Displaying items by tag: The Den Theatre

First published by Hans Christian Andersen in 1844, The Snow Queen has captivated readers for nearly two centuries. Now, The Impostors Theatre Company brings the cherished fairy tale to life at The Den Theatre, reimagining the story as a theatrical adventure that blends wonder, danger, and the enduring power of friendship.

At the heart of the story are Gerda and Kay, two close friends whose lives are upended when a shard of an enchanted mirror becomes lodged in Kay's eye and heart, distorting his perception of the world and leaving him vulnerable to the influence of the mysterious Snow Queen. Drawn away to her frozen realm, Kay vanishes into a kingdom of ice and solitude. Refusing to abandon him, Gerda embarks on a perilous quest to bring him home, navigating a series of magical encounters that test her courage, resilience, and unwavering devotion to her friend.

The shattered magic mirror in The Snow Queen scatters countless shards across the world, infecting humanity one fragment at a time. Even the smallest speck can transform the sunniest disposition into one clouded by despair, not merely pessimism. When a shard pierces the heart or eye, every good thing suddenly appears bad, close friends seem like enemies, and life becomes a perpetual half-empty glass. For Gerda, time is of the essence, as Kay's infection deepens with each passing day, threatening to permanently sever his connection to the people and world he once loved.

The mirror shards can also serve as a compelling metaphor for what has been recognized since the 1980s as Seasonal Affective Disorder (SAD), the very real form of depression often triggered by long winters and a lack of warmth and sunlight, something I personally identify with. As the Snow Queen's seemingly endless winter tightens its grip on the world, joy, hope, and bonds of friendship slowly fade. It's a theme that resonates deeply with me, capturing the emotional weight that darker, colder months can bring and reminding us how essential warmth, light, and companionship are to our well-being.

Another theme here is the avoidant male struggle with a depressed ego and the difficulty of expressing love for his best friend. In this story, it is the boy, not the girl, who is pierced by the negative energy of the Snow Queen and finds himself unable to escape the freezing grasp of numbness and despair. As the infection worsens, Kay becomes increasingly disconnected from the love and joy that once defined him. His journey becomes a battle not only against the Snow Queen's influence, but against his own fading ability to recognize and hold onto the emotional connections that matter most. Ultimately, The Snow Queen is a timeless tale about love, resilience, and the comfort of human connection triumphing over fear, isolation, and despair.

At the center of The Snow Queen are Shannon McEldowney as the determined Gerda and Cee Scallen as the conflicted Kay. Gerda's quest drives the narrative, making McEldowney the emotional anchor of the production, while Scallen's portrayal of Kay charts the character's transformation from devoted friend to a boy caught under a dangerous spell. McEldowney brings heart and determination to Gerda, while Scallen effectively captures Kay's gradual emotional withdrawal. Supporting them is a versatile ensemble of storytellers who bring Gerda's fantastical world to life, including Courtney Marie as the enigmatic Snow Queen, whose imposing and mysterious presence looms over the adventure even when she is not on stage, alongside Hilary Sanzel as the Raven, Bryson David Hoff as the Reindeer, Mara Currens as the Robber Girl, JA Loyd as the Old Woman, Mab De Guzman as the Sprite, Mary Ross as Grandma, and Eilish Morse-O'Rourke as Mother. Together, they embody the colorful characters, guides, and adversaries Gerda encounters along her quest through Andersen's enchanted landscape.

Cee Scallen as Kay (left) with Eilish Morse-O'Rourke as Mother. Photo by Kyle Smart.

Playwright Mallory Swisher, a founding member of The Impostors Theatre Company, adapts Hans Christian Andersen's classic tale under the skilled direction of ITC artistic director Stefan Roseen, a Jeff Award-winning director, with Anna Roemer, the company's resident choreographer and co-founder of Schoolhouse Shakespeare Company, serving as co-director and choreographer. Roseen also serves as Scenic and Sound Designer.

The production also benefits from the wonderfully inventive work of Kimzyn Campbell (Puppet Director), Jackie Bobbit (Props Designer/Puppet Assistant), and Jessica Dommer (Puppet Designer/Props Assistant). Their imaginative use of puppets and props brings Andersen's fantastical world to life in unexpected ways, encouraging audiences to fill in the gaps with their own imagination and proving that creativity can be every bit as magical as special effects.

One especially memorable touch was keeping the theater slightly chilled throughout the performance. It was never uncomfortable but just cool enough to make audiences feel as though they had stepped into the Snow Queen's frozen realm. Equally delightful was the decision to offer blankets to guests as they entered, allowing theatregoers to stay warm and cozy while soaking in the atmosphere. It's a small detail, but one that beautifully enhanced the sense of immersion and demonstrated the production's commitment to creating a complete theatrical experience.

Beneath its fairy tale trappings, The Impostors Theatre Company's production reminds audiences that perseverance, loyalty, compassion, and the transformative power of love remain powerful forces in an increasingly disconnected world. Gerda's journey is not merely an adventure through an enchanted landscape, but a testament to the courage required to hold onto hope when confronted by fear, loss, and isolation. In an age when genuine human connection can often feel fragile, the story's enduring message about empathy and resilience remains as relevant as ever, reminding audiences that even the coldest hearts can be reached through kindness and determination.

I also want to commend both The Den Theatre and The Impostors Theatre Company for their thoughtful accommodation of patrons with disabilities. The Den's intimate upstairs performance space is accessible via an elevator upon request for those unable to navigate the stairs, and I was encouraged to see several guests using wheelchairs and canes able to access the theater comfortably. Equally appreciated was the kindness shown by The Impostors team when arranging seating. Not only did they place me on an aisle to make navigating the space easier, but they took the additional step of asking exactly how many stairs I could comfortably manage in order to provide the best possible view. That rare gesture was especially meaningful because every disability is different, and one never truly knows what another person experiences with their disability or what challenges they may be managing beyond what is visible. It was a simple act of consideration, but one that demonstrated a genuine understanding that accessibility is not a one-size-fits-all matter.

Recommended for audiences of all ages.

The Snow Queen runs November 5 through December 6 at The Den Theatre's Upstairs Mainstage, with performances Thursdays through Saturdays at 7:30 p.m. and Sundays at 3:00 p.m. Opening weekend performances take place Thursday, November 5, and Friday, November 6, at 7:30 p.m. General admission tickets are $20, with reserved seating available for $25. Tickets may be purchased through The Den Theatre box office.

The Front Theatre announces casting for the North American premiere of Rafaella Marcus's highly acclaimed play Sap, directed by Charles Riffenburg. Sap is a timely and poetic thriller, in which a woman's lie to her girlfriend threatens to grow out of control when a man from her past uses it against her. Sap will be presented February 25 - March 27, 2027, at The Den Theatre, 1331 N Milwaukee Ave, in Chicago. 

Daphne is in love with a woman she calls her "Wonder Woman," the kind of love that she can't remember having ever experienced before. But when a one-night stand from her past shows up, she'll do anything to keep her secret from her girlfriend. Inspired by the Greek myth of Daphne and Apollo, Sap is a poetic and timely new play about passion, power, bisexual erasure, domestic violence, and the danger of hiding who you are.
 
The cast of Sap features Rileigh Belle Wine, Lily Gaddis, and Jay Donley.

Charles Riffenburg (director)
Charles Riffenburg is an actor, director, and visual artist. He is the founder and artistic director of The Front Theatre. Previously, he served as an Artistic Associate and Marketing Director at BoHo Theatre and the Marketing Manager at About Face Theatre. He made his Chicago directing debut with Veronica's Room at BoHo Theatre, which was Jeff Award-nominated for Outstanding Play and Outstanding Supporting Actress in a Play (Sarah Wellington). His directing credits also include Sara Ruhl's Eurydice and Jeffrey Hatcher's Scotland Road with BoHo. Additionally, he has worked throughout the Chicago theatre community as an independent graphic designer, illustrator, and marketing consultant for over 16 years, partnering with clients such as Northlight, Remy Bumppo, Marriott Theatre, The House Theatre, Emerald City Theatre, Chicago Fringe Festival, League of Chicago Theatres, Lifeline Theatre, and many more.

Rafaella Marcus (playwright)
Rafaella Marcus is an award-winning playwright turned screenwriter. Her debut play Sap was a breakout hit of the Edinburgh Fringe, winning the Soho Playhouse Medal for Excellence in Theatre, the Summerhall Lustrum Award, and The Stage Edinburgh Award. After sell-out runs at Paines Plough's Roundabout and London's Soho Theatre, Sap toured nationally, off the back of which Rafaella won Most Promising New Playwright at the UK's 2024 Off West End Theatre Awards. This year, Rafaella was announced as recipient of the Donmar's 2026 Theatre Royal Haymarket Writers' Award. Rafaella was previously selected as one of 10 playwrights on the UK's inaugural Women in Theatre Lab. She has also worked prolifically in theatre as a director and dramaturg, focusing on new writing and promoting marginalised voices. Rafaella is now adapting Sap for television, alongside developing a host of other projects for TV, film, and theatre.

SAP
By Rafaella Marcus
Directed by Charles Riffenburg
February 25 - March 27, 2027
Thursdays, Fridays and Saturdays at 7:30pm , Sundays at 3 pm
The Den Theatre, 1331 N. Milwaukee Ave., Chicago
Tickets: $15-$35, available at The Den Theatre Box Office (1331 N Milwaukee Ave, Chicago)
Online at thefronttheatre.com or thedentheatre.com

The Artistic Home's 2026-27 season will include works by new writers, along with less performed works by two of the greatest playwrights of the past 140 years. After opening their season on November 5 with CUT TO THE CHASE at the Lookingglass Studio Theatre, the company will return to The Den Theatre for the remainder of the season. There, The Artistic Home  will present Arthur Miller's later career drama, THE PRICE, from January 21 to February 28 and conclude their season with Anton Chekhov's first produced play, IVANOV, which will play from May 1 to June 6.
 
A staple of Chicago theater for over two decades, CUT TO THE CHASE presents as one fun night of theater a number of new plays chosen from hundreds of submissions by writers from across the country. The plays are performed back-to-back, with the complete program running approximately 80 minutes. CUT TO THE CHASE is a perfect taste of dynamic theater in an intimate space. Ensemble member Annie Hogan will curate the festival, which will be directed and performed by ensemble members and other theatre artists. CUT TO THE CHASE will be performed for two weekends, from November 5 -15, at the Lookingglass Studio Theater, 163 E. Pearson at Michigan Avenue, on Chicago's Magnificent Mile. Tickets are $25.00 plus fees and are available at https://www.theartistichome.org/cut-to-the-chase-2026-2027.
 
The lineup of plays for this edition of CUT TO THE CHASE includes "Bone Fire" by Nina Dellaria, directed by Eve Pahoresky and performed by Caitlin Jemison and Chris Clowers; "Devoted and Other Adjectives" by Brian S. Brijbag, directed by Devon Carson and performed by Mary Mikva and Michael Baylor; "Gouting" by Dan Caffrey, directed by Jacob Watson and performed by Delia Ford and Lee Kanne; "Posthumy!" by Siah Berlatsky, directed by Savaun Stokes and performed by Janice Rumschlag and Jared Goudsmit; "Rot" by S.A. Ellis, directed by Julian Hester and performed by Charlie Irving and Trevor Hendrix; and "Break" by Margaret Richard, directed by Christian Helem and performed by Taylor Talhame, Nick Buzzi, and Elizabeth Sacha.
 
CUT TO THE CHASE will be followed in January by THE PRICE, Arthur Miller's play first produced in 1968. Two estranged middle-aged brothers reunite in the attic of their family's Manhattan brownstone to sell off a lifetime of estate furniture. The cluttered attic filled with family furniture acts as a physical repository of the past, where characters project their unresolved grief, bitterness, and relational attachments onto physical things. THE PRICE was Miller's last major Broadway hit, and while less frequently performed than his DEATH OF A SALESMAN, ALL MY SONS, THE CRUCIBLE, or A VIEW FROM THE BRIDGE, THE NEW YORK TIMES called it "one of the most engrossing and entertaining plays that Miller has ever written." It will be performed and directed by a cast of The Artistic Home ensemble members, with Scott Westerman directing Kristin Collins, John Mossman, Frank Nall, and Todd Wojcik. THE PRICE will open to the press on Thursday, January 28, following previews on January 24, 25, and 27; and play through February 28, in the Bookspan space of The Den Theatre.
 
Closing the company's season will be Anton Chekhov's first produced full-length play, IVANOV. Like Chekhov's later plays – CHERRY ORCHARD, SEAGULL, and THREE SISTERS, it explores themes of loss amidst a changing society. The title character, once a highly successful member of the County Counsel, is deeply in debt, in danger of losing his estate, and most troubling, is severely depressed. Ensemble member Ted James will direct. IVANOV will open to the press on Thursday, May 6, following previews on May 1, 2, and 5; and will play in the Bookspan space at The Den through June 6.

The Artistic Home's 2026-27 is sponsored by the Michael and Mona Heath Fund.
 
Tickets for CUT TO THE CHASE are $25.00 plus fees and are available at https://www.theartistichome.org/cut-to-the-chase-2026-2027. Ticketing information for THE PRICE and IVANOV will be announced later.

Here’s a play that should be really good, based on its reputation alone. Written by Chicago comedy writer Samantha Hurley, I’m Going to Marry You Tobey Maguire premiered off Broadway at The Cell Theater in 2023. Now Refracted Theatre Company has mounted it at The Den Theatre in Chicago, bringing its original off Broadway director Tyler Struble on board. Under Struble’s experienced hands, we get a vital, lively production of a retro piece, circa 2005. 

As the title suggests, the play centers on Spider-Man actor Tobey Maguire (Jasper Johnson is just right for the role) who has become the fixation of a precocious and deranged eight-grade girl, Shelby Hinckley (an over-the-top good performance by Alex O’Shea). Hinckley, who leads her local chapter of the Tobey Maguire fan club, plots to capture Maguire, and successfully entraps him in her family basement. There she plans to marry him. 

When we meet Shelby Hinckley, she is playing with dolls in an adjacent room, enacting scenes from the romance she imagines with Toby Maquire, who is just coming back to consciousness following a car crash engineered by Hinckley. The crazy premise included stuffing him into an oversized duffle bag. With the help of a friend she has maneuvered him into her basement, then chained him to a pipe. The room is a shrine to Maguire, plastered with posters and magazine images of him.

Lucey Stoole aka Ty Huey (left) and Alex O'shea

As he revives, Maguire imagines this must be some elaborate practical joke his agent has engineered, and begins shouting to him and bargaining for release. But no, Shelby arrives and explains his predicament is her doing. Unseen, Shelby’s Mom (Lucey Stoole aka Ty Huey) shouts barks down the stairs for Shelby to turn down the television, and never comes down to investigate, despite Maguire’s calls for help. Stool - Huey plays multiple roles in an imaginative performance as variously a real estate agent, paparazzi, and Maguire’s alter-ego embodied in a poster of him. 

What Shelby hadn’t anticipated is that Maguire, the actual human being, is a cigarette smoker, a drunk and an addict, which is true from real life as well by Maguire's own admissions. Unwilling as he is to marry this 14-year-old girl (she figured he’d succumb to Stockholm Syndrome and fall for her), he resorts to sniffing spray paint fumes as his only available outlet for a high. Maguire is characterized as competing for roles with Jake Gyllenhaal (in real life it was Leonardo DiCaprio that was his competitive frenemy). 

The play runs 105 minutes with no intermission, and we witness scenes of psychosis from Shelby and Maguire. The television screen, central to much of the action, transmogrifies artfully at one point and we see Maguire issue forth from it (ala the film Videodrome), a scene carried off well. 

But the plot ultimately runs out of steam (Steven King’s like-minded Misery gets a shout-out by Shelby) though the play runs on without it. The charm wore off for me, though all three performers make the best of it and the show elicits plenty of laughs. All in all, it comes somewhat recommended. Refracted Theatre's I’m Going to Marry You Toby Maguire runs through Oct. 31 at The Den Theatre in Chicago.

David Koechner stormed into The Den Theatre’s Mainstage this weekend with the kind of unruly, big‑hearted presence that instantly reminded audiences why he had been a comedy fixture for more than two decades. People knew him as the blustering Champ Kind from Anchorman, the delightfully inappropriate Todd Packer on The Office, and from scene‑stealing turns in Waiting…, Talladega Nights, and Krampus. But the Koechner who took the stage here was a comic in full evolution, digging into the raw, strange, deeply human corners of his own story.

His set leaned heavily into his Missouri upbringing, though not in the polished, memoir‑ready way you might expect. Koechner unspooled these memories as if he were rediscovering them in the moment – childhood chaos, family quirks, and the odd rhythms of small‑town life all collided and escalated into full‑tilt comedic spirals. His Second City roots were unmistakable, and the Chicago connection ran deeper than nostalgia; Koechner lived in the city for nine years, and that long stretch of his life seemed to pulse through the performance. He shifted voices, dropped into characters, and built entire scenes out of thin air, giving the night a sense of spontaneity that felt tailor‑made for The Den’s intimate Mainstage.

What defined this chapter of his stand‑up was how much he fed off the room. Koechner treated the audience like co‑conspirators, not spectators. A stray laugh or a bold comment could send him veering off script, and those detours often became the highlight of the night. There was a looseness to the show – a sense that anything could happen – that made the experience feel alive in a way only seasoned improvisers can pull off.

Although he tossed in a quick nod to the roles that made him a household name near the end of the set, he never leaned on them as a crutch. Still, hearing Champ Kind and Todd Packer delivered straight from the source was undeniably fun. The real draw was Koechner himself: messy, generous, unpredictable, and fully engaged. His weekend at The Den Theatre served as a reminder that he was not just a beloved character actor – he was a stand‑up with a singular voice, still sharpening it, still surprising himself, and still finding new ways to bring the audience along for the ride.

Koechner’s Mainstage run was rowdy, personal, and unmistakably his – the kind of night where you walked out buzzing, not because you saw Champ Kind live, but because you saw David Koechner exactly as he was now: a comic still evolving, still swinging big, and still wildly fun to watch.

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

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. 

“You can’t raise kids without hope.” says terminally pessimistic Arthur Pryszbyszewski in Tracy Letts’ 2008 play “Superior Donuts” now running at The Artistic Home at The Den Theatre. Directed by Artistic Home ensemble member John Mossman, “Superior Donuts” tells an authentic Chicago story in the cozy kind of theater our city is known for.

Originally produced by Steppenwolf on the heels of Letts’ Pulitzer Prize landmark “August: Osage County”, this play feels almost lighthearted by comparison. “Superior Donuts” swaps the blues of the Oklahoma plains for the desperation of Chicago’s Uptown neighborhood, before the Target opened on Wilson.

Arthur Pryszbyszewski, impeccably played by Scott Westerman, is a complicated, introverted middle aged man who’s devoted himself to keeping the family donut shop in business long after its heyday. One morning he finds his shop vandalized and in walks Franco, a young man with big dreams but even bigger debts. Franco is an aspiring novelist with no shortage of things to say on virtually every topic. His stream of conscious babble eventually helps Arthur open up.

Letts’ has a real knack for gritty stories, but what he does especially well is cleanly written scenes. Playwriting doesn’t have to be complicated. “Superior Donuts” excels much like his other work in that each characters’ desires and disappointments are clearly laid out. You’re never wondering what the point of a scene is. That is to say, Letts never leads you into the weeds.

In two briskly paced acts, “Superior Donuts” is both a male-driven comedy and a hard-hitting drama. Letts explores what happens to neighborhoods when small businesses close. You don’t just lose the business; you lose pillars of neighborhoods. Arthur is a reluctant pillar but his paternal affection for Franco becomes his greatest achievement.

Featuring a cast of Artistic Home ensemble and newcomers, Mossman's’ production is stacked. John N. Williams is well suited to the awkward but endearing Franco. Ensemble member Kristin Collins plays CPD officer Randy Osteen, Arthur’s burgeoning love interest. Collins’ Chicago accent and mannerisms are incredibly comforting.

“Superior Donuts” is not only a love letter to Chicago’s Uptown neighborhood but also a world you don’t mind spending a little more time in. In fact, it was adapted into a relatively successful CBS tv series in 2010.

Artistic Home reinterprets “Superior Donuts” at a time when Uptown has more or less been gentrified. No longer on the cusp as depicted in the play. In 2025, it feels more like a heartwarming period piece that true Chicagoans will fondly remember.

Through December 6 at Artistic Home at The Den Theatre. 1331 N Milwaukee Ave. 773-697-3830 

‘Hedda Gabler’ has mystified audiences for generations, as this was certainly Ibsen’s intention when creating this endlessly fascinating character. The Artistic Home transforms the Den Theatre into 1890s Norway for their production of Irish playwright Mark O’Rowe’s 2015 adaptation of ‘Hedda Gabler’. Under Monica Payne’s direction, this contemporary-voiced retelling is diabolically humorous.

Any production of ‘Hedda Gabler’ is only as good as their Hedda. In Brookelyn Hebert, Monica Payne has a frighteningly self-assured Hedda who is insatiably fun to watch. Flanked by Todd Wocjik as Jorge Tesman and John Mossman as Judge Brack, Hebert plays both the conqueror and conquered with hot tempered fluidity.

Ibsen, like Chekhov, helped usher in a new era of modern theatre that would inspire 20th century playwrights like Arthur Miller and Eugene O’Neill. With focus on the doldrums of a waning aristocracy, Ibsen captures the everyday hopes and disappointments of his characters in scenes that feel as relevant today as when they were written.

What makes ‘Hedda Gabler’ unique is the myriads of ways a director and an actress can approach the title role. Ibsen’s play is somewhat vague so that audiences and theater makers are free to go with their own interpretation of what motivates Hedda.

In this new version by Mark O’Rowe, many of the Easter eggs Ibsen drops throughout the play are further expanded upon so that audiences have even more context for Hedda’s past and present. In Rowe’s version, Hedda is quicker to anger and more self-aware than in previous iterations. An angrier Hedda shows the brewing hostility of a woman trapped by society, which makes her downfall all the more tragic.

Time seems to fly with O’Rowe’s modern language. Instead of literary innuendo, characters are free to discuss sexuality and substance abuse with more directness. Two and a half hours can feel long for a classic melodrama, but this script has a lot of juicy scene work to keep audiences on the edge of their seat, even if they know what’s going to happen next.

Plays like ‘Hedda Gabler’ do exactly what good plays should, and that is to ask why. As mentioned before, Ibsen purposefully did not provide just one reason for Hedda’s actions, rather he planted many seeds so that nobody can really be sure, opening the door for riveting conversations.

The Artistic Home’s production of ‘Hedda Gabler’ is a good reminder of why classics should be seen every so often. Though the modernized script takes some interesting liberties, and can become a bit meandering in parts, overall Ibsen’s points are well preserved. However, it’s fairly unlikely that high society folks would speak in expletives the way they are in O’Rowe’s script. Still, this production is faithful in its interpretation of the limits of courage. In the end, despite Ibsen’s Easter eggs, this is a play about one woman’s courage to go against the grain of society.

Through March 23 at The Artistic Home at The Den. 1331 N Milwaukee Ave. 773-697-3830

Just as there are many Santa’s around town, this time of year we have a wide selection of Christmas and Holiday-themed shows on stage. While I’ve grown quite jaded about the diminishment of “real” theater during the holidays—steadfastly avoiding the Goodman show each year—there was something that overcame my reluctance in the concept of “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again.”

The darkly charming premise is tantalizing: that Dickens is still alive, and has for 171 consecutive years been annually performing his stage reading of a version of his 19th century book “A Christmas Carol." In fact, as we learn in the course of the show, Dickens did read an adaptation of his book onstage for years. This piece, however, is a remarkably artful riff on Dickens' original, written and performed stunningly well by Blake Montgomery.

This is an actor with chops, a Jefferson Award winner seen over the years on stages at Steppenwolf, Writers and Court Theaters. About 10 years ago Montgomery developed this show, and has given himself a script that is a great showcase of his skills. Walking among the audience before curtain, dispensing candy canes and wearing ridiculous holiday antlers, Montgomery gradually shifts into the Dickensian story.

Speaking candidly of the character of contemporary Christmas Carol shows, including the “large well-known theater downtown” where “snow falls on stage, and Christmas ghosts literally fly,” Montgomery adds dryly. “All I can do is talk.” And with that, Montgomery shifts gradually into the character of Dickens, holding the audience in the palm of his hand.

But Montgomery is also present, all the while, playing moderator. After spending some time somewhat disabusing us of our preconceived notions of what Dickens’ “Christmas Carol” holds, he deconstructs the story, then disarms us, and we are open to hear the story anew. The more opulent productions risk masking the human tale embodied in Dickens’ work. Montgomery reveals more of the internal workings of Scrooge. At times, he allows Dickens to read directly from the text. In other moments Montgomery re-enacts scenes holding up two sides of a dialog. He asks us to examine Scrooge's transformation during the ghostly visits. In one dream-like celebratory Christmas party scene that Scrooge visits in company of a ghost, Montgomery tells us, "The activity is dancing; the action is about what is happening within Scrooge."

In all it’s a remarkable reenvisioning of “A Christmas Carol,” and a work and performance not to be missed this season. “Charles Dickens Begrudgingly Performs ‘A Christmas Carol’ Again” runs through December 22, 2024 at The Den Theatre in Chicago.

“To love the beauty of the mistakes….the imperfect.”  Isis Elizabeth, Playwright

In Beneath The Willow Tree, playwright Isis Elizabeth weaves an emotionally rich tapestry that examines the intricacies of familial bonds, generational trauma, and the delicate interplay between tradition and change. Set in the heart of the Louisiana Bayou, the Bordeaux family home becomes both a sanctuary and a battleground for three Black women whose lives, secrets, and desires come crashing together. Expertly directed by Aaron Reese Boseman, this world premiere delivers a gripping, spiritual family drama that hits deeply personal and universal notes.

At the center of the play is Willow Bordeaux, portrayed with emotional nuance by Sierra Coachman, a young woman who returns home from NYU, bringing more than just academic achievements—she’s accompanied by her lifelong friend  Ree, beautifully brought to life by ASH. She has also brought with her a life she’s building beyond her family’s reach. Willow’s return unearths long-buried family secrets, revealing how trauma, often unspoken, festers beneath the surface. As the audience watches Willow grapple with her past and present identities, her journey becomes emblematic of the broader struggle between old traditions and new ways of being.

The heart of Beneath The Willow Tree is the three generations of Bordeaux women, each dealing with the weight of their histories. Yahdina U-Deen, playing the family matriarch Beatrice Bordeaux , offers a towering performance—her stern exterior masking years of sacrifice, grief, and unspoken pain. Her relationship with her daughter Gloria Bordeaux played with an inner strength by Monique Marshaun,  is fraught, tinged with tension but layered with a palpable sense of love and obligation on both sides. Boseman’s direction ensures that the tension never veers into melodrama; instead, it simmers, allowing the emotional stakes to rise naturally, leading to moments of catharsis that feel earned rather than forced.

Also delivering excellent performances are Dylan Rogers, who skillfully portrays both Moses Bordeaux, the loving and enigmatic patriarch of the Bordeaux family, and Dante Ri’chard, Willow's charming and complex love interest. Rogers deftly navigates the dual roles, bringing a commanding presence to Moses while offering vulnerability as Dante. Mayiyah Brown also shines as young Gloria, capturing the innocence and intensity of the family’s earlier struggles with grace and authenticity. Special mention must be given to dialect coach Susan Gosdick, whose meticulous work ensured that the accents were pitch-perfect, seamlessly shifting from generation to generation, adding depth and authenticity to the play's rich Louisiana setting.

The Bayou setting is not just a backdrop; it is a living, breathing presence in the play. The willow tree itself becomes a symbol of both the Bordeaux family’s resilience and the weight of their past. Set design by Kevin Rolfs captures the mystical and haunting atmosphere of the Bayou, with sprawling branches casting long shadows that seem to stretch into the characters' souls. Adding to this immersive environment is Levi Watkins' lighting design, which subtly enhances the eerie and ethereal quality of the Bayou, playing with shadows and light to deepen the mood. Ethan Korvne's soundscape interweaves seamlessly, with whispers of the wind and the distant echoes of ancestral spirits by way of bass and percussion enriching  the play’s spiritual elements, grounding the story in both realism and mysticism.

One of the play’s strongest elements is its exploration of Black womanhood across generations. The conflicts between the Bordeaux women reflect broader themes of identity, legacy, and healing, resonating particularly in today’s world, where conversations about generational trauma and reclamation of self are becoming more prominent. Elizabeth’s writing doesn’t shy away from the pain these women carry, but it also offers them a path to healing—a journey that is messy, complicated, and deeply moving.

Iris Elizabeth and Aaron Reese Boseman are quickly establishing themselves as the future of theater in Chicago. While there's much to praise, a minor critique might be directed at the play's lengthy running time. Although the exceptional writing nearly makes the duration worthwhile, it may feel somewhat prolonged for some audience members. However, any potential concerns about the length are effectively alleviated by the riveting performances and the substantial thematic depth that resonate throughout the production.

Overall, Beneath The Willow Tree is a powerful debut from Isis Elizabeth. With Boseman’s sensitive direction and a cast that brings the Bordeaux family to life with authenticity and passion, the play delivers a potent mix of raw emotion, spiritual reflection, and the hard-earned path toward healing. A must-see for those who appreciate deeply human stories with cultural resonance.

Highly Recommended

When: Through September 29
Where: The Den Theatre 1331 N. Milwaukee Avenue, Chicago,
Tickets: $25-$45
Info: www.pulsetheatrechicago.org  (773)697-3830
Running time: 2 hours and 30 minutes with one intermission