Displaying items by tag: comedy

Screwball comedy went the way of the dinosaur after the 1940s, but Northlight Theatre attempts to revive it with The Angel Next Door.

For those unfamiliar, screwball was a film subgenre that mixed romance, slapstick, and banter, like Mentos and Coke, and watched them explode to great effect. Stars like Cary Grant, Katharine Hepburn, William Powell, and Barbara Stanwyck delivered punchlines like a punch to the gut and made the over-the-top plotlines land with ease. A modern-day screwball comedy is a welcome idea. Unfortunately, The Angel Next Door doesn’t quite fly to its predecessors’ heights.

Written by Paul Slade Smith, this comedy was adapted from Ferenc Molnar’s Play at the Castle. It follows Oliver Adams, played by Garrett Lutz, who just finished his first novel. It’s set to be adapted for the stage by married playwrights, Arthur and Charlotte Sanders (Sean Fortunato and Katy Sullivan). They desperately need a hit after their last venture flopped, and their only hope is Oliver’s book.

Unfortunately, things don’t go as planned, and the bright-eyed, innocent author discovers that the beautiful Margot Bell (Aja Alcazar), his love and the novel’s inspiration, has been intimate with Victor Pratt (Andres Enriquez), Broadway’s favorite baritone. It’s then up to Charlotte to bring the two together before Oliver flushes his dreams – and everyone else’s – down the drain.

The Angel Next Door is a love letter to theatre, poking fun at stage tropes, breaking the fourth wall, and preaching about the importance of laughter and escapism in today’s world. In fact, by the end, an unbeliever, Olga (Erin Noel Grennan), the maid, is converted. Unfortunately, the script is so saturated with inside jokes, that the plot is only as deep as a puddle. The first act feels like one long set-up for a mediocre pay-off in the second. Much of the time is spent in exposition or watching characters react to scenes the audience watched happen moments ago.

The cast is the saving grace. The entire troupe, with the exception of Sullivan, actually performed their same parts in Peninsula Players Theatre’s 2024 production. Linda Fortunato, Peninsula’s Artistic Director, directed those performances and also directs Northlight’s version, guiding the production with confidence and clarity even though this particular script doesn’t quite rise to meet her.

Sean Fortunato and Katy Sullivan work wonderfully together as the veteran playwrights who have been through it all. Alcazar balances Margot’s ego and grace well, making it easy to understand why it was love at first sight for Oliver. Enriquez is hilarious as the dumb Victor, who is always ten steps behind everyone else and gets lost in his own reflection. Alcazar and Enriquez also have great physicality, and it was fun to watch the flair they added to simple movements, like sitting down with style or stomping their foot. Erin Noel Grennan steals every scene as the grim Olga. Her comedic timing and presence make this kooky character pop.

Ultimately, The Angel Next Door has all of the parts of a solid comedy but in the wrong proportions. For example, Olga is a crowd-favorite, but scenes would occasionally stall to give her joke after joke. Too much of a good thing is a bad thing, especially when the audience got very few interactions between Oliver and Margot, despite everyone’s future hinging on their romance.

Still, The Angel Next Door delivers an enjoyable experience, lifted by a strong cast, even if it doesn’t linger long after the curtain falls.

For more information, visit https://northlight.org/series/the-angel-next-door/.

You don’t know what you’ve got until it’s gone and married someone else – that’s how Noel Coward’s Private Lives sees it. For those unfamiliar with Coward, his scripts have bite and humor that were ahead of its time when they first hit the stage in the 1930s. Today, the edge may not be as sharp or controversial, but the dialogue and situational comedy still lend itself to a riotous evening.

BrightSide Theatre presents this playful comedy all about exes who happen to honeymoon with their new spouses at the same hotel.

What starts as a horribly awkward coincidence for Amanda and Elyot takes a turn when their mutual annoyance for their new partners rekindles their old flame. In no time, she climbs over into his adjoining terrace, and they run off, leaving their actual spouses to sort it out. They were kind enough to leave a note though. But it doesn’t take long for old patterns to rear their ugly head, and Amanda and Elyot, despite their promise not to bicker (even coming up with a game of silence when a fight is about to start), call it quits again. That is, until their old (new?) lovers find them and remind the on-again-off-again pair why they just can’t quit each other. There’s no end to the comedy as love is portrayed as messy, fickle, and volatile – with a few humorously choreographed fights mixed in.

Directed by Jeffrey Cass, also the Artistic Director, this rendition makes the most of Coward’s razor‑sharp script. The actors deliver lines with a lead foot, only pausing long enough for the audience to laugh before it’s on to the next joke. It’s a good thing, too, because in lesser hands this wordy play could have been stretched into a dull affair. While most of the zingers pack a punch, the script isn’t perfect. In fact, Act 1’s second scene spins its wheels before finally taking the plot where the audience already knew it was going. But in the hands of these capable actors, we can forgive Coward for being verbose.

Jon Cunningham and Jamie Marie DePaolo play Elyot and Amanda respectively, and their chemistry is the driving force of the evening. Their banter sizzles. DePaolo steals the show though with the firecracker energy she brings. There were several moments where just her facial expression got a laugh. She so thoroughly embodied this magnetic, yet mercurial she charmed everyone from her first entrance.

Portraying their other love interests are Matt Hellyer and Emily Sherman, who play their respective roles very capably – as perfect saps. After getting dumped on the first day of their honeymoon, their characters secretly hope that they’ll take them back. So, while you empathize, their lack of personal self-worth makes them unappealing – helping justify our leads horrid behavior. The cast works very well together, matching each other’s energy and comedic chops. In fact, their synergy was even evidenced by a scene change. They worked so quickly and efficiently in the dim light to transition a hotel’s terrace to a flat’s interior that everyone applauded when they were finished.

Along with plenty of laughs, there is also a lesson on love. These selfish characters demonstrate a total incomprehension of the true meaning of that four-letter word, which is ironic since the final act takes place in Paris, a city known for romance. But that’s the problem. These couples thrive on passion, and when the dust settles, they want the next hit for their heart. But true love is sacrificial, putting another’s needs before your own, which is something they don’t understand. It’s illustrated perfectly by Amanda’s French maid. When she speaks to them, they only nod and smile, since they don’t know French. In the same way, they don’t know the language of love either and fumble around, pretending with each other that they do. But while it may cause trouble for these characters, it’s a treat for the audience.

Private Lives runs through April 29 at BrightSide Theatre at the Theater at Meiley-Swallow Hall North Central College, 31 S. Ellsworth St. in Naperville. For tickets and/or more show information, click here.

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

Lookingglass Theatre Company, in keeping with its celebrated tradition of bringing to life Ensemble-created new work, presents the world premiere of Untitled Vampire Play, written by Ensemble Member Kevin Douglas and directed by Devon DeMayo. Concluding the company's 2025-2026 season, Untitled Vampire Play runs June 4 – July 12, 2026. Tickets for the production start at $33 and are available for purchase at lookingglasstheatre.org and 312.337.0665. 

Think you've got baggage? Try dating when you have centuries of relationship history and a literal body count. Sink your teeth into Lookingglass Theatre's sharply funny world premiere where the only thing more frightening than vampires (and a serial killer on the loose) is having to meet your new in-laws. This romantic-comedy-meets-horror-story explores love, commitment, codependency...and, of course, vampires.

"The genesis of Untitled Vampire Play came to me on my way to a funeral, oddly enough. I was pondering death and the big question, 'How do two people with different but unwavering convictions make a relationship work?'," notes playwright Kevin Douglas. "Using familiar vampire lore, I wanted to create a world where vampires deal with real human problems to both comedic and tragic effect." 

"I've long admired Kevin's work for its high theatricality, humor and heart. His work is delightfully sneaky; it has us laughing one minute and shocks and awes us the next," comments director Devon DeMayo. "Only Kevin can write a show about vampires that makes an audience feel so alive! By weaving romance, horror, and familial drama, Kevin's play grabs you by the throat and keeps you guessing."

Untitled Vampire Play features ensemble members Walter Briggs (Roderick) and Kareem Bandealy (Louie/Lance) alongside Courtney Rikki Green (Val), Jordan Anthony Arredondo (Dom), Jin Park (Rose/Alexa), and Cynthia Kaye McWilliams (Alicia/Douchey Dude).

The creative team includes Alyssa Mohn (Scenic Designer), Theresa Ham (Costume Designer), Jason Lynch (Lighting Designer), Andre Pluess (Sound Designer), Benjamin Barnes (Magic/Illusion Designer), Rachel Flesher (Fight/Intimacy Director), and Martine Kei Green-Rogers (Dramaturg).

Untitled Vampire Play                            

Written by:  Lookingglass Ensemble Member Kevin Douglas
Directed by: Devon DeMayo

Featuring:  Ensemble members Walter Briggs (Roderick) and Kareem Bandealy (Louie/Lance) alongside Courtney Rikki Green (Val), Jordan Anthony Arredondo (Dom), Jin Park (Rose/Alexa), and Cynthia Kaye McWilliams (Alicia/Douchey Dude).

Creatives:  Alyssa Mohn (Scenic Designer), Theresa Ham (Costume Designer), Jason Lynch (Lighting Designer), Andre Pluess (Sound Designer), Benjamin Barnes (Magic/Illusion Designer), Rachel Flesher (Fight/Intimacy Director), and Martine Kei Green-Rogers (Dramaturg).

Dates:                                      

Previews: June 4-12, 2026

Regular run: June 14-July 12, 2026

Community Nights: To Be Announced

Schedule:   

Tuesdays: 7:30 p.m. (only June 16 and July 30)                                                       

Wednesdays:               7:30 p.m.

Thursdays:                   2:00 p.m. (except June 4 and 11) and 7:30p.m.

 Fridays:                       7:30 p.m. (except June 19)

Saturdays:                    2:00 p.m. (except June 6, 13 and July 4) and 7:30 p.m. (except June 13 and July 4)

Sundays:                      2:00 p.m. and 7:30 p.m. (only July 5)

Box Office: Buy online at lookingglasstheatre.org or by phone at 312.337.0665

The Lookingglass box office is located at Water Tower Water Works, 163 E Pearson St at Michigan Ave

Accessibility at Lookingglass Theatre Company
Lookingglass Theatre Company is committed to making its performances accessible to all audiences. Each mainstage production offers open captioning, audio-described performances with Touch Tours, and mask-required performances. Discounted $35 tickets are available for each accessible performance using the codes below at lookingglasstheatre.org.

Open Captioning                                   Wednesday, July 1 at 7:30 p.m.             Use code CAPTION
Audio-Described/Touch Tour                 Thursday, July 9 at 2 p.m.                      Use code AUDIO
Mask-Required                                     Wednesday, June 24 at 7:30 p.m.          Use code MASK

An accessible entrance is located on Pearson Street, west of the main entrance at 163 E. Pearson Street. The Joan and Paul Theatre is fully accessible via elevator or ramp, with seating available on the ground floor and balcony for patrons using wheelchairs, scooters, walkers, or other mobility aids. Assistive Listening Devices, sensory bags, and large-print programs are available for all performances, and accessible group sales offer up to 25% off for parties of 10 or more.

For assistance with accessible seating, tickets, or accommodations, contact the Box Office at 312.337.0665 or This email address is being protected from spambots. You need JavaScript enabled to view it..

About Lookingglass Theatre Company

Founded in 1988 by graduates of Northwestern University, Lookingglass Theatre Company is a nationwide leader in the creation and presentation of new, cutting-edge theatrical works and in sharing its ensemble-based theatrical techniques with Chicago-area students and teachers through Education and Community Programs. Guided by an artistic vision centered on the core values of collaboration, transformation and invention, Lookingglass seeks to capture audiences' imaginations leaving them changed, charged and empowered. Recipient of the 2011 Tony Award for Outstanding Regional Theatre, Lookingglass has built a national reputation for artistic excellence and ensemble-based theatrical innovation. Notable world premieres include Mary Zimmerman's Tony Award-winning Metamorphoses and The Odyssey, J. Nicole Brooks' Her Honor Jane Byrne, David Schwimmer's adaptation of Upton Sinclair's The Jungle and Studs Terkel's Race: How Blacks and Whites Think and Feel about the American Obsession, Matthew C. Yee's Lucy and Charlie's Honeymoon and David Catlin's circus tribute to Lewis Carroll, Lookingglass Alice, which was captured by HMS Media and reached 1.6 million PBS viewers. Looking Alice is now available to more than four million students worldwide through Digital Theatre+. Work created by Lookingglass artists has been produced in Australia, Europe and dozens of cities throughout the United States.

Get ready for a summer of laughs as Steppenwolf Theatre Company welcomes award-winning performers Laura Benanti and Alex Edelman for two limited comedy engagements.

First up, direct from an acclaimed run at Edinburgh Fringe and two sold-out Off-Broadway runs comes Laura Benanti: Nobody Cares, a one-woman comedy show from the mind of Tony Award winner Laura Benanti, playing five performances August 6 – 9, 2026. Known for her dazzling Broadway performances and razor-sharp wit, Benanti takes the stage to share her hilarious, heartfelt and sometimes brutally honest take on motherhood, people pleasing and the joys of aging as a woman. Blending side-splitting storytelling with original songs, this New York Times Critic's Pick is a love letter to recovering ingénues, mothers and anybody working on themselves. Based on Laura Benanti: Nobody Cares, an Audible Original, Nobody Cares is created by Laura Benanti with songs co-written by Todd Almond and direction by Annie Tippe. The Steppenwolf presentation marks the first stop on a national tour for the project following a summer run at London's Underbelly Soho this July, with further stops to be announced.

Up next, following a critically-acclaimed, sell-out run of Just For Us at Steppenwolf and around the globe, Tony and Emmy Award-winning comedian Alex Edelman returns with another hilarious and thought-provoking dissection of identity: What Are You Going to Do, playing five performances August 12 – 16, 2026. This all-new show finds the Bostonian sweetheart asking different and more unsettling questions. Primarily, should he spend his time doing something else? Should he be saving lives like his physician father? Should he be trying to return to the sense of community he experienced growing up among Israelis and Palestinians? In a show that reckons with the effects of time spent in trauma, Edelman deftly weaves in and out of examinations of faith broadly—not just Judaism—and wonders if, perhaps, there might be better things out there for him.

Both shows will be presented in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. A special Steppenwolf member pre-sale begins Tuesday, March 31, 2026 at 12 pm. Tickets for both shows go on sale to the general public on Thursday, April 2, 2026 at 12 pm at steppenwolf.org or by calling the Box Office at (312) 335-1650.

Performance Schedules and Ticket Prices

Laura Benanti: Nobody Cares
Dates: Thursday, August 6 – Sunday, August 9, 2026
Performance Times: Thursday & Friday at 7:30 pm; Saturday at 3 pm & 7:30 pm; Sunday at 3:30 pm
Ticket Prices: $79 – $125 (includes $10 processing fees)

Alex Edelman: What Are You Going To Do
Dates: Wednesday, August 12 – Sunday, August 16, 2026
Times: Wednesday, Thursday, Friday & Saturday at 7:30 pm, Sunday at 3 pm
Ticket Prices: $49 – $84 (includes $10 processing fees)

Artist Biographies

Laura Benanti: Nobody Cares

Laura Benanti (Star and Creator):

"The divine Laura Benanti appears to have reached a point where there's nothing she can't do..."
–Hollywood Reporter

Tony Award winner Laura Benanti is a highly celebrated stage and screen actress. Ms. Benanti debuted her critically acclaimed comedy show Laura Benanti: Nobody Cares at the Minetta Lane Theater in NYC. Ms. Benanti created, wrote (songs co-written with Todd Almond) and starred in the show, which earned rave reviews and was chosen as a New York Times Critics' Pick. The show then had a sold out run at the Edinburgh Fringe Festival in 2025 with encore performances in London and Berkeley. 

Ms. Benanti can currently be seen as a series regular in the role of 'Cindy' on the acclaimed Paramount+ series Mayor of Kingstown, starring opposite Jeremy Renner. Ms. Benanti co-starred in the hit comedic film No Hard Feelings with Jennifer Lawrence and Matthew Broderick. Ms. Benanti's iconic impression of Melania Trump on The Late Show with Stephen Colbert has earned praise from across the industry. Other comedic work includes regular appearances on Elsbeth and Inside Amy Schumer. In television, Ms. Benanti has played dynamic characters in Younger, The Gilded Age, Nashville, Supergirl and Gossip Girl. Ms. Benanti earned rave reviews for her portrayal of a grieving widow in Netflix's film Worth, starring opposite Michael Keaton, Stanley Tucci and Amy Ryan.

In the theater, Ms. Benanti has been nominated for 5 Tony Awards. She took Broadway by storm at the age of 18 as Maria in The Sound of Music and has subsequently starred in ten more Broadway shows (musicals, straight plays, comedies and dramas), including Into the Woods, Nine, (opposite Antonio Banderas), Gypsy (for which she won a Tony Award), She Loves Me, My Fair Lady and Steve Martin's Meteor Shower opposite Amy Schumer and Keegan-Michael Key.

Todd Almond (Songs Co-Writer) is an acclaimed performer, songwriter and playwright. His solo show I'm Almost There was hailed by The New York Times as "a work of wonder," and his recent Broadway performance in Girl from the North Country was praised as "stunning" by The Washington Post and "roof-raising, uplifting, and invigorating" by The Hollywood Reporter. Almond co-wrote the songs for and music-directed Audible's hit comedy Laura Benanti: Nobody Cares, and also appeared opposite Ms. Benanti as Gideon Wolfe in the HBO Max reboot of Gossip Girl. His musical adaptation of The Odyssey, produced at Shakespeare in the Park's Delacorte Theater in Central Park, was hailed by The New York Times as "brash, funny and heart-stirring." Todd recently toured the U.S. in his original musical Kansas City Choir Boy, co-starring rock icon Courtney Love; Rolling Stone called the piece "awesome, slyly punk rock." He also starred in three of his original musicals at the Delacorte Theater in Central Park: The Tempest, The Winter's Tale and The Odyssey. His musical Girlfriend, based on the Matthew Sweet album of the same title, has become a perennial favorite for theater companies across the U.S. and in Japan. His past collaborators include Sarah Ruhl (Melancholy Play: A Chamber Musical), Jenny Schwartz (Iowa), Laura Benanti (In Constant Search for the Right Kind of Attention), Sherie Rene Scott (Piece of Meat), Kelli O'Hara (Live at Carnegie Hall) and Andrew Rannells (Live from Lincoln Center). As a composer and orchestrator, Almond has written and arranged music for Noises Off on Broadway, Iowa at Playwrights Horizons, Fcking A* at Signature Theatre, How to Transcend a Happy Marriage at Lincoln Center Theater and the film adaptation of Michael John LaChiusa's Hello Again. Other New York acting credits include Stage Kiss by Sarah Ruhl at Playwrights Horizons, People Are Wrong at the Vineyard and Law & Order: SVU.

Annie Tippe (Director) is an award-winning director and creator of new work, music theater and film. Off-Broadway: Octet (World Premiere; Signature. Lortel Award: Best Direction, Best Musical), Three Houses (World Premiere; Signature. Lortel Award: Best Musical), Ghost Quartet (World Premiere; Bushwick Starr. Norton Award: Best Visiting Production), Magnificent Bird / Book of Travelers (Playwrights Horizons), Your Own Personal Exegesis (LCT). Regional: HUZZAH! (World Premiere; Old Globe), Life After (Ed Mirvish CAA; Goodman, Jeff Award Nom), COWBOY BOB (World Premiere; Alley), Cult of Love (World Premiere; IAMA), POTUS (Berkeley Rep). Film: Help Me Mary (Lower East Side Film Fest; Best Narrative Short), Egg Timer (Austin Film Fest). Former Ars Nova Director-in-Residence, Drama League Directing Fellow, Williamstown Directing Corps. Upcoming: Cyrano at Old Globe; Babysitters Club with Mark Sonnenblick and Kate Weatherhead. annietippe.com

Laura Benanti: Nobody Cares is presented in association with rigor + ruckus, Jenny Gersten and Ashley Melone & Nick Mills with LD Entertainment, Avadon Broadway LLC & Creative Partners Productions. To learn more about other cities to see Nobody Cares, visit nobodycaresplay.com.

Alex Edelman: What Are You Going To Do

One of the most critically hailed comedians of his generation, Alex Edelman is best known for solo shows that blur the line between his stand-up comedy roots and narrative-driven storytelling. His last offering, Just For Us, played more than 500 performances all over the world - including acclaimed runs off- and on-Broadway. It premiered as an HBO original comedy special in April of 2024, earning him a place on the Time 100 list, a Tony Award and an Emmy Award for Best Writing for a Variety Special. Edelman appeared in Jerry Seinfeld's directorial debut for Netflix, Unfrosted. Beyond stand-up, he writes regularly for TV and can be seen starring in Peacock's The Paper, a Greg Daniels-helmed spiritual successor to The Office. He also writes on the show as a Consulting Producer. 

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

Sponsor Information: 

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

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 50 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1975 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of young people in their teens and early 20s performing in the basement of a church. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

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

BrightSide Theatre has announced the full cast and artistic team for its production of PRIVATE LIVES, the third mainstage production of the company's 14th season. BrightSide Artistic Director Jeffrey Cass will direct Noël Coward's sharp, sophisticated comedy of passion and wit. When former lovers Elyot and Amanda unexpectedly reunite during their honeymoons with new spouses, sparks fly in this timeless exploration of love, desire, and chaos. PRIVATE LIVES is one of the most popular comedies ever, having been revived numerous times on Broadway and in London's West End ever since its 1930 premiere. Additionally, it has been adapted many times for films, TV and radio. PRIVATE LIVES will play from April 10-26 in The Theater at Meiley-Swallow Hall of North Central College, at 31 S. Ellsworth in Naperville. 
 
Cass's cast will include Jon Cunningham of Schaumburg as Elyot Chase. Cunningham is a veteran of many musicals and plays across the Chicagoland area and has been leading man in BrightSide's SHE LOVES ME and  A LITTLE NIGHT MUSIC. His most recent BrightSide appearances have been in JESUS CHRIST SUPERSTAR and the Summer in the Parks concerts. Jamie Marie Paolo of Bensenville, who is remembered by BrightSide audiences for her performance as Petra in A LITTLE NIGHT MUSIC, will be Elyot's ex-wife, Amanda. Cast as Elyot and Amanda's new spouses are Emily Sherman of Chicago as Sybil Chase, and Matt Hellyer of Algonquin as Victor Prynne. Sherman appeared with BrightSide in 2025's A MIDSUMMER NIGHT'S DREAM, and Hellyer has performed throughout the Fox Valley with companies including the Albright Theatre in Batavia and the Elgin Theatre Company. Completing the cast is Bev Coscarelli of Chicago, who will play Amanda's maid, Louise. Coscarelli is known to BrightSide audiences for her role in MOON OVER BUFFALO.  Rick Berggreen of Naperville will understudy both male roles, while Sydnee Howes of Chicago will understudy all female roles.

The production team, in addition to Cass as director, includes Arabella Zurbano (Scenic Design), Cheryl Newman (Costume Designer), Kurt Ottinger (Lighting Designer), Delaney Kosar (Prop Designer), and Kristin Ripoli (Stage Manager).
 
PRIVATE LIVES will be performed in The Theater at Meiley-Swallow Hall, North Central College, 31 S. Ellsworth, Naperville. Tickets are $37.00 for adults and $32.00 for students and seniors. Tickets are on sale now at www.BrightSidetheatre.com or by phone at 630-447-TIXS (8497). The April 11 performance will be ASL interpreted, thanks to the generous support of Naperville Lions Club. Special seating for this performance may be reserved with the code ASL.

ABOUT BRIGHTSIDE THEATRE
 
BrightSide Theatre (Jeffrey Cass, Artistic Director and Julie Ann Kornak, Executive Director) is committed to Enlighten, Educate, and Entertain through comedies and inspirational stories from across the globe. A unique blend of award-winners, premieres, modern works and timeless classics meant to reflect upon and inform our community inhabit BrightSide's stage. For more information on BrightSide Theatre, please visit www.BrightSidetheatre.com.

Comedy Dance Chicago is bringing their family-friendly show to The Second City! (Fun fact: this group was born out of a Second City Training Center class back in 2014). The show is a high-energy laugh-riot for ages 5 to 95. Comedy Dance Chicago's joyful mashup of sketch comedy, physical humor, music, and dance is sure to have you (and your kids and their grandparents) smiling, laughing, and bopping in your seats! These dancin' fools bring relatable situations to life... anything from the importance of hugs to a good old-fashioned staring contest. And who knows, you might even find yourself on stage! Don't miss this joy-filled experience, perfect for anyone in need of a laughter boost.

People often ask "What is Comedy Dance?" Here's what audiences say:

     "It's one of the funniest, most enjoyable hours you'll spend on a Friday night."
-Chicago Reader

     "My face hurts from smiling!" & "That was so joyful!"

     ""We had SO much fun and Olivia giggled her little head off the whole time."
            -Blair (parent)

Comedy Dance Chicago presents HAPPY DANCE, Saturdays March 21, April 4, April 18, May 2, May 16, May 30 at 2:00pm at The Second City in the e.t.c Theater (230 W. North Ave., Piper's Alley, Chicago, IL). Show runs 60 minutes with no intermission. Tickets are $35 for adults and $29 for kids.

Notable credits include: "8-BITS" and "Oh, the Mundanity!" at The iO Theater; Toronto Sketch Comedy Festival, Charlotte's Queen City Comedy Experience; San Francisco Sketchfest; Laugh Out Loud Schaumburg; I AM Fest at House of Blues; Chicago Sketch Comedy Festival; Chicago Women's Funny Fest, Stevenson High School Odyssey Festival; among others. 

About Comedy Dance Chicago

Comedy Dance Chicago. A different kind of comedy show. A different kind of dance show. Unique entertainment for Chicago and beyond. But... what is comedy dance?! In Layman's terms: they dance, you laugh. Still confused? You'll just have to see it.

Comedy Dance Chicago has been delighting and entertaining audiences for over 10 years.  They are a turnkey option for performing arts venues, K-12 schools, colleges and universities, and corporate events looking to add joy to their next event. Company members bring a range of comedy and dance styles to the show and have trained with the Second City Training Center, iO Chicago, American Theatre Conservatory, Accademia dell'Arte, among others. Having performed at the Chicago Sketch Comedy Festival (Stage 773), iO Chicago, Dance Chicago (The Athenaeum Theatre), Woodstock Opera House, the Association of Applied and Therapeutic Humor Conference, and (that one time) at the House of Blues, Comedy Dance Chicago is thrilled to share laughs and spread the love of comedy dance to the rest of the US. 

Get ready - those phones are about to explode, and Sam is already spinning like a top trying to catch every single one. It’s a full‑blown ring‑storm, and he’s diving into it with the hectic energy of someone who knows the chaos is coming and still can’t outrun it.

A brisk, razor‑funny powder keg of a play, Fully Committed tracks a single frantic day in the life of Sam, the lone reservationist at one of Manhattan’s most elite - and most impossible - restaurant. Becky Mode’s script is a full‑tilt high‑wire act, and Mike Newquist tears across nearly forty characters with the kind of breakneck precision that makes your head spin. As Sam, he’s already a live wire - but then he’s also snapping into entitled celebrities, neurotic assistants, tyrannical chefs, and every flavor of fine‑dining madness that dares to ring his desk. It’s dazzling, anxious, and wildly fun to watch him juggle it all without ever dropping the thread. The comedy snaps because each character is so sharply etched, and Newquist seamlessly shifts among them with the kind of finesse that turns mayhem into art.

At its heart, the nearly 90-minute play gleefully skewers the rituals of status and the agitated, almost feral hunger for exclusivity, exposing just how ridiculous people become when a reservation turns into a badge of power. Sam becomes the unseen fulcrum of that world, and his day unravels from merely hectic to outright surreal as he absorbs tantrums, negotiates impossible demands, and fights to keep a grip on his own sense of worth. Watching Newquist as Sam behind that reservation desk in a constant tinderbox had me instantly aware that I wouldn’t survive two hours in his shoes. His frantic charm and barely contained panic sells the chaos and sparks a whole new respect for the people who actually thrive in that kind of daily combustion.

Fully Committed lands as hard as it does because it’s rooted in real industry absurdity. Mode shaped these characters straight out of real restaurant‑world encounters, giving the show a mix of satirical whirlwind and a bite of truth that feels both sharply recognizable and wickedly real.

Throughout the play, I loved how Sam’s dad kept slipping into the heavy commotion with that gentle, grounding voice - just long enough to let the whole room exhale. Each time he called, Sam’s entire demeanor flipped in an instant; you could watch him go from frazzled to peaceful like someone had hit a reset switch. Those brief check-ins made it clear how a few steady words from a gentle, supportive father (or friend/family member) can cut straight through the noise, offering a tiny pocket of calm even when everything else is burning down around him.

Mike Newquist is pure kinetic joy onstage, delivering a commanding turn in Fully Committed. The Chicago‑based actor and improviser thrives in the city’s storefront trenches, bouncing between sharp‑edged comedy, character chameleon work, and the kind of ensemble disorder where anything can - and usually does - happen. He’s popped up with PrideArts, AstonRep, and The Comrades, tackling everything from contemporary drama to high-velocity comic mayhem. In Fully Committed, it’s his quick‑switch agility that makes him a blast to watch.

Directed by Derek Bertelsen, this Chicago staging arrives with a jolt of fresh energy and real immediacy. Newquist’s performance becomes the engine that drives the whole night, while Bertelsen keeps the momentum razor‑sharp, the pacing tight, and every character shift snapping cleanly into place.

The Den Theatre hosts the run March 13–28, 2026, with performances on Friday and Saturday nights at 7:30 p.m. Tickets for Fully Committed at The Den Theatre are just $26. For tickets and/or any more show information, click here.

Recommended.

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

Chicago's Fine Arts Building is excited to bring the legendary comedians and improvisers of Bluebird Improv to the historic Studebaker Theater (410 S. Michigan Avenue) for one night only, Saturday, May 16 at 7:30 p.m. Tickets are now on sale starting at $40. For more information, visit fineartsbuilding.com/events/bluebird-improv.

Made up of some of comedy's most recognizable faces from TV and movies, Bluebird Improv was formed out of a shared love for improvising and entertaining audiences. Every performance is a fully improvised, once-in-a-lifetime experience. Bluebird Improv is produced by former longtime Second City producer Beth Kligerman.

The cast of the Studebaker Theater performance on May 16 includes two-time Emmy Award nominee and Chicago native Matt Walsh from HBO's award-winning comedy series Veep and Netflix's new series Vladimir. Walsh also appeared on Apple TV's acclaimed limited series Manhunt, the CBS series Ghosts, and in recent films Novocaine with Jack Quaid and The Good Half with Nick Jonas. Walsh originated memorable roles in several popular comedy films including Life of the Party, Old School, Starsky and Hutch, Ted, and Keeping Up with the Joneses.

Additional Bluebird Improv cast members appearing at the Studebaker Theater are Marc Evan Jackson (Brooklyn Nine-Nine, The Good Place, The Baby-Sitters Club) and Second City alumni Brad Morris (Curb Your Enthusiasm, A.P. Bio, The Good Place) and Joe Canale (The Mindy Project).

Tickets for Bluebird Improv at the Studebaker Theater on Saturday, May 16 at 7:30 p.m. are now on sale starting at $40. For more information and to purchase tickets, visit fineartsbuilding.com/events/bluebird-improv.

Bluebird Improv is a collective of legendary comedians who tour the world performing shows that are fully improvised, once-in-a-lifetime experiences. Made up of some of comedy's most recognizable faces from TV and movies, as well as some that will become your new favorites, Bluebird was formed out of a shared, (still) burning love for improvising and entertaining audiences. Each and every show is completely unscripted and totally unique—a short conversation with a couple of audience members at the top of the show inspires the spontaneous, unhinged and beautifully hilarious comedy mayhem that ensues! For more information, visit bluebirdimprov.com.

Artist Bios

Matt Walsh is a two-time Emmy-nominated actor from HBO's award-winning comedy series Veep, and cast member of Apple TV's acclaimed limited series Manhunt. He is also a founding member of the Upright Citizens Brigade Theater. Walsh will next be seen in Paramount Pictures' Novocaine starring Jack Quaid, Maybe We Should starring Heather Graham, Little Lorraine starring Stephen Amell, and Utopia's Not An Artist where he co-stars opposite Rza from the Wu Tang Clan. Recently, he appeared in Hulu's Unplugging, which he co-wrote, and starred alongside Eva Longoria. He can also be seen in The Good Half starring Nick Jonas. Walsh has appeared in memorable roles in several popular comedy films including Life of the Party, Old School, Starsky and Hutch, Ted, and Keeping Up With The Joneses. Other credits include the CBS series Ghosts, Fox Searchlight's Flamin' Hot, and the recent Father of the Bride film.

Walsh currently does a podcast Second in Command with his Veep co-star Timothy Simons.

In addition to his film and TV work, Walsh is also a charitable founder of Open Book with his wife Morgan. The charity donates LGBTQ affirming books to public elementary schools around the country. Matt resides in Los Angeles with his wife Morgan Walsh and their three children.

Joe Canale has been improvising around the world for the past 30 years, including stints at Boom Chicago in Amsterdam and The Second City Mainstage in Chicago amongst many others. TV appearances include The Mindy Project and Fair Game with Brock Everett. His greatest pleasure is derived from performing live improv for an audience.

Marc Evan Jackson is best known for his roles as Kevin on Brooklyn Nine-Nine, Shawn on The Good Place, attorney Trevor Nelsson on Parks & Recreation, and Mary Anne's dad Richard Spier on The Baby-Sitters Club. You may also recognize his voice from Podcasts such as The Good Place: The Podcast, or as Sparks Nevada in The Thrilling Adventure Hour. Marc moved from the Second City to Los Angeles in 2001, where he taught improv at Second City Hollywood and in 2003 formed a long-form improv group of other Second City alumni called The 313, an homage to Detroit. Marc is also the co-founder of The Detroit Creativity Project, a nonprofit that teaches the life-changing skill of improv in Detroit middle and high schools free of charge.

Brad Morris is a veteran TV and film writer, producer, actor, director and improviser. An alum of four of Chicago's Second City's Mainstage revues, the iO Theatre and The Annoyance, Brad is a member of the renowned long form improvisational groups, The Reckoning and Uncle's Brother with Tim Meadows. Brad has improvised around the world with the Second City National Touring company and Matt Walsh and Friends for the USO. As a TV writer, Brad spent three seasons as a producer on the TBS comedy Cougar Town, was a producer on the Showtime series Dice, and was co-ep and head writer for seasons 1 and 2 of the critically acclaimed series for Paramount and Seeso, Bajillion Dollar Properties. Brad has sold original scripts and development to ABC, TBS, Sony and Warner Brothers. On the film side, Brad co-wrote and produced the independent film Unplugging, starring Matt Walsh and Eva Longoria. He is also producing the independent film Stoners and Saints, starring Dylan Gelula and Matt Berry. Brad also recently co-wrote Family Squares, and a movie for Paramount, Rear Naked Choke, produced by Margot Robbie.

As an actor, Brad has starred as a series regular in several network and cable pilots, and has appeared on Curb Your Enthusiasm, Veep, Modern Family, The Office, The League, Key and Peele, Great News, Playing House, Dice, F is For Family, Friends From College and The Good Place. He has appeared in the films Search Party, Sing, A Futile and Stupid Gesture, and Jay Roach's Bombshell. Brad can also be heard on his new improvisational podcast, Business Trips, that he co-hosts with Mike O'Brien.

About the Fine Arts Building and Studebaker Theater

The Fine Arts Building is a home for art in all forms: from pioneers like Poetry magazine's founding publisher Harriet Monroe, architect Frank Lloyd Wright, The Wonderful Wizard of Oz illustrator W. W. Denslow, sculptor Lorado Taft and the Chicago Little Theatre, to the ongoing legacies of painters, musicians, booksellers, puppeteers, dancers, photographers and craftspeople who inhabit the building today, the Fine Arts Building is buzzing with more than a century of Chicago creativity and innovation. A Chicago Landmark since 1978, the building features original manually-operated elevators, Art Nouveau murals from the late 19th century and the recently renovated Studebaker Theater, one of the city's most historic performance venues. The Studebaker has been graced by performances from luminaries such as Bob Hope, Peter O'Toole, Mae West, Ethel Barrymore, Geraldine Page, Vincent Price, and many more. Today, it hosts performances of musicals, opera, puppetry, comedy, dance and more from a wide variety of organizations. Since its curtain first rose, the Studebaker Theater has been recognized as an architectural gem and one of the most important live theatrical venues in Chicago. For more information, visit fineartsbuilding.com.

BrightSide Theatre has announced the full cast and artistic team for its production of PRIVATE LIVES, the third mainstage production of the company's 14th season. BrightSide Artistic Director Jeffrey Cass will direct Noël Coward's sharp, sophisticated comedy of passion and wit. When former lovers Elyot and Amanda unexpectedly reunite during their honeymoons with new spouses, sparks fly in this timeless exploration of love, desire, and chaos. PRIVATE LIVES is one of the most popular comedies ever, having been revived numerous times on Broadway and in London's West End ever since its 1930 premiere. Additionally, it has been adapted many times for films, TV and radio. PRIVATE LIVES will play from April 10-26 in The Theater at Meiley-Swallow Hall of North Central College, at 31 S. Ellsworth in Naperville. 
 
Cass's cast will include Jon Cunningham of Schaumburg as Elyot Chase. Cunningham is a veteran of many musicals and plays across the Chicagoland area and has been leading man in BrightSide's SHE LOVES ME and  A LITTLE NIGHT MUSIC. His most recent BrightSide appearances have been in JESUS CHRIST SUPERSTAR and the Summer in the Parks concerts. Jamie Marie Paolo of Bensenville, who is remembered by BrightSide audiences for her performance as Petra in A LITTLE NIGHT MUSIC, will be Elyot's ex-wife, Amanda. Cast as Elyot and Amanda's new spouses are Emily Sherman of Chicago as Sybil Chase, and Matt Hellyer of Algonquin as Victor Prynne. Sherman appeared with BrightSide in 2025's A MIDSUMMER NIGHT'S DREAM, and Hellyer has performed throughout the Fox Valley with companies including the Albright Theatre in Batavia and the Elgin Theatre Company. Completing the cast is Bev Coscarelli of Chicago, who will play Amanda's maid, Louise. Coscarelli is known to BrightSide audiences for her role in MOON OVER BUFFALO. Rick Berggreen of Naperville will understudy both male roles, while Sydnee Howes of Chicago will understudy all female roles.

The production team, in addition to Cass as director, includes Bill Delmonico (Scenic Design/ Technical Director), Cheryl Newman (Costume Designer), Kurt Ottinger (Lighting Designer), Delaney Kosar (Prop Designer), and Kristin Ripoli (Stage Manager).
 
PRIVATE LIVES will be performed in The Theater at Meiley-Swallow Hall, North Central College, 31 S. Ellsworth, Naperville. Tickets are $37.00 for adults and $32.00 for students and seniors. Tickets are on sale now at www.BrightSidetheatre.com or by phone at 630-447-TIXS (8497).  The April 11 performance will be ASL interpreted, thanks to the generous support of Naperville Lions Club. Special seating for this performance may be reserved with the code ASL.

The Chicago Metropolitan area has a soft spot for a beautiful disaster, and The Play That Goes Wrong delivers the kind of exquisitely engineered chaos that feels tailor‑made for this theater‑loving region. What begins as a straightforward 1920s whodunit quickly mutates into a full‑throttle demolition derby of missed cues, mutinous props, collapsing scenery, and actors clinging to their dignity by the frayed edges of their costumes. Still, this play-within-a-play has the Cornley Drama Society charging through their staging of Murder at Haversham Manor with heroic - if spectacularly misguided - determination, clinging to the illusion of control even as the entire production disintegrates with spectacular enthusiasm.

That staunch commitment - part boldness, part sheer delusion - is exactly where the comedy ignites. Each disaster tops the last, creating a giddy, snowballing momentum that captures the thrill of live theater at its most unpredictable: anything can happen, and in this gloriously unhinged production, absolutely everything does.

Now this wonderful wreckage has landed in the northwest suburbs, with Metropolis Performing Arts Centre in downtown Arlington Heights offering Chicago‑area audiences a prime view of just how fabulously wrong things can go - and how deliriously right it all becomes.

Adeptly directed by Jahanna McKenzie Miller, the production becomes a finely tuned symphony of disarray - each mishap landing with surgical precision, each failing set piece detonating like a perfectly timed punchline. What unfolds is a relentless cascade of comic disaster, the kind that sends laughter rolling through the audience in unstoppable waves and showcases just how artful a well‑executed trainwreck can be.

Ryan Armstrong (left) as Chris Bean / Inspector Carter and Ryan Michael Hamman as Max Bennett in The Play THat Goes Wrong at Metropolis Performing Arts Centre.

To pull off such a bang-bang comedy, it all starts with the cast - and we’ve got a good one here.

Ryan Armstrong leads the beautifully controlled bedlam with a performance steeped in delicious self‑importance, giving Chris Bean - director, actor, and self‑appointed guardian of “proper theatre” - a pompous grandeur that’s as funny as it is precise, while his turn as Inspector Carter unravels in a perfectly paced crescendo of exasperation. Eric Amundson’s Charles Haversham is a riot of physical comedy, playing a corpse who refuses to stay still (hilarious!), and Casey Ross leans into Thomas Colleymoore’s melodrama with booming gusto, turning every line into a wonderfully overwrought declaration.

David Blakeman’s Perkins is a standout of earnest incompetence, mangling lines and props with lovable sincerity, while Ryan Michael Hamman’s Max Bennett steals scenes with wide‑eyed enthusiasm, overacting and shameless audience‑wooing as Cecil Haversham and Arthur the Gardener.

Even the sound and light operator becomes a crucial player in the unfolding disorder. Richaun Stewart turns Trevor Watson into a wonderfully frayed bundle of barely contained madness, playing the chronically overtaxed tech operator whose deadpan, slow‑burn panic becomes one of the evening’s most dependable laugh generators. Teah Kiang Mirabelli dazzles as Florence Colleymoore, embodying Sandra Wilkinson’s diva bravado with such gleeful abandon that each unhinged beat lands bigger than the last.

Rounding out the cast, Natalie Henry turns Annie Twilloil into the production’s unlikely center of gravity in the second act, charting a sharp, hilarious rise from hesitant stagehand to full‑blown spotlight thief.

Together, this ensemble builds a beautifully calibrated disaster - each actor contributing a distinct flavor of chaos that makes the entire production detonate with joy.

And then there’s the set, an impressive spectacle in its own right. Scenic designer Angela Weber Miller, properties designer Gigi Wendt, and technical director David Moreland push the production well beyond a typical farce, each adding a distinct layer of precision and controlled mishaps. The set functions as a full-fledged character, engineered to collapse, misfire, and betray the actors with such precision that its breakdowns become part of the comedy’s rhythm. Each wobbling wall, treacherous platform, and ill-timed malfunction gives the performers a fresh obstacle to hurl themselves against, turning physical comedy into a kind of athletic endurance test. The design doesn’t just support the charade - it actively conspires in it, creating a living, booby‑trapped environment that amplifies every pratfall and heightens the sense that the entire world of the play is gleefully turning against its inhabitants.

Written by Henry Lewis, Henry Shields and Jonathan Sayer, the Olivier Award-winning The Play That Goes Wrong is the kind of theatrical joyride that reminds audiences why live performance is irresistible: it’s unpredictable, it’s explosive, and it’s crafted with such precision that the turmoil becomes its own kind of art. This production delivers laugh after laugh through fearless physical comedy, razor‑sharp timing, and a cast fully committed to the magnificent meltdown unfolding around them. It’s the rare show that guarantees a good time - whether you’re a seasoned theatre goer or someone who just needs a night of pure, cathartic laughter.

For tickets and/or more show information, visit https://www.metropolisarts.com/event/the-play-that-goes-wrong/. Through March 29^th.

Recommended.

Tickets: Regular $49, Preview $35, Students $25
Pay What You Can: February 25, 7:30 pm
Previews: Evenings, February 25 – February 27. Matinee, February 28.
Opening: February 28, 7:30 pm

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