louis’ life story gets you tangled with mobsters, behind bars in jail, and in music clubs as he plays and sings jazz music. The show captivates you as you reach a critical point in history when the Little Rock Crisis unfolds and Armstrong watches African American children be verbally and physically abused by white Americans for attending desegregated schools.

In response to the chaos, the show breaks your heart with a solemn performance of Louis singing the famous Fats Waller song, “Black and Blue.” Louis Armstrong grows angry and finds himself in a difficult place that could potentially end his career as racial tensions rise. Leaving you to wonder how he will make it through as he balances his passion for jazz and his demand for justice.

Cadillac Palace Theatre is the perfect location for this musical. The theatre opened in Chicago in 1926, just four years after Louis Armstrong moved to Chicago to play jazz music with Joe “King” Oliver. The lobby of the theatre is very rich looking with large gold mirrors and white marble. Every seat was filled in the 2,300-seated auditorium.

The stage accommodates a multi-level set with a spiral staircase and decorative wrought iron railings adorning the stairs and balconies. You seamlessly travel from place to place as the set quickly transforms into a swanky jazz club, a jail cell, the bright lights of the Windy City, and a movie set in Hollywood. The variety of stage props including suitcases, band sets, sofas, and a large office desk quickly glide on and off stage in the blink of an eye.

You feel as though you have traveled back in time and see what it was like to live in America in the 1920s and experience each decade until the early 1970s. Thanks to Toni-Leslie James, the costume design accurately changes with each decade from the dropped waistlines and feathers of the 1920s to the full skirts and sportcoats in the 1950s. It’s also worth mentioning Cookie Jordan’s phenomenal wig and hair design that flows beautifully throughout the musical.

Directed by Christopher Renshaw and conceived by Renshaw and Andrew Delaplaine, "AWonderful World" is a hit musical that is an absolute must-see. The perfectly written storyline steadily moves you through Louis Armstrong’s life through song and dance as he pursues a wonderful world through blue notes, scatting, and sheer perseverance.

Out of the 26-member cast, the true star of the show, James Monroe Iglehart embodies Louis Armstrong. He nails every Louis Armstrong gesture and even has a similar smile. It’s almost as if he was resurrected and brought before our eyes with his magnetic charm, musical genius, and unforgettable voice.

This musical had the daunting task of creating music and sound that would closely resonate with the sound of Ambassador Satch’s musical perfection. I feel that it’s safe to say, that this show answered that call with a talented live jazz ensemble and Annastasia Victory’s and Michael O. Mitchell’s flawless music direction. Every cast member sang beautifully and hit every note with perfection. And as they sang they danced away in rhythmic dances around the stage.

There are a variety of dance styles like the Fox Trot and the Boogie-woogie. Each move was on point and added that razzle dazzle we all crave in a musical.
Despite some of the hardships the characters face in the musical, the show lightens it up with some comedic flare. I found myself and the crowd laughing often with some suggestive jokes and witty clap backs. At one point, Louis Armstrong’s character breaks the fourth wall and asks for the audience’s participation in singing one of his famous songs.

The opening show ended with a standing ovation and loud cheering from the crowd. Many people had Big Dipper smiles on their faces and were sharing their amazement at the performance. One crowd member, Ashley Josey said, “I literally could not stop watching. It was so inspirational.” Outside the theatre, my heart felt warm as I watched one audience member dancing and scatting his way across the crosswalk. I gotta say, I think even Pops would be proud of this wonderful, wonderful show.

‘A Wonderful World’ produced by Vanessa Williams opened on Friday, October 13th, and will run until October 29, 2023. Showtimes are 2:00 p.m. and 7:30 p.m. on Sundays, Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays. The runtime is 2 hours and 40 minutes with a brief intermission. Tickets range from $11 to $101 depending on seats. Located at the Cadillac Palace Theatre in downtown Chicago at 151 W Randolph Street, drinks and snacks offered at concessions and can be brought into the auditorium. There are also a few items for sale at the merch station including a mug, t-shirt, pin, and more.
Tickets are available for purchase at https://www.louisarmstrongmusical.com/