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American Blues Theater announces its 25^th Anniversary production of It's a Wonderful Life: Live in Chicago! from Frank Capra's film and directed by Executive Artistic Director Gwendolyn Whiteside with musical direction by Ensemble Member Michael Mahler. It's a Wonderful Life: Live in Chicago! will run November 19 – December 27, 2026.

It's a Wonderful Life is a quarter-century Chicago tradition.  With its first production in 2004, this marks the 25th anniversary of this original, holiday smash hit, making it the second longest-running holiday play in the entire city of Chicago. It is the longest running production of It's a Wonderful Life in the nation as we celebrate the 80^th anniversary of Frank Capra's classic film.

George Bailey – the Everyman from small town Bedford Falls whose dreams of escape and adventure were stopped by family obligation and civic duty – has fallen onto desperate times. Only a miracle can save him from despair. Told as a radio play with original music and classic holiday carols, it's "the don't miss show of the season" (Chicago Tribune). The annual production will feature favorite American Blues actors. For 25 years, American Blues has treated audiences to a live retelling of the Frank Capra classic in a 1940s radio broadcast tradition, making It's a Wonderful Life: Live in Chicago! a Chicago tradition as the city's second-longest running holiday production!

"For 25 years, It's a Wonderful Life has been part of the holiday traditions of Chicago families, and it means so much to us that audiences continue to return year after year," said Executive Artistic Director Gwendolyn Whiteside. "Some have followed us from theater to theater, and we've had the joy of watching generations of families experience Bedford Falls together. This anniversary is especially meaningful because, for the first time since our inaugural reading, every cast member is part of the American Blues ensemble. There's something wonderful about celebrating this milestone with the artists who have helped make this production what it is. We can't wait to welcome everyone to our Lincoln Avenue home to share in the music, laughter, and spirit of community that make this story so enduring."

Tickets are $34.50 - $119.50 (no hidden fees) are available at www.americanbluestheater.com or by calling (773) 654-3103. 

The cast of It's a Wonderful Life: Live in Chicago! includes Audrey Billings* (Mary Bailey & others), Manny Buckley* (Joseph & others), Dara Cameron* (Violet & others), Ian Paul Custer* (Clarence/Mr. Potter & others), Michael Mahler* (George Bailey), Zack Schultz* (Harry & others), J.G. Smith* (Foley & others) and Lauren Vogel* (musician & others). Molly Hernandez* is the understudy. This is the first year since the inaugural reading that every cast member is a company member.  

The creative team includes Gwendolyn Whiteside* (director), Michael Mahler* (music direction & jingle composer), Austin Cook* (original score), Grant Sabin* (scenic), Katy Peterson Viccellio (lights), Lily Walls* (costumes), Elyse Dolan* (set dressing, projections & properties design), Michael Trudeau* (asst lighting design & technical director), and Richard Lundy* (production stage manager).

*Denotes ensemble member or artistic affiliate of American Blues Theater 

During each performance, one person (any age) will be honored with a Hometown Hero tribute, which includes a short personal testimonial, a projected photo, a certificate, and two (2) complimentary tickets to the show. Nominations can be made at www.americanbluestheater.com for anyone who has shown remarkable courage in the face of challenge. Whether it's standing up for what's right, helping others in a time of need, or overcoming personal obstacles with determination, It's a Wonderful Life celebrates those who inspire us through their bravery.

A special "It's A Wonderful Party" will be held Saturday, December 5 at 6pm with a Variety Show at 7pm. Tickets are $75.00 (no hidden fees) and available at www.americanbluestheater.com or by calling (773) 654-3103.

About the Artists
FRANK CAPRA (May 18, 1897 – September 3, 1991) was an Italian-born American film director, producer and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s. Among his leading films are It Happened One Night (1934), Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939). During World War II, Capra served in the U.S. Army Signal Corps and produced propaganda films. After World War II, Capra's career declined as his later films, such as It's a Wonderful Life (1946), performed poorly when they were first released. In ensuing decades, however, It's a Wonderful Life and other Capra films were revisited favorably by critics. Capra was nominated for six Academy Awards and won three. His films collectively garnered 53 Academy Award nominations between 1933 and 1961. He served as President of the Academy of Motion Picture Arts and Sciences, worked alongside the Writers Guild of America, and was head of the Directors Guild of America. Frank Capra married twice and had four children. One of his sons, Frank Capra Jr., and grandson Frank Capra III have both made their careers in the film industry.

GWENDOLYN WHITESIDE (Executive Artistic Director/Director) is a proud ensemble member of American Blues Theater and has served as Executive Artistic Director since 2010. This marks her 12th anniversary directing It's a Wonderful Life: Live in Chicago!, earning two Jeff Award nominations for Midsize Production and Short Run Production. Career highlights include creating the nationally recognized Blue Ink Playwriting Award, launching a new work development program, introducing arts education initiatives, and integrating community service into the company's mission. Operationally, she grew the annual budget from zero to $1.25 million, secured the company's first-ever operating reserve and endowment, and permanent home. Her service includes work on panels and boards for the National Endowment for the Arts, Network of Ensemble Theaters, and League of Chicago Theatres, as well as membership in the National Theatre Conference. Whiteside holds a Kellogg Executive Scholar Certificate in Nonprofit Management from Northwestern University, an MFA from The School of the Art Institute of Chicago, and a BS from Northwestern University. Her work as a producer and director has earned 18 Jeff Awards and nominations. As an actor, she has received six Jeff Awards and nominations across Solo Performance, Principal, Supporting, and Ensemble categories, as well as two After Dark Awards, a Broadway World Chicago Award, recognition in Newcity's Players Hall of Fame, and selection as American Theatre's "Chicago Theatre Worker You Should Know."

MICHAEL MAHLER (Music Director, George) is a proud ensemble member of American Blues Theater where he has appeared in many productions, including The Last Wide Open, Buddy – The Buddy Holly Story (Jeff Award – Music Direction), Little Shop of Horrors (Jeff nomination musical-midsize), Hank Williams: Lost Highway (Jeff Award musical midsize), Side Man, and 15 years of It's a Wonderful Life. He also music directed Always...Patsy Cline at Blues (Jeff nomination music direction and musical-midsize). Other recent roles include: The Irish and How They Got That Way (Porchlight), The Flying Lovers of Vitebsk (Northlight); Music Man (Marriott), and Into the Woods (Writers); Michael is a Jeff-award-winning composer / lyricist and music director, and proud husband to Dara Cameron and father to Ezra.

AUDREY BILLINGS (Mary & others) is a proud ensemble member of American Blues Theater and thrilled to be returning to Bedford Falls for another year. She most recently appeared as Adele in Things With Friends (Jeff Award nomination for ensemble-play) and has also been seen in The Commons, Blue Ink Festival, and The Ripped Festival. Some favorite roles outside of Blues include: Emilie in A Red Orchid Theatre's production of The Moors, Christmas Eve in the long-running production of Avenue Q at the Mercury Theater, Mary Magdalene in Jesus Christ Superstar, Antonia in Man of la Mancha, and Hodel in Fiddler on the Roof. She has graced the stages at the Paramount Theatre, Marriott Theatre Lincolnshire, Drury Lane Oakbrook, Theatre at the Center, and Lookingglass Theatre Company. Audrey is the managing director at A Red Orchid Theatre and bookkeeper for Visionary Eye Care Professionals.

MANNY BUCKLEY (Joseph & others) is a proud ensemble member of American Blues Theater. He is a Chicago-based producer, director, actor, and writer. Manny last directed King Hedley II and August Wilson's Seven Guitars, which won the 2024 Non Equity Jeff Award for best production, at City Lit Theatre. Other directing credits include Driving Miss Daisy, The Bad Seed (Jedlicka Performing Arts), Kingdom, an audio play (Broken Nose Theatre); and The One Minute Play Festival. Additional acting credits outside of American Blues include work with Chicago Shakespeare, Steppenwolf, Goodman, Court, Victory Gardens, Chicago Dramatists, Next Theater, House Theatre, Shattered Globe Theater, Cincinnati Children's Theatre, and Studio Theatre. Film credits: Proven Innocent, Chicago Fire, Chicago PD, The US Navy, Northwestern University, and The Onion. Mr. Buckley has received nominations for the Joseph Jefferson Award, the Helen Hayes Award, and the 3Arts Award; he is the recipient of both a Black Theater Alliance Award and Black Excellence Award.

DARA CAMERON (Violet & others) is a proud ensemble member of American Blues Theater and is grateful to perform once again at her artistic home. Favorite credits include The Last Wide Open, The Spitfire Grill (Jeff nomination), and Little Shop of Horrors (Jeff nomination musical) at American Blues Theater; Fiddler on the Roof, Seussical, Sunset Boulevard (Drury Lane); Old Jews Telling Jokes (Royal George and Off-Broadway); The Secret of My Success (Paramount Theatre); Elf, Hero (Jeff nomination), South Pacific, October Sky, Sister Act, City of Angels, Cinderella, The Wizard of Oz, Fiddler on the Roof (Marriott Theatre); The Addams Family (Mercury Theater); and Dirty Rotten Scoundrels (Theatre at the Center). She is a graduate of Northwestern University and a proud member of Actors' Equity. Dara is married to actor and composer Michael Mahler. When they're not singing in Bedford Falls together, they're busy embarrassing their way-cooler-than-them eight-year-old son, Ezra.

IAN PAUL CUSTER (Clarence / Mr. Potter & others) is a Chicago actor, musician, and a proud ensemble member of American Blues Theater. American Blues credits include: Buddy: The Buddy Holly Story (Jeff Award, Best Ensemble, Best Musical – Midsize), The Columnist (Jeff Nomination production-midsize), Little Shop of Horrors, and It's a Wonderful Life: Live in Chicago! (Jeff Nominations for Best Play-midsize and ensemble). Chicago credits:  safronia (Lyric Opera), Dial M for Murder (Drury Lane); Waitress, Beautiful: The Carole King Musical (Paramount Theatre); Natasha, Pierre, and The Great Comet of 1812 (Writers Theatre); 33 Variations (Jeff Award– Best Production, Midsize), and To Master the Art (TimeLine Theatre), Annie Bosh is Missing (Steppenwolf Theatre), High Holidays (Goodman Theatre). Ian has also had the pleasure of working with Marriott Theatre, Theatre Wit, A Red Orchid Theatre, MPAACT, and Court Theatre. Regional credits: Hero: The Musical (Asolo Rep Theatre), Cymbeline (Notre Dame Shakespeare), Peter Pan (360 Entertainment – London, England). Television credits: Somebody Somewhere, APB, Empire, Chicago Fire, and Chicago PD.  Ian received his BFA from The Theatre School at DePaul University. 

ZACK SHULTZ (Harry & others) is a proud artistic affiliate of American Blues Theater. Previous American Blues credits – fifth year with Its a Wonderful Life: Live in Chicago!; Come Back, Little Sheba (Jeff Award nomination for production-midsize). His other Chicago theatre work includes Four Loves Festival with Chicago Dramatists and you can see him regularly as a Wendella boat tour guide on the Chicago river! His film work includes the roll of Ernie in "Itchy Fingers" and Jerry in the short film "Holy Hell".

J.G. SMITH (Foley & others) is a proud ensemble member of American Blues Theater. Credits with Blues include The Last Wide Open, On Clover Road (Jeff nomination production-midsize), Ripped Fest, and workshops of The Cratchits (in America), The Thanksgiving Play and On the Greenbelt. Other theatre: Inanimate (Theater Wit); I And You (Peninsula Players); Mother of the Maid (Northlight); Plantation! (Lookingglass); The Art of Sisters (Vision Productions); MARYSHELLEYSHOW (National Tour, Chicago Fringe, TheTankNYC); Peter and the Starcatcher (City Equity Theatre); Alice in Wonderland, As You Like It, King Lear, A Christmas Carol (Alabama Shakespeare); and Censored on Final Approach (The GYM at Judson). Film: Argus (WarnerMedia), Knives and Skin (IFCMidnight), The Dancing Monkey, Dreaming Grand Avenue, and Stephen Cone's Pry Me Open. TV: Short Comings (MTV), The World's Astonishing News! (NTV), Dorm Therapy (YouTube), and several national commercials. J.G. is a member of Actors' Equity and repped by Paonessa Talent.

LAUREN VOGEL (Musician & others) is a proud artistic affiliate of American Blues Theater, where she has been seen in Always...Patsy Cline; Buddy – The Buddy Holly Story; The AmBlues Jubilee; and The Best Damn Thing. She is a Jeff Award winning ensemblist, actor, and musician. She has performed previously at A Red Orchid Theatre, American Repertory Theatre, Pasadena Playhouse, Actors Theatre of Louisville, Steppenwolf Garage, The Hypocrites, Feinstein's/54 Below, Trap Door Theatre, The Getty Villa, Chicago Children's Theatre, and more. TV/FILM: 99 Perfect Boyfriends, Chicago HR., and The Evilmoji. She has spent the past five years in LA writing, acting, and producing. She is represented by The Daniel Hoff Agency and AEFH.

MOLLY HERNANDEZ (Understudy) is a proud artistic affiliate of American Blues Theater. Always...Patsy Cline* (American Blues Theater), Buddy Holly Story* (American Blues Theater); Berlin* (World Premiere Court Theatre); The Little Mermaid (Drury Lane); Revolution(s), Lucha Teotl*, American Mariachi*, Rust, A Christmas Carol (Goodman Theatre); Buddy Holly Story (Marriott Theatre); The Scorpions' Sting (Lyric Opera); Into the Woods* (Paramount Theatre); Alice Through the Lookingglass* (Lookingglass Theatre, PBS); Into the Woods (Writer's Theatre); Into the Breeches (Northlight Theatre); Masterclass (TimeLine Theatre); The Most Happy Fella (Theo Ubique). Television – Power: Book IV (STARZ); Chicago Med (NBC); Chicago PD (NBC); APB (FOX). Actors Gymnasium Circus Conservatory 2019, BA Spanish Loyola University Chicago 2018. Proud member of AEA and SAG/AFTRA. *Jeff Award & nominations

It's a Wonderful Life: Live in Chicago!

Title:                             It's a Wonderful Life: Live in Chicago!

Adapted From:              Frank Capra's Film

Director:                       Gwendolyn Whiteside*

Music Director and jingle composer:     Michael Mahler*

Score composer:           Austin Cook*

*Ensemble member or artistic affiliate of American Blues Theater

Dates:                          November 19 – December 27, 2026

Opening:                       Sunday, November 22, 2026, 2:30pm

Schedule:                     

Monday:            7:00pm (Dec 14 only)

Wednesdays:            2:00pm (Dec 2 only); 7:00pm (Nov. 25 and Dec. 23 only)

Thursdays:             7:00pm (no show on Thanksgiving)

Fridays:             7:30pm (no show on Christmas)

Saturdays:             4:00pm (no shows on Nov, 21, Dec. 5 or Dec. 26) and 7:30pm (no Dec. 5)

Sundays:           2:30pm (no Dec 6)

The runtime is 90 minutes. Arrive 20 minutes before curtain for a fun interactive pre-show.

Location:                      American Blues Theater, 5627 N Lincoln Ave, Chicago

Ticket prices:                Tickets range $34.50 - $119.50 (no hidden fees)

Box office:                    Buy online at www.americanbluestheater.com or by calling (773) 654-3103

Special Access events: $34.50 per ticket, call to purchase

Touch tour: Sunday, November 29 at 1:30pm

American Sign Language-interpreted performance: Friday, December 4 at 7:30pm

Notes of Interest:

• It's a Wonderful Life is a quarter-century Chicago tradition.  With its first production in 2004, this marks the 25th anniversary of this holiday smash hit, making it the second longest-running holiday play in the entire city of Chicago, only behind The Goodman's A Christmas Carol. It is the longest running production of It's a Wonderful Life in the nation.

• Frank Capra's classic film is celebrating its 80^th anniversary.

• Ensemble Member Michael Mahler, who joined the production in 2011 as its announcer and pianist and later became music director, takes on the iconic role of George Bailey for the first time this season. Over the years, Mahler has become a fixture of the production, entertaining audiences with improvised commercial jingles, musical games, and an ever-growing assortment of characters.

• The experience begins 20 minutes before each performance with an interactive musical pre-show that welcomes audiences into the world of a 1940s radio broadcast. This festive introduction showcases an ensemble of Chicago's favorite musical theater performers.

• The "Hometown Hero" tribute: During every performance, the theater honors a real person from the community with a Hometown Hero presentation. The honoree receives a personal testimonial, a projected photo, a certificate, and two complimentary tickets to celebrate their everyday courage.

About American Blues Theater

Winner of the prestigious National Theatre Company Award from American Theatre Wing (Tony Awards). American Blues Theater is an ensemble of artists committed to producing new and classic diverse stories that ask the question: "What does it mean to be American?"

The diverse and multi-generational artists have established the second-oldest professional Ensemble theater in Chicago. As of 2025, the theater and artists received 265 Joseph Jefferson Awards and nominations that celebrate excellence in Chicago theater and 44 Black Theatre Alliance Awards. The artists are honored with Tony Award and Pulitzer Prize nominations, Academy Awards, Golden Globe Awards, Emmy Awards and numerous other accolades.

Black Girls Dance^®, which centers Black and Brown girls in joyful community, presents its sixth annual production of Mary, A Holiday Dansical, choreographed, written, and directed by Founder Erin Barnett. This fundraiser returns for one night only Sunday, December 13 at 4 p.m. at the Reva and David Logan Center for the Arts, 915 E. 60th Street, Chicago.
 
Mary, A Holiday Dansical is a modern twist on the traditional Black Nativity told through ballet, hip hop, tap, and contemporary dance. The first act focuses on the struggles of a typical teenage girl searching for her purpose in life. She is visited by an angel (ballerina) and learns she will conceive and bring forth a child who will be the Savior. Mary turns to her mother and close circle of friends for support, similar to today's teenagers. The second half includes Christmas songs such as "Mary, Did You Know'" and holiday favorites like "Joy to the World."

The cast of 33 dancer-actors includes Abigail Baker, a junior at St. Ignatius College Prep, in the lead role of Mary. Joining the cast this year are Lori Wiggins as the Angel and Myles Harris as Joseph, both appearing courtesy of Deeply Rooted Dance Theater.

Mary continues to raise funds for BGD's capital campaign, supporting the creation of its new home, the Full Circle Performing Arts Center, 9350 S. South Chicago Ave. The center is on track to open in fall 2027. BGD was recently awarded a $150,000 predevelopment grant from the City of Chicago to support the project. "When audiences support Mary, they help create more opportunities for our girls onstage and bring us closer to a permanent home," said Barnett. "Full Circle will give us room to grow and welcome South Side families into a space where the arts and wellness are part of everyday life."

Mary, A Holiday Dansical takes place
Sunday, December 13 at 4 p.m.
at the Reva and David Logan Center for the Arts,
915 E. 60th Street, Chicago.
 
Tickets are $24 for reserved seating, $66 for VIP reserved seating,
available at ticketfalcon.com/e/mary2026/.

 
All programming is subject to change. For information, visit blackgirlsdance.org.
 
Black Girls Dance^®, founded by Erin Barnett in 2015, is a Chicago-based nonprofit organization dedicated to empowering young dancers of color through high-quality dance education, artistic development, and performance opportunities. More than a dance studio, Black Girls Dance creates a community where young people experience a sense of belonging, build confidence, develop their artistry, and discover their potential both on and off the stage. Founded on the belief that dance is a powerful vehicle for empowerment, the organization became a 501(c)(3) nonprofit in 2021.Barnett, a Chicago native, was the first African-American dancer to portray Clara in the Chicago Tribune Charities production of The Nutcracker at McCormick Place. Her professional career includes international tours with Garth Fagan Dance and Philadanco!, a three-year run as Sarafina in The Lion King in Las Vegas, and a performance with Beyoncé at the Billboard Awards. She is also the author of two children's books, Get Outta Here Stage Fright! and Do You Speak Ballet?, inspired by her passion for dance education and empowering young people.

Steppenwolf Theatre Company and Mark Cortale are pleased to announce the return of Tony Award-winning Broadway star Jessie Mueller (Beautiful: The Carole King Musical, Carousel, Waitress) playing three performances only December 18 & 19, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. The evening promises a seamless mix of intimate, behind-the-scenes stories prompted by funny, insightful and revealing questions from SiriusXM Radio star Seth Rudetsky (on piano) with music from Mueller's stellar career, plus a sprinkling of holiday favorites. 

Tickets cost $89* – $149*. A special Steppenwolf member pre-sale begins Tuesday, October 20, 2026 at 12 pm. Tickets go on sale to the general public Thursday, October 22, 2026 at 12 pm at steppenwolf.org/jessiemueller or by calling the Box Office at (312) 335-1650. *Pricing includes $10 handling fee

Performance schedule:

Friday, December 18, 2026 at 7:30 pm
Saturday, December 19, 2026 at 3 pm & 7:30 pm

About the Artists:

Jessie Mueller was most recently seen on Broadway in Tracy Letts' The Minutes. Previously, Jessie starred on Broadway in the revival of Carousel (Drama Desk Award, Tony, Grammy nominations). She originated the roles of Jenna in Waitress (Tony, Drama Desk, Grammy nominations) and Carole King in Beautiful: The Carole King Musical (Tony, Drama Desk, Grammy Awards). Other Broadway credits include Nice Work If You Can Get It and On a Clear Day You Can See Forever.  She will be returning to the Kennedy Center this Fall in Guys and Dolls. TV/film: Patsy & Loretta, Madam Secretary, Blue Bloods, Evil, Candy, Chicago Voices (Chicago Emmy nomination), Steven Spielberg's The Post, A Good Person and Secret Headquarters.

Seth Rudetsky spent many years on Broadway as a pianist and/or conductor on shows like Les Misérables, Ragtime and Phantom of the Opera, as well as two years as a comedy writer on The Rosie O Donnell Show (three Emmy nominations with his co-writers) which led to him writing two opening numbers for the Tony Awards. He is now the afternoon deejay on the SiriusXM Broadway channel, as well as the host of his own talk show, Seth Speaks. He has performed his show, Deconstructing Broadway in London, Boston (Irne award) and L.A. (with Barbra Streisand in the audience!). He co-wrote and co-starred in Disaster!! (a New York Times Critic's Pick) on Broadway, which was licensed by Music Theater International and is being performed all over the country. After the Pulse Nightclub shooting, James Wesley Jackson told Seth an idea he had of doing an all-star "What The World Needs Now Is Love" and they recorded it with around 50 stars including Carole King, Idina Menzel, Gloria Estefan, Bernadette Peters, Jessie Mueller ('natch!) and more. The single went to number one on iTunes, has raised over $100,000 for the Pulse nightclub victims and families, as well as the Trevor Project and they performed it at the 2016 Democratic National Convention. When the COVID lockdown began, Seth and James started the twice-a-day livestream Stars In The House with reunions of original casts of Broadway shows like Ragtime, A Chorus Line and Cats, as well as TV shows like Grey's Anatomy, Taxi and Frasier. The livestream raised over $1,000,000 for the Actors Fund and over $100,000 for other charities like NAACP LDF and "You Gotta Believe" for foster youth. Seth has published numerous books including "The Rise And Fall Of A Theatre Geek" (Random House) and the recent "Musical Theatre For Dummies". After October 7,  2023, Seth founded The Jewish Broadway Alliance which is now a 501(c)3. He also runs Seth's Broadway Cruise and will soon be sailing with some of his favorite stars to the Caribbean, Bermuda, The Greek Isles and the ABC Islands. You can get more info on his cruises and see tons of his videos at SethRudetsky.com.

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 Angell 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, 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, Rich and Margery Feitler, FROST CHICAGO, Lloyd A. Fry Foundation, Jessica and Dominic Green Family Fund, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Sacks Family Foundation, Gary Sinise Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo, and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the National Endowment for the Arts, 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 51 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the 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 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. 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.

“God bless us, everyone,” because there’s a fresh, new, reimagined version of Charles Dickens’ classic tale A Christmas Carol debuting in Chicago this holiday season.

Downtown Aurora’s award-winning Paramount Theatre is conjuring up an elegant and innovative new spectacle version of A Christmas Carol, based on the novella by Charles Dickens. Performances are November 11, 2026–January 3, 2027. Opening Night is Friday, November 20 at 7 p.m.

Paramount’s refreshing new take on A Christmas Carol is adapted and directed by Trent Stork, the two-time, Jeff Award-winning director of Paramount’s Come From Away and Kinky Boots. For A Christmas Carol, Stork has adapted Dickens' classic holiday tale specifically for the Paramount stage, replete with laughter, redemption, the most memorable characters in literature, elegant dance numbers, and live music throughout.

Reintroduce your family to Ebenezer Scrooge, the bitter and lonely miser, who is visited on Christmas Eve by three ghosts who take him on a journey through his past, present, and future. Along the way, Scrooge learns how to reexperience joy, compassion, and the power of generosity. Whether seeing Scrooge’s transformation for the first time or reliving the magic of the classic story, Paramount’s A Christmas Carol will leave audiences filled with hope and holiday cheer. Per tradition, a two-story Christmas tree in Paramount’s Grand Gallery welcomes audiences as the perfect backdrop for holiday photos before and after the show.

Rediscover the magic of the season at Chicago’s newest holiday production, ideal for friends and friends alike. A Christmas Carol begins previews Wednesday, November 11. Opening Night is Friday, November 20 at 7 p.m. Performances run through January 3: Wednesday at 1:30 p.m. and 7 p.m.; Thursday and Friday at 7 p.m.; Saturday at 2 p.m. and 7 p.m.; Sunday at 1 p.m. and 5:30 p.m. Exceptions: No matinee Wednesday, November 11, and no shows Thanksgiving, Thursday, November 26, or Christmas, Friday, December 25. There’s an added Thanksgiving weekend holiday matinee Friday, November 27 at 2 p.m.

Single tickets to A Christmas Carol are $34-$107 when purchased in-person. Additional fees apply for phone and online orders. Of course, tickets to A Christmas Carol make excellent holiday gifts.

Paramount Theatre is located at 23 E. Galena Blvd. in downtown Aurora. For tickets or subscriptions, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount box office Monday through Saturday, 10 a.m. to 6 p.m., and until show time on show days. For group discounts, contact Melissa Striedl, This email address is being protected from spambots. You need JavaScript enabled to view it. or (630) 723-2461.

A Christmas Carol is sponsored by Jake’s Inc. and Rush Copley Medical Center.

Paramount’s cast for A Christmas Carol is led by (top, from left) Michael Moreland Milligan in his Paramount debut as Ebenezer Scrooge, with Scott Westerman as Jacob Marley, Shawn Pfautsch as Bob Cratchit, Aja Alcazar as Mrs. Cratchit, Isabel Arianna Romero-Rodriguez as The Ghost of Christmas Past, Jared David Michael Grant as The Ghost of Christmas Present, Ben Dow as The Ghost of Christmas Yet To Come, Schyler Vargas as Fred, (bottom) Russell Konstans as Mr. Fezziwig, Michelle Duffy as Mrs. Fezziwig, Will Lidke as Young Scrooge, Angel Alzeidan as Belle, Teddy Gales as Dick Wilkins, and Morgan Michelle Barber as Martha Cratchit and others. Youth performers Seamus Flynn and Julian Totleben alternate in the role of Tiny Tim.

Broadway In Chicago is pleased to announce Blue Man Group will bring its first-ever holiday production, "A NEW HOLIDAY SURPRISE," on the road this season. Chicago audiences will be among the first in the country to experience the all-new production. Tickets go on sale this Friday, August 21. BLUE MAN GROUP’S A NEW HOLIDAY SURPRISE will play Broadway In Chicago’s CIBC Theatre (18 W. Monroe St.) for a limited three-week engagement, November 24 – December 13.

“Bringing Blue Man Group's first-ever holiday production to Chicago is an exciting milestone and a natural evolution of the iconic Blue Man experience,” said Marie-Josée Adam, President and CEO of Blue Man Group. “The holidays are about creating unforgettable memories, and we're thrilled to offer audiences a fresh, immersive celebration that blends the music, humor, creativity and joyful unpredictability that have defined Blue Man Group for decades.”

The brand-new production will feature classic holiday music performed on Blue Man Group's iconic custom instruments, while following the Blue Men as they discover the traditions, rituals and joyful absurdities of the holidays while exploring timeless themes of generosity, presence, creativity and human connection. Equal parts hilarious, heartwarming and visually unforgettable, “A NEW HOLIDAY SURPRISE,” offers audiences a unique holiday tradition that celebrates what brings us together.

Blue Man Group is a vibrant, interactive experience that has captivated audiences from all around the world. The non-verbal group communicates through music, art, and comedy, creating powerful connections without saying a word. As the Blue Men navigate our world with curiosity, audiences are invited into a captivating, communal experience that sparks creativity and ignites the imagination.

ABOUT BLUE MAN GROUP
Blue Man Group is a global entertainment phenomenon, known for its award-winning theatrical productions, iconic characters and multiple creative explorations. Blue Man Group performances are euphoric celebrations of human connection through art, music, comedy and non-verbal communication. Since debuting at New York’s Astor Place Theatre in 1991, the live show has expanded to additional domestic residencies playing in Las Vegas, Orlando and multiple tours, reaching more than 50 million people worldwide. Blue Man Group is universally appealing to a broad range of age groups and cultural backgrounds, and continually injected with new music, fresh stories, custom instruments and sensory stimulating graphics. Blue Man Group is owned and operated by Cirque du Soleil Entertainment Group.
 

For more information, please visit BLUEMAN.com.
Follow @BlueManGroup on
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PERFORMANCE SCHEDULE
Tuesday, November 24 – 7:00 p.m.
Wednesday, November 25 – 1:00 p.m. & 7:00 p.m.
Thursday, November 26 – No Shows (Thanksgiving)
Friday, November 27 – 1:00 p.m. & 4:00 p.m.
Saturday, November 28 – 1:00 p.m., 4:00 p.m., and 7:00 p.m.
Sunday, November 29 – 1:00 p.m. & 4:00 p.m.

Tuesday, December 1 – 7:00 p.m.
Wednesday, December 2 – 1:00 p.m. & 7:00 p.m.
Thursday, December 3 – 7:00 p.m.
Friday, December 4 – 7:00 p.m.
Saturday, December 5 – 1:00 p.m. & 7:00 p.m.
Sunday, December 6 – 1:00 p.m.

Tuesday, December 8 – 7:00 p.m.
Wednesday, December 9 – 1:00 p.m. & 7:00 p.m.
Thursday, December 10 – 7:00 p.m.
Friday, December 11 – 7:00 p.m.
Saturday, December 12 – 1:00 p.m. & 7:00 p.m.
Sunday, December 13 – 1:00 p.m.

TICKET INFORMATION (As of August 17, based on availability and subject to change)
Individual tickets for BLUE MAN GROUP’S A NEW HOLIDAY SURPRISE go on sale Friday, August 21 and range from $39.00 - $120.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

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

For more information and tickets, visit www.BroadwayInChicago.com.
Follow @BroadwayInChicago on
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#broadwayinchicago

At Theater Wit, a Jeff Award–winning solo performance reimagines Charles Dickens with both comic absurdity and aching humanity. The great author, improbably alive more than two centuries after his birth, finds himself trapped in a ritual that has long outlived him: the annual retelling of A Christmas Carol. Since 1853, every December has brought another booking, another stage bathed in candlelight, another weary summoning of Scrooge, Marley, and Tiny Tim from memory.

What begins as a familiar recital becomes something stranger and more profound - a meditation on endurance, tradition, and the peculiar perpetuity of a single story. Dickens wrestles with the paradox of being eternally tethered to the story that won him immortality, even as time has turned him into a monument of his own making. What emerges is a portrait both tender and askew - an unexpectedly poignant glimpse of an artist suspended between legacy and fatigue, reverence and ridicule, comedy and elegy.

Under the deft direction of Jonathan Berry and brought to life by the inventive artistry of Blake Montgomery - who both conceived and performs the piece - we are treated to a holiday experience unlike any other. Charles Dickens Begrudgingly Performs “A Christmas Carol” Again transforms the familiar into the fantastically strange, as the enduring author himself returns to the stage with equal parts reluctance and wit. What might have been a simple seasonal retelling becomes a singular theatrical event: a blend of satire, intimacy, and absurdity that reimagines Dickens not as a distant literary figure, but as a weary performer bound to his own timeless creation.

Montgomery’s embodiment of Charles Dickens is nothing short of spellbinding. With remarkable nuance, he breathes new life into the familiar literary icon, reshaping Dickens into a figure at once startlingly fresh and profoundly compelling. What might have been a mere impersonation becomes instead a vivid act of re‑creation - an imaginative dialogue between past and present. Alone on stage, Montgomery commands the space with unyielding energy and precision, shifting seamlessly between wit, gravitas, and emotional depth. His performance is not simply a portrayal, but a tour de force that redefines what a one‑person show can achieve: intimate yet grand, inventive yet faithful, and utterly captivating from start to finish. With its inventive premise and captivating performance, Charles Dickens Begrudgingly Performs “A Christmas Carol” Again stands out as one of the season’s most unique and rewarding theatrical offerings.

Stepping into the role of Dickens, Montgomery slyly nods to Goodman’s grand-scale A Christmas Carol - though he never names the theatre outright, instead referring to it as “that large production downtown with all the smoke, flying spirits, and special effects.” By invoking this spectacle without directly tethering himself to it, he cleverly sets the stage for contrast. His aim is clear: to remind the audience that imagination, not machinery, is the true engine of storytelling.

What follows is a masterclass in restraint and invention. Against the backdrop of a spare set, Montgomery’s performance brims with detail and nuance. His voice, gestures, and timing conjure entire worlds, allowing the audience to paint the scenes in their own minds. The absence of technical wizardry becomes a strength, sharpening our focus on the craft itself. I found myself swept into vivid mental landscapes - fog curling through London streets, spirits shimmering in the dark - summoned not by stage trickery but by the sheer force of Montgomery’s storytelling.

The result is a kind of theatrical alchemy: a performance that proves simplicity can be just as transporting as spectacle, and that Dickens’s timeless tale thrives as much in the imagination as it does under the glow of stage lights.

Dickens Again (for short) is truly a magical experience.

Arrive early! The festivities begin before the curtain rises, as Dickens himself roams the aisles, playfully engaging with audience members and filling the theater with holiday cheer to set the perfect Christmas mood.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again has firmly established itself as a beloved Chicago holiday tradition. Since 2011, Blake Montgomery has stepped into the role of Dickens, delighting audiences year after year with a performance that blends humor, heart, and timeless storytelling—warming spirits and cementing the show’s place in the city’s festive season.

This production comes from Clownshow, a boldly imaginative company dedicated to crafting live theatrical events from concept through performance. At the helm is Producing Artistic Director Blake Montgomery, whose vision drives the company’s inventive approach to storytelling.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again is being performed at Theater With through December 28^th. For tickets and/or more show information, visit https://www.dickensagain.com/.

“Is this what it’s like to have sisters?”

I know I personally fall into the category of Jane Austen fans who have been following adaptations and spinoffs of Pride and Prejudice for eons. What happened to the Bennett sisters after the famous events of the classic tale? Did Elizabeth and Mr. Darcy find happiness? How are Jane and Mr. Bingley finding their marriage, and did the younger sisters ever discover their own paths to true love? Playwright Lauren Gunderson provides her own take through her trilogy Christmas at Pemberly plays, and in collaboration with Margot Melcon, the third installment offers a window into how the lives of Kitty and Georgiana progress post the original story.

In Act 1, As Georgiana sinks into the couch and takes in the Bennetts with the quote above, you might find yourself smiling alongside her. If you’re like me, you may think back to Pride and Prejudice and remember how alone she once was. Now she too finds herself with the unconditional love of sisters, and for better or for worse, she is going to discover what it’s like when they meddle without a second thought.

Directed by Connie Canaday Howard, Georgiana and Kitty: Christmas at Pemberley takes place two years after Pride and Prejudice. We find ourselves at the Darcy residence on Christmas Eve as Georgiana Darcy (Olivia Finkelstein) prepares to welcome her suitor, Henry Gray (Peter Alfano), to the home. The catch? She isn’t alone. Not only are Mr. Darcy (Keenan Odenkirk) and Elizabeth (Paige Klopfenstein) home for the holidays, but so are each of the Bennett sisters – Lydia (Leela Watts), Jane (Charlotte Foster), Mary (Elexis Selmon), and of course, her best friend, Kitty (Ksa Curry). To top it off, Henry’s friend, Thomas O’Brien (Daniel Millhouse) is joining the festivities, and he is just as ready as the Bennetts to meddle in the couple’s affairs. As might be expected, nothing quite goes according to plan, and as much as Kitty tries to support her friend, Georgiana might just find that nothing is ever simple on the path to love.

Howard’s production is full of joy and charm. Costume Designer Aly Greaves Amidei immediately transports the audience back into 1815 through her designs. The Bennett sisters’ dresses are stunning and add bright color to the Darcy home that is fully decked out for Christmas. Scenic Designers Jacqueline and Richard Penrod, in collaboration with Original Music and Sound Designer Christopher Kriz, fully immerse the audience into the holiday story for the eyes and ears.

As to be expected with a Jane Austen adaptation, the play certainly has its plot points involving true love. Not only does Georgiana find her soul mate in Henry, but Kitty also finds her own happiness with Thomas.  Finkelstein and Alfano bring a sweet, shy energy to the courtship – creating a relationship that you are sure to find yourself rooting for and hoping will succeed. Kitty and Thomas have a different approach, but one that is just as fun to watch unfold. The couple find their way to each other through the choice to meddle on behalf of their friends, and Curry and Millhouse infuse the relationship with high-energy and a mischievous humor. If you are a Jane Austen fan who loves watching the classic relationships grow despite their obstacles, you will find that the play certainly offers that access point.

However, something that you might also find to be special about this story is that it does not solely focus on the couples. The central relationship is actually the friendship between Georgiana and Kitty – two characters who have very little development in the original Austen story.  Curry and Finkelstein bring these characters to life with such creativity and delight. Much of the story explores these two younger sisters finding their voices amongst the noise of their elder siblings, and seeing Georgiana and Kitty support each other over the course of that journey adds to the holiday spirit.

Full of charm and holiday delight, Georgiana and Kitty: Christmas at Pemberley is a joy from start to finish. If you are a long-time Jane Austen fan, this play certainly scratches the itch of those wanting to see the Bennett stories continue. If this is your first taste of the Austen world, there are still plenty of access points to make this a holiday story to remember.

HIGHLY RECOMMENDED

Run Time: 2 hours and 15 minutes, with intermission

Georgiana and Kitty: Christmas at Pemberley runs through December 21, 2025 at the McAninch Arts Center – 425 Fawell Blvd. For tickets and information, see the Buffalo Theatre Ensemble website.

Christmas cheer is here. Or rather... CHRISTMAS CHEER IS HERE!!!

Based on the 2003 blockbuster hit movie Elf with Will Ferrell and Zooey Deschanel, Elf the Musical is a glittering holiday stage confection that mixes slapstick comedy, heartfelt family drama, and a score full of catchy tunes like “Nobody Cares About Santa,” and “Never Fall in Love with an Elf” (one of the musical’s best song and dance numbers). It’s a show designed to leave audiences laughing, humming, and perhaps even believing in Christmas magic again. The stage adaptation of Elf transforms the beloved film into a glittering Broadway spectacle, guided by the comic touch of Bob Martin and Thomas Meehan’s book.

Buddy the Elf is anything but ordinary - mainly because he isn’t an elf at all. Accidentally tucked into Santa’s sack as a baby and raised among the North Pole’s toy-making crew, Buddy grows up brimming with candy-cane energy and a grin as bright as the Rockefeller Center tree (after all, smiling is his favorite). When the truth of his human identity comes to light, he heads to New York City in search of his real father, Walter Hobbs - a cranky children’s book publisher whose name sits squarely on Santa’s naughty list. What follows is a merry storm of comic misadventures, from Buddy’s chaotic debut at Walter’s office to his glitter-drenched takeover of Macy’s, capped by the showstopping ensemble number “Sparklejollytwinklejingley.”

Buddy’s relentless cheer doesn’t always hit its mark - especially with Jovie, the world-weary Macy’s employee who slowly softens to his quirky charm. At home, Walter’s wife Emily and son Michael yearn for connection, their longing beautifully voiced in the ballad “I’ll Believe in You.” As Buddy’s antics spiral from comic chaos to heartfelt desperation, Walter’s patience frays, setting the stage for a holiday crisis that peaks when Santa’s sleigh sputters to a halt in Central Park.

In true Christmas fashion, it’s Buddy’s infectious joy - and the collective power of a crowd singing together - that rekindles belief in magic. By the final curtain, Walter has embraced Buddy as his son, Jovie has discovered love, and the city itself has been swept up in a wave of rediscovered holiday spirit. The message is simple yet enduring: sometimes it only takes one elf to remind us of the wonder we’ve forgotten.

Currently lighting up Auditorium Theatre in a limited engagement through December 14^th, this zany holiday romp delivers a burst of festive cheer guaranteed to lift spirits high enough to send Santa’s sleigh soaring once more.

Jack Ducat slips seamlessly into Buddy the Elf’s candy-cane-striped shoes, radiating a charm that feels tailor-made for the role. His wide-eyed innocence glows like twinkle lights across the stage, a pure embodiment of childlike wonder that never dims. With boundless energy and an infectious grin, Ducat magnifies Buddy’s relentless optimism until it fills the entire theatre, wrapping the audience in holiday warmth. His comedic instincts are razor-sharp, turning even the smallest quip or physical gag into a laugh-out-loud moment, while his musical bursts sparkle with joy. In every scene, Ducat channels the essence of Christmas spirit - reminding us that Buddy isn’t just a character, but a cultural touchstone of holiday cheer, beloved for the way he makes us believe in magic all over again.

The production’s heart is amplified by its supporting cast, each bringing dimension and warmth to Buddy’s journey. Felicia Martis crafts a Jovie with delightful complexity - her initial cynicism and guarded demeanor provide a sharp contrast to Buddy’s boundless optimism, making her eventual embrace of Christmas cheer all the more rewarding. As Walter Hobbs, Buddy’s beleaguered father, Jeff Brooks anchors the story with a commanding presence, capturing both the stern pragmatism of a businessman and the gradual softening of a man rediscovering family and faith. Yara Martin, as stepmother Emily Hobbs, is nothing short of luminous; her nurturing spirit radiates throughout, and she truly dazzles in her duet with son Michael. Camden Kwok, in turn, delivers a wonderfully earnest Michael, whose youthful sincerity makes “There is a Santa Claus” a standout moment along with Martin - an anthem of belief that sparkles with joy and reminds audiences of the magic at the core of the season. (*Ryan Duck alternates performances with Camden Kwok as Michael).

Darius J. Manuel proves to be a dynamic force onstage, stealing scenes with not one but two memorable turns. As the exuberant hotdog vendor, he serves up laughs alongside “The World’s Greatest Hotdog,” infusing the moment with infectious energy. Later, he reappears as the genial store manager whose good intentions lead to comic gold when he assumes Buddy’s elf costume marks him as a holiday department employee. Manuel’s sharp comedic instincts shine in both roles, blending physical humor with a warmth that keeps audiences leaning in. The highlight comes when Buddy nudges him into song, unlocking Manuel’s impressive vocal range.

Katelyn Lauria lights up the stage as Hobb’s office assistant Deb, delivering a performance brimming with comic zest. Her sharp timing and playful wit turn every moment into a laugh, while her buoyant presence injects a spark into the office scenes, ensuring Deb stands out as one of the production’s most memorable delights. Equally compelling is Andrew Kendrick, who demonstrates remarkable versatility in two sharply contrasting roles. As Santa Claus, he radiates warmth and joviality, embodying the very essence of holiday cheer with a twinkle in his eye and a booming laugh that instantly charms the audience. Then, in a striking shift, Kendrick inhabits the stern, impatient Mr. Greenway - Walter Hobbs’ demanding boss - capturing the character’s rigid authority with crisp precision. The contrast between these extremes not only highlights Kendick’s impressive range but also deepens the production’s narrative, balancing the magic of Christmas spirit against the hard edges of corporate life.

Director Philip Wm. McKinley orchestrates this holiday jewel with remarkable finesse, shaping each moment to shimmer with the warmth and sparkle of Christmas spirit. His vision transforms the stage into a living snow globe, where sweeping scenic designs unfold into breathtaking tableaux and glittering special effects ignite a sense of wonder that keeps audiences spellbound. The humor is delivered with impeccable timing, sending waves of laughter through the theatre, while the dance numbers dazzle with precision and exuberance, bursting forth like fireworks of festive joy. At the center of it all is a radiant ensemble whose collective energy and talent elevate the production beyond mere entertainment, crafting instead a jubilant celebration of the season - one that leaves audiences glowing with holiday cheer long after the curtain falls.

Overflowing with laughter and festive cheer, Elf the Musical is the perfect gift to unwrap this season. A joyous addition to any holiday wish list, the production delivers sure-fire fun for audiences of all ages, blending heartwarming spirit with playful humor that keeps the Christmas magic alive from start to finish.

Highly recommended.

Elf the Musical is being preformed at Auditorium Theatre through December 14^th. For tickets and/or more show information, visit https://elfmusicaltour.com/.  

Under the deft direction of American Blues Theater’s Executive Artistic Director Gwendolyn Whiteside, Frank Capra’s beloved holiday classic It’s a Wonderful Life is reborn as a charming 1940s radio broadcast. With vintage microphones, live foley effects, and a versatile ensemble shifting seamlessly between characters, the production becomes more than a retelling - it’s a joyous homage to the art of storytelling itself. Audiences are invited to step back into the golden age of radio, where imagination takes center stage and George Bailey’s timeless journey resonates anew.

In Bedford Falls, George Bailey devotes his life to helping others, setting aside his own dreams for the good of his community. But when financial disaster strikes on Christmas Eve, he begins to doubt his worth. Enter Clarence, a guardian angel, who reveals a chilling vision of a world without George - a town consumed by Mr. Potter’s greed and stripped of hope. Confronted with the profound impact of his generosity, George rediscovers the value of his life. As his neighbors rally to support him, he learns that true wealth lies not in money, but in friendship, love, and the lives he’s touched.

By casting the audience as “studio listeners,” the production erases the boundary between stage and spectator. Foley effects—the slam of doors, the crunch of snow—lend a tactile realism that cinema rarely achieves. The ensemble’s deft shifts in voice and character populate Bedford Falls with remarkable clarity, their energy carrying the narrative even through George’s darkest moments. The touchstones are all here: George’s sacrifices, Potter’s greed, Clarence’s intervention, and the jubilant finale of community over isolation. In radio-play form, these familiar beats gain fresh resonance, reminding us that sound and imagination can be more powerful than spectacle.

The ensemble of It’s a Wonderful Life: Live in Chicago! shines with warmth, artistry, and undeniable chemistry, breathing vibrant new life into this holiday treasure. At the heart of the production, Brandon Dahlquist embodies George Bailey with a sincerity that feels both timeless and immediate. His performance is layered with emotional depth - capturing the optimism of youthful dreams, the weight of sacrifice, and the aching vulnerability of despair. Dahlquist’s portrayal is not only heartfelt but profoundly inspiring, reminding us why George Bailey remains one of the most enduring figures in American storytelling. With every gesture and inflection, he draws the audience into Bailey’s journey, making the character’s triumphs and struggles resonate as if they were our own. It is a performance that anchors the show with humanity and elevates it with grace.

Equally compelling is Ian Paul Custer, who delivers a masterful dual turn that showcases both his range and precision. As Clarence, he radiates warmth and gentle humor, embodying the guardian angel with a tender humanity that uplifts the story and offers moments of levity. In stark contrast, his portrayal of Mr. Potter is steeped in chilling authority - a ruthless presence whose greed and menace cast a long shadow over Bedford Falls. The seamless transition between these two extremes underscores not only Custer’s remarkable skill but also the production’s emotional contrasts, reminding us that the heart of It’s a Wonderful Life lies in the tension between compassion and cruelty, hope and despair.

Justin Banks infuses Harry with an effortless charm, while Audrey Billings embodies Mary Bailey with a luminous blend of grace, resilience, and radiant warmth. Her presence anchors every scene, offering both steadiness and emotional depth as she navigates the joys and hardships of George’s journey. Manny Buckley lends Joseph a dignified gravitas, and Dara Cameron sparkles as Violet, bringing wit, vivacity, and a touch of glamour to Bedford Falls. Michael Mahler elevates the atmosphere as the charismatic Announcer, while his live piano accompaniment bathes the production in nostalgic glow, perfectly evoking the golden age of radio.

Rounding out the ensemble, J.G. Smith delivers a dazzling performance as the Foley artist, transforming everyday objects into extraordinary tools of imagination. With impeccable timing and inventive flair, Smith crafts the soundscape that breathes life into Bedford Falls - snow crunching underfoot, doors creaking open, coins clinking, and bells ringing with holiday cheer. Each effect is not merely background noise but a vital layer of storytelling, immersing audiences so completely that George Bailey’s world feels tangible and immediate. Smith’s artistry underscores the magic of live radio theater, reminding us that sound alone can transport us across time, space, and emotion. It’s a masterclass in creativity and precision, and his contribution ensures the production resonates with authenticity and wonder.

Together, this gifted ensemble weaves storytelling, music, and imagination into a seamless tapestry - proving that collaboration, heart, and craft are what make this production truly wonderful.

The magic begins even before the curtain rises. Arrive early and you’ll be treated to a lively pre-show experience, where the stage comes alive with playful antics, warm laughter, and spirited music. Cast members set the tone with a burst of energy that instantly draws the audience into the festive spirit. It’s more than a warm-up - it’s an invitation to step into the world of Bedford Falls with joy already in the air. By the time the official performance begins, you’ll feel like part of the celebration, swept up in the camaraderie and holiday cheer.

For close to 25 years, American Blues Theater has brought Frank Capra’s classic to life in the form of a 1940s radio broadcast. It’s a Wonderful Life: Live in Chicago! has earned its place as the second longest-running holiday production in the city.

American Blues Theater has discovered a beautiful new permanent home just west of Andersonville. The venue strikes the perfect balance - intimate yet expansive - with seating that is both comfortable and generously spaced. Fully ADA accessible and thoughtfully designed, the theater even offers the convenience of its own dedicated parking lot right beside the building. The parking is easy and the theater offers free spots for disabled patrons.

Recommended!

It’s a Wonderful Life: Live in Chicago! is being performed at American Blues Theater through December 28^th. For tickets and/or more show information, visit https://americanbluestheater.com/2025-its-a-wonderful-life-live-in-chicago/.