Displaying items by tag: Musical theatre

Black Ensemble Theater opens its 50^th Anniversary Season with the return of the celebrated musical The Jackie Wilson Story, written and directed by Founder & CEO Jackie Taylor. The production runs March 7-April 26, 2026, at the Black Ensemble Theater Cultural Center, 4450 N. Clark Street in Chicago. 

Information and tickets are available at www.blackensemble.org, (773) 769-4451 and at the Black Ensemble Theater Box Office, 4450 N. Clark Street in Chicago.

Founder, CEO and writer/director of The Jackie Wilson Story Jackie Taylor states, "Throughout the past 50 years, Black Ensemble Theater has welcomed audiences to celebrate Black excellence, history, and artistry through music and storytelling. The season opens with one of our trademark productions—The Jackie Wilson Story, showcasing the story, music, and dance moves of one of our greatest entertainers.  As one of Black Ensemble's biggest hit productions of the past five decades, we welcome back old friends and encourage new audiences to discover the life and legacy of Jackie Wilson.

Originally premiering at Black Ensemble Theater in 2000, The Jackie Wilson Story began a highly successful national tour in 2002, including a record-breaking run at the legendary Apollo Theater in New York. In 2012, The Jackie Wilson Story made history once again by opening the new Black Ensemble Theater Cultural Center.

The Jackie Wilson Story chronicles the rise and fall of the legendary R&B singer, known as "Mr. Excitement," from his early hits like "Reet Petite" to his tragic death in 1984. With Black Ensemble's signature live band, the musical features over 20 classics, including "Lonely Teardrops," "(Your Love Keeps Lifting Me) Higher and Higher," "To Be Loved," and "Baby Workout." This award-winning production continues its remarkable legacy as it opens the 50th Anniversary Season. Experience this thrilling tribute to the most dynamic and electrifying entertainer of all time,

The cast includes: Jaitee Thomas (Jackie Wilson), Destin Warner (BB), Rhonda Preston (Eliza Mae Wilson), Britt Edwards (Freda/Ensemble), Solomon Langley (Sam Cooke/Ensemble), Dennis Dent (Ensemble), Vincent Jordan (Ensemble), Michaela Dukes (Harlene /Ensemble), Raeven Carroll-Lavern (Baker/Ensemble), Ben Woods (Ensemble), Kelcy Taylor (understudy) and Courtney Driver (understudy).

The musicians are: Musical Director Robert Reddrick (drums), Adam Sherrod (keys), Oscar Brown Jr (guitar), Walter Harrington (bass), Corey Wilkes (trumpet), Bill McFarland (trombone), and Mark Felton (saxophone).

Performances are Fridays at 8:00pm, Saturdays at 3:00 p.m. and 8:00 p.m. and Sundays at 3:00 p.m. Tickets are $69 (fees included). Valet parking is available for $13 (cash only).

Andrew Lloyd Webber’s Cats remains one of musical theatre’s most distinctive creations - a sung‑through, dance‑driven spectacle that swaps traditional plot for atmosphere, character portraits, and pure theatrical immersion. Drawn from T. S. Eliot’s Old Possum’s Book of Practical Cats, the musical unfolds as a moonlit gathering of the Jellicle tribe, each feline stepping forward to claim the spotlight before the climactic “Jellicle Choice,” when one is chosen for rebirth into the Heaviside Layer – a new life. Its unconventional structure, eclectic score, and iconic choreography helped define the mega-musical era, earning Cats major awards and record‑breaking runs in both London and New York. And now it’s here!

To kick off their 2026 season, Music Theater Works brings Cats to the North Theatre in the North Shore Center for the Performing Arts, offering Chicago audiences a fresh trip into the Jellicle universe. It’s the perfect time to pounce on this legendary musical - whether you’re drawn by its nostalgia, its high‑energy movement, or the simple delight of watching a community of cats chase belonging and second chances.

Cats has always been one of my very favorite Andrew Lloyd Webber musicals, and revisiting it reminds me why. Its blend of atmosphere, movement, and character‑driven storytelling creates a world that feels both whimsical and strangely profound – a world that is so easy to get lost in.

What continues to give Cats its staying power is the blend of spectacle and emotional resonance. While much of the evening plays as a parade of emotionally grounded ensemble-anchored numbers - playful, mischievous, or grand - the heart of the piece rests with Grizabella (magnificently played in this production by Ava Lane Stovall), the faded glamour cat whose ballad “Memory” became a global standard. The production’s emphasis on movement, atmosphere, and immersive world‑building over traditional linear storytelling makes Cats both polarizing and unforgettable, and its decades‑long staying power proves just how deeply that approach resonates across generations. Music Theater Works captures that essence beautifully, channeling the show’s dreamlike logic and ritualistic energy in a way that feels both faithful and freshly imagined.

Astutely directed and choreographed by Mandy Modic, Music Theater Works makes inventive use of the North Shore Center’s intimate space, transforming nearly every nook and cranny into part of the Jellicle playground. The result is a production where activity seems to spark from every direction, creating a sense of constant motion that borders on ingenious. From the moment the show begins - after a playful prelude of cat videos on a large TV - the cast emerges in the dark, parading down the aisles with glowing cat‑eye glasses that immediately pull the audience into their world. Throughout the performance, strategically placed perches and platforms scattered around the theater keep the action mere inches away, giving some audience members the rare thrill of being fully surrounded by the Jellicle tribe. Though I’ve seen Cats countless times in both the Chicagoland area and New York, this production may well be the one that connected with me the most.

(Center) Ethan Lupp as “Rum Tum Tugger” and members of the cast of CATS in CATS from Music Theater Works, now playing through March 29 at the North Shore Center for the Performing Arts in Skokie.

Sam Nachison brings a commanding warmth to Old Deuteronomy, balancing authority with compassion and grounding the production with a rich, resonant baritone in his self‑titled number. Stovall, meanwhile, delivers a vocally commanding, show‑stopping “Memory” in Act II - an emotional high point that pierced my heart and gave me chills. But what truly elevates this production is how deep the talent runs throughout the ensemble. Whether it’s the big, full‑company showstoppers, the sly, feline physicality woven into every corner of the stage, or the sheer joy of numbers like “Magical Mister Mistoffelees,” the cast proves endlessly engaging. Group sequences such as “Jellicle Songs for Jellicle Cats” and “Journey to the Heaviside Layer” showcase a company working in complete synchronicity, creating moment after moment that dazzles. The memorable beats are as abundant as the cats roaming the theater, each one adding to a production overflowing with energy, precision, and charm.

Throughout the performance, I found myself drawn to different performers at different moments, captivated by their vocals, their movement, and the sheer feline energy they brought to the stage. The ensemble’s commitment was so complete that no matter where I looked, someone was doing something compelling, clever, or beautifully in character. That sense of constant discovery carried straight into the show’s physical feats - from aerial acrobatics to Morgan Schoenecker’s crisp tap breaks as Jennyanydots and even the unexpected skating sequences led by Danny Spagnuolo as Skimbleshanks—making the production a steady stream of surprises. Add in the constant, playful eye contact from cats prancing through the aisles, and every moment feels enchanting - alive with movement, mischief, and immersive detail.

Nick Johnson’s Munkustrap grounds the entire production with a steady, commanding presence, guiding the ensemble and shaping the rhythm of the evening. He moves through the show with an effortless authority - part narrator, part guardian - setting both the emotional and musical pace while keeping the Jellicle world anchored. In doing so, he opens the door for the production’s standout moments to land with even greater impact - and never far from that spotlight is Emma Jean Eastlund’s Bombalurina, slipping in with charisma and precision alongside the rest of the talented ensemble.

Ava Lane Stovall as “Grizabella” in CATS from Music Theater Works. Phots by Brett Beiner.

Another moment that stayed with me was John Cardone’s moving rendition of “Gus: The Theatre Cat.” As Asparagus, he delivers this bittersweet, nostalgic reflection of an aging performer looking back on the glory days of his career. The ache of the number comes from the gap between who Gus once was and who he has become - an actor with a shabby coat, trembling paws, and memories of a time when he was the “terror to mice.” Cardone leans into that fragility with such sincerity that the song lands as both a tribute and a quiet heartbreak.

And from that intimate moment, the production expands back into the vibrant world of the Jellicles. The cats themselves are incredible - brought to life with remarkable clarity thanks to the production’s outstanding creative team. Much of that magic stems from the meticulous work of hair, wig, and makeup designers Megan E. Pirtle and Melanie Saso, whose transformations give each performer a distinct feline identity, and from the richly textured costumes crafted by kClare McKellaston and wardrobe head Kristen Brinati, which add depth, personality, and visual cohesion to the entire tribe. Together, their contributions shape a world so vivid and fully realized that the characters feel as if they’ve stepped straight out of Eliot’s imagination and into the audience’s laps. Credit belongs to every corner of the creative team, from scenic design to sound to lighting, all working together to shape an atmosphere that feels nothing short of Jellicle heaven. Their combined artistry turns the space into a fully realized world - mystical, inviting, and alive with detail - so the audience is immersed from the moment the first cat appears. Every technical element works in harmony to envelop the audience in this moonlit world - sets that invite exploration, sound that wraps around the room, and lighting that shifts the space from mystical to electric in an instant. The result is a production that manages to be both haunting and joyfully alive, lingering in the imagination long after the final note.

What I appreciated most about this rich and colorful production is how it reflects the moment we’re living in. At a time when the world feels unsteady, we’re each our own special kind of “cat,” carrying unique talents and flaws, and offering up our personal histories - our triumphs and our losses to each other our fellow "cats" - as the curtain of world seems to be falling around us. Yet, in that shared vulnerability, we find the strength to realize that as long as we keep supporting one another, the light never truly goes out.

Purr‑fect, meow‑velous, pawsitively delightful, downright meow‑gical - take your pick! Every one of them fits this production like a cat in a sunbeam.

Music Theatre Works’ Cats is being performed at the North Theatre in the North Shore Center for the Performing Arts through March 29^th. For tickets and/or more show information visit https://www.musictheaterworks.com/2026-season/cats/.

Highly Recommended.

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

The Auditorium (Chicago's landmark stage at 50 E. Ida B. Wells Drive) presents Bat Out Of Hell – The Musical direct from London's West End. Featuring the timeless music of Jim Steinman and Meat Loaf, this electrifying production is full of rock 'n' roll favorites. The one night only presentation is Thursday, April 9, 2026 at 7:30 PM at The Auditorium, 50 E Ia B Wells Dr. Tickets go on sale on Friday, January 30 at 9:00 AM and will be available at auditoriumtheatre.org or by calling The Auditorium's Ticket Service Center at 312.341.2300.

Featuring some of the most iconic rock songs ever recorded, Bat Out Of Hell – The Musical boasts an epic world class cast of singers, dancers, actors, accompanied by a dynamic eight-piece rock band. As the Lost boys and girls flee into the tunnels below the city from its ruler Falco, his teenage daughter Raven locks eyes with fearless leader of the Lost, the immortal Strat, and the immensity of their love-at-first-sight-obsessions threaten to destroy both of their families.

Bat Out Of Hell became one of the best-selling albums in history, selling over 68 million copies worldwide. 16 years after the release of the original album, Steinman scored again with Bat Out of Hell II: Back into Hell, which contained the massive hit I Would Do Anything for Love (But I Won't Do That). For the stage musical, the legendary and award-winning Jim Steinman incorporated iconic songs from the Bat Out of Hell albums, including You Took the Words Right Out of My Mouth, Bat Out of Hell, I Would Do Anything for Love (But I Won't Do That), It's All Coming Back to Me, and Two Out Of Three Ain't Bad, as well as the previously unreleased song What Part of My Body Hurts the Most.

Bat Out Of Hell - The Musical has book, music and lyrics by Jim Steinman, direction by Jay Scheib, with musical supervision and additional arrangements by Michael Reed, additional choreography by Xena Gusthart, set and costume design by Jon Bausor, original wig designs by Linda McKnight, video design by Finn Ross, lighting design by Patrick Woodroffe, sound design by Gareth Owen, orchestrations by Steve Sidwell, original casting by David Grindrod CDG, North American Tour Casting by Kinlore Casting – Kate Lumpkin, CSA, Associate Director Alli Coyne, and General Management by Evan Bernardin Productions – Jenna Lazar. Bat Out of Hell – The Musical won the UK'S Radio 2 Audience Award for Best Musical at the Evening Standard Awards and was nominated for 8 LONDON WhatsOnStage Awards, including Best New Musical. Loved by audiences and critics alike, it garnered 5 stars from the UK's The Independent, Daily Mirror, Daily Express, Manchester Evening News, Metro, while the New York Times called it 'extravagant, absurd, compulsively hummable." Bat Out Of Hell -The Musical has played limited seasons at Manchester Opera House, London Coliseum, London's Dominion Theatre, Toronto's CAA Ed Mirvish Theatre and New York City Center with successful runs in Canada, Germany, a residency in Las Vegas and the international tour which took the show to the UK, Ireland, Germany, Australia and New Zealand.

The Canadian and US dates of Bat Out Of Hell – The Musical, are produced by Emmy and Tony Award winner Michael Cohl, CEO of S2BN Entertainment and the former Chairman of Live Nation, Tony Smith & David Sonenberg with executive producers Glenn Orsher and Julian Stoneman. For more information about the show, visit BatOutOfHellMusical.com.

About The Auditorium

The Auditorium, located at 50 E. Ida B. Wells Drive in Chicago, is an Illinois not-for-profit organization committed to presenting the finest in international, cultural, community, and educational programming to all of Chicago and beyond as The Theatre for the People. The organization also is committed to the continued restoration and preservation of this National Historic Landmark that originally opened in 1889. The Auditorium's 2025-26 performance season features a dynamic mix of cultural events from ballet to rock and roll and everything in between. For more information on The Auditorium and a complete listing of events at The Auditorium please visit AuditoriumTheatre.org.

CHICAGO THE MUSICAL is BACK IN TOWN and is still the one musical with everything that makes Broadway shimmy-shake: a universal tale of fame, fortune, and all that jazz, with one show stopping song after another and the most astonishing dancing you’ve ever seen.

With a legendary book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb, CHICAGO is the #1 longest-running American musical in Broadway history -- and it shows no sign of ever slowing down!

There’s never been a better time to experience CHICAGO, Broadway’s razzle-dazzle smash. This triumphant hit musical is the recipient of 6 Tony Awards®, 2 Olivier Awards, a Grammy®, and thousands of standing ovations. You’ve got to come see why the name on everyone’s lips is still…CHICAGO.

The 2025-26 touring cast of CHICAGO features Ellie Roddy in her return to the cellblock as Roxie Hart, Claire Marshall making her debut as Velma Kelly along with Max Cervantes as Billy Flynn, Marc Christopher as Amos Hart, Illeana “illy” Kirven returning as Matron “Mama” Morton and J. Clanton as Mary Sunshine.

The cast also includes Tim Canali, Genevieve Hall, Jared Houde, Jaiden Jones, Amy Knips, Lacey Kohn, Helena Laing, Michael Mottram, Chandler James Pettus, Jake Siffert, Anna Speer, Nick Traficante, and returning cast members Terryn Cuozzo, Josh England, Serena Kozusko, Ryan McInnes and Angelliz M. Rosado Ramos. 

CHICAGO is the winner of six 1997 Tony Awards including Best Musical Revival and the Grammy Award for Best Musical Cast Recording.   
  
This tour will be directed by David Hyslop with choreography by Gregory Butler based on the original direction by Tony Award winner Walter Bobbie and original choreography by Tony Award winner Ann Reinking. CHICAGO features scenic design by Tony Award winner John Lee Beatty, costume design by Tony Award winner William Ivey Long, lighting design by Tony Award winner Ken Billington, sound design by Scott Lehrer, Supervising Music Director Robert Billig and casting by ARC.

The CHICAGO band will be led by Music Director and Conductor Andy Chen, Associate Conductor Chase Anderson and will include Erik Wakar, Jason Whitmore, Heather Kriesel, Matt TenBroek, Jordan Webb, Amanda Bateman, Landon Gaddis, Troy Bashor, Garrett Sullivan and Aaron Kan.

The stage management team is led by Sofia Rose Itskovich and Elspeth Bustard. The company management team is led by Marc Ciemiewicz and Jess Fernando. 

Set amidst the razzle-dazzle decadence of the 1920s, CHICAGO is the story of Roxie Hart, a housewife and nightclub dancer who maliciously murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today’s tabloids.

It’s no surprise that CHICAGO has wowed audiences from Mexico City to Moscow, from Sao Paulo to South Africa. The show has been seen in 36 different countries and seen by 33 million people worldwide and now it’s coming to your town!

Whether you're looking for your first Broadway musical, whether you've seen the Academy Award®-winning film and want to experience the show live on stage or whether you've seen it before and want to recapture the magic, CHICAGO always delivers!

CHICAGO is a production not to be missed. And all the reviewers agree.

TIME Magazine calls it “A Triumph,” Newsweek raves “Smashing” and Entertainment Weekly sums it up by calling CHICAGO “Broadway’s Most Electrifying Show.”

Come on, babe! Head to CHICAGO! We’re hotter than ever.

Connect with us on social:
https://www.facebook.com/ChicagoOnTour

https://www.tiktok.com/@chicagotour

https://www.instagram.com/ChicagoOnTour/

For more CHICAGO information: www.ChicagoOnTour.com


PERFORMANCE SCHEDULE
Tuesday, May 5 – 7:00 p.m.
Wednesday, May 6 – 1:00 p.m. & 7:00 p.m.
Thursday, May 7 – 7:00 p.m.
Friday, May 8 – 7:00 p.m.
Saturday, May 9 – 2:00 p.m. & 7:30 p.m.
Sunday, May 10 – 1:00 p.m.

TICKET INFORMATION (As of February 19, based on availability and subject to change)
Individual tickets for CHICAGO THE MUSICAL will go on sale Friday, February 20 and range from $40.00 - $115.00 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 THE AUDITORIUM
The Auditorium, located at 50 E. Ida B. Wells Drive in Chicago, is an Illinois not-for-profit organization committed to presenting the finest in international, cultural, community, and educational programming to all of Chicago and beyond as The Theatre for the People. The organization is also committed to the continued restoration and preservation of this National Historic Landmark that originally opened in 1889. For more information on The Auditorium please visit AuditoriumTheatre.org.

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

For more information and tickets, visit www.BroadwayInChicago.com.
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Paramount Theatre’s long-running smash hit musical Million Dollar Quartet has wrapped its winter break, and is rebooting to rock downtown Aurora’s Stolp Island Theatre for three more months, March 4-May 31, 2026.

Repeat audiences know, and newcomers really should experience, this new, limited engagement of Paramount’s critically acclaimed, immersive Million Dollar Quartet. Both the theater and the show were custom built to create an intimate, jukebox musical experience like none before, inventively staged inside a replica of the original Sun Records studio in Memphis.

It was there, on December 4, 1956, where Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins famously came together to record one of the most historic jam sessions in rock ‘n’ roll history. In Paramount’s Sun Records, the musical delivers incredible, up-close live performances of some of the best songs in rock ‘n’ roll history, including “Blue Suede Shoes,” “Folsom Prison Blues,” “I Walk the Line,” “Hound Dog” and “Great Balls of Fire.”

Paramount’s production returns with its original Jerry Lee Lewis, Garrett Forrestal, still leaping off his piano since MDQ inaugurated Stolp Island Theatre in June 2024. Veteran rockabilly player Matt McClure returns as Carl Perkins. Also back are Corey McKinney as Elvis Presley and Michael Potter as Johnny Cash, breaking hearts and walking the line respectively since last summer. Connor Green is new to the cast, stepping in as Sun Studios founder Sam Phillips. Paramount’s original Dyanne, show stopper Madison Palmer, and Maeghan Looney as Marion, are both returning for the extension, along with Brandon Pollard as Fluke, and Roy James Brown as Brother Jay, through Mar 22, when Jake Saleh returns as Brother Jay. 

Don’t miss Paramount’s radically unique restaging of one of the most popular jukebox musicals of all time. Dean Richards, WGN-TV/AM, said it was “like stepping into Sun Records where one special night took place." Chris Jones, Chicago Tribune, called it “another example of how much the success of the nonprofit, audience-focused Paramount has transformed the center of Aurora into a live entertainment destination.”

Paramount’s Stolp Island Theatre is located at 5 E. Downer Place, Suite G, in downtown Aurora, with several restaurants and easy, affordable parking just a short walk away.

Paramount’s new, limited engagement of Million Dollar Quartet reopens March 4 and runs through May 31. Performance times are Wednesday at
1:30 p.m. and 7 p.m., Thursday at 7 p.m., Friday at 7 p.m., Saturday at 2 p.m. and 7 p.m., and Sunday at 1 p.m. and 5:30 p.m.

All seats are $76 when purchased in person. Additional fees apply for phone and online orders. For tickets and information, visitParamountAurora.com, call (630) 896-6666, or stop by the Paramount Theatre box office, 23 E. Galena Blvd., Monday–Saturday, 10 a.m. to 6 p.m., and until show time on show days. 

Million Dollar Quartet inaugurated Paramount’s new Stolp Island Theatre with much fanfare in July 2024. The production was extended three times due to popular demand, running for more than a year and a half prior to this spring 2026 extension.

Chalk this success up to being a production that delivers on all fronts. As soon as audiences step into the lobby, they find themselves outside the legendary Sun Records recording studio in Memphis, Tennessee, where they can step up to the Taylor’s Good Food concession stand for affordable snacks and beverages, view displays about the history of the play and take selfies astride a vintage-style motorcycle.

Paramount’s directors Jim Corti and Creg Sclavi worked with a “million dollar” production team to create a truly a one-of-a-kind live musical experience, stocked with amazing talent, an incredibly detailed, environmental set, and the amazing production values audiences expect from Paramount.

The production team includes Kory Danielson, music director; Jeffrey D. Kmiec, scenic designer; Matt Guthier, costume designer; Greg Hofmann, lighting designer; Adam Rosenthal, sound designer; Mike Tutaj, projections designer; Katie Cordts, wig, hair and makeup designer; and Jonathan Berg-Einhorn, properties designer. Rebecca J. Lister is stage manager and Emily Hanlon is assistant stage manager. Understudies are Roy James Brown (principal Brother Jay to start, understudy when Jake Saleh returns in late March), Brian Grey (Johnny Cash, Sam Phillips), Michael Kurowski (Jerry Lee Lewis, Elvis Presley), Drew Mitchell (Fluke), Ben Smallwood (Carl Perkins) and Kyle Wells (Brother Jay). The book is by Colin Escott and Floyd Mutrux. Original concept and direction by Floyd Mutrix.

Verano, a leading cannabis company that operates Zen Leaf dispensaries in Aurora and across Chicagoland, is Venue Sponsor for Stolp Island Theatre. Old National Bank is Marquee Sponsor for Million Dollar Quartet.

Music Theater Works is proud to announce the cast and creative team for the first production of its 2026 season, CATS, in the North Theatre, at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd, Skokie, March 5 - 29, 2026. CATS, based on “Old Possum’s Book of Practical CATS” by T.S. Eliot, with music and lyrics by Andrew Lloyd Webber, is directed and choreographed by Mandy Modic and music directed by Linda Madonia. The production includes a preview performance Thursday, Mar. 5 at 7:30 p.m., with a press opening Friday, Mar. 6 at 7 p.m. Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300. Memberships for the 2026 season are also available at MusicTheaterWorks.com and group discounts for 10 or more people are available by contacting This email address is being protected from spambots. You need JavaScript enabled to view it..

Music Theater Works kicks off its 46th season with CATS, Andrew Lloyd Webber’s electrifying, Tony Award-winning musical. In this immersive production set in a larger-than-life British flat, audiences may join the magical and all encompassing world of the Jellicle cats as they gather for the annual Jellicle Ball, where one will be chosen for a new life. Through a series of dazzling musical numbers, each cat shares their story— from the mischievous Rum Tum Tugger, to the mysterious Macavity, and the once-glamorous Grizabella. Featuring unforgettable songs, breathtaking choreography, and a whimsical atmosphere, CATS is a celebration of life, community and the power of memory.

The cast of CATS includes Ava Lane Stovall (she/her, Grizabella); Luther Lewis (he/him, Old Deuteronomy); Nick Johnson (he/him, Mr. Mistoffelees/U/S Munkustrap); Ethan Lupp (he/him, Rum Tum Tugger); Daniel Hurst (he/him, Munkustrap); Sterling Ford (he/him, Macavity/Plato/Rumpus); Molly Bremer (she/her, Jellylorum); John Cardone (he/him, Bustopher Jones/Asparagus); Catherine Rodriguez O’Connor (she/her, Demeter); Danny Spagnuolo (he/him, Skimbleshanks); Emma Jean Eastlund (she/her, Bombalurina); Morgan Schoenecker (she/her, Jennyanydots); Alex Villaseñor (he/him, Mungojerrie); Madison Jaffe-Richter (she/her, Rumpleteazer); Irene Lo (she/her, Sillabub/U/S Victoria); Tola Abitogum (he/him, Tumblebrutus/U/S Skimbleshanks/Mungojerrie); Mikala Curless (she/her, Victoria); J'Nae Howard (she/her, Electra); Ciara Jarvis (she/her, Tantomile/U/S Demeter); Albert Johnston (he/him, Coricopat/U/S Rum Tum Tugger); Mia Hilt (she/her, Cassandra/U/S Rumpleteazer); Emily Ann Brooks (she/her, Carbuckety/U/S Jennyanydots/Jellylorum, Dance Captain); Alex Iaobucci (he/him, Pouncival/U/S Macavity); Whitney Turner (she/her, Exotica/U/S Bombalurina/Sillabub); Raymond Cam Truong (he/him, Alonzo/U/S Mr. Mistoffelees); Rachael Dec (she/her, Off Stage Chorus Alto/U/SCarbuckety/Cassandra/Tantomile); Andrew John Baker (he/him, Off Stage Chorus Tenor/U/S Tumblebrutus/Pouncival/Alonzo/Coricopat); Jake Elkins (he/him, Off Stage Chorus Bass/U/S Deuteronomy/Bustopher Jones/Gus) and Mai Hartwich (she/her, U/S Grizabella).

CATS’ creative team includes Mandy Modic (she/her, director/choreographer); Linda Madonia (she/her, music director); Alina Lowenstein (they/them, assistant music director); Jordan Beyeler (she/her, assistant choreographer); Danielle H. Gennaoui (she/her, circus artist); Jay Donley (he/him, violence choreographer); Amber Wuttkle (she/her, intimacy choreographer); Kathy Logelin (she/her, dialect coach); Rachel Rock (she/her, stage manager); Milo Bue (he/him, scenic designer); Nga Sze Chan (she/her, props designer); kClare McKellaston (she/her, costume designer); Kristen Brinati (she/her, wardrobe head); Melanie Saso (she/her, hair, wig and makeup lead); Adam Jezl-Sikorski (he/him, lighting designer); Jackson Mikkelsen (he/him, head electrician & light board programmer); Anthony Churchill (he/him, media designer); Forrest Gregor (he/him, production sound engineer); Keely Vasquez (she/her, casting director), Chris Chase (he/him, production manager); Katie Meine (she/her, company manager) and Kyle Dougan-LeBlanc (any with respect, producing artistic director). 

CATS Special Events

Post Show Discussions

Audiences are invited to stay after the 2 p.m. performances on Sunday, March 8 and Sunday, March 15 and join musical theater historian Thomas M. Shea, author of “Broadway’s Most Wanted,” for a post-show talk exploring the behind-the-scenes history of CATS. Free with your performance ticket, this engaging discussion is perfect for audiences to learn about the production, its history and more.

Binny’s Broadway Lounge

Music Theater Works’ donors of any level and season subscribers are welcome to access Binny’s Broadway Lounge before the performance and at intermission of CATS. Sponsored by Binny’s Beverage Depot, the Lounge is located on the second floor at the North Shore Center for the Performing Arts in Skokie and offers complimentary drinks and snacks. Reservations are not required. The Lounge will be available for CATS, Saturday, Mar. 7 (opens at 6:30 p.m.) and Saturday, Mar. 14 (opens at 1 p.m.).

ASL Interpreted Performance

The Saturday, March 21 at 7:30 p.m. performance will be ASL interpreted.

ABOUT MANDY MODIC, DIRECTOR & CHOREOGRAPHER

Mandy Modic is so excited to return to Music Theater Works where she directed Legally Blonde last year! Some other favorite directing credits include: Guys and Dolls (Berkie Award Winner for Most Outstanding Musical), Matilda and Dear Jack Dear Louise. Some favorite choreographer credits include: Something Rotten! (Berkie Award Winner for Best Choreography), 42nd Street, Beauty and the Beast, Dirty Rotten Scoundrels, State Fair, White Christmas, R&H Cinderella, Wedding Singer, Guys and Dolls, Charlie and the Chocolate Factory, Sound of Music and Newsies. Modic is passionate about educational theater and has helped build musical theater programs abroad in Shanghai, China and Lima, Peru. Proud AEA member.  

ABOUT LINDA MADONIA, MUSIC DIRECTOR

Linda Madonia is thrilled to be back at Music Theater Works for CATS where she has previously music directed Guys and Dolls, Shrek, Mamma Mia and Camelot. Other recent projects include Jersey Boys, Rock of Ages and Sister Act at Mercury Theater Chicago. Anything Goes, Cabaret and A Chorus Line at Porchlight Music Theatre. Madonia also serves as the contractor for the Chicago Federation of Musicians for Porchlight Music Theatre and Music Theater Works. She is the vocal coach for the master’s degree program in Music Theatre Pedagogy at Carthage College and owns American Eagle Productions, which has been at the forefront of Theatre Education in the Chicago area for the past 35 years.

MUSIC THEATER WORKS 2026 SEASON

The 46th season opens with CATS, March 5 - 29, 2026 and is followed by West Side Story, August 13 - 30, 2026. The season will continue with Jimmy Buffet’s Escape to Margaritaville, October 8 - November 1, 2026 and concludes with Hairspray, December 17, 2026 - January 3, 2027. Memberships and single tickets are now available. For more information on the 46th season go to MusicTheaterWorks.com. 

ABOUT MUSIC THEATER WORKS

Music Theater Works is a resident professional not-for-profit music theater founded in

1980. During its 45-year history it has presented more than 150 productions and intimate presentations. Music Theater Works is a professional theater company whose mission is to present works for the musical stage including historic repertoire, revitalizing the Golden Age of Broadway and earlier works, celebrating the Great American Songbook and introducing modern classics. 

There’s an old adage that says something along the lines of “don’t judge a book by its cover.” The same wisdom can most certainly be applied to playbills. More often than not the title of a musical describes exactly what the theatre piece will be about; Hamilton is about Alexander Hamilton, Annie is about an orphan girl named Annie, Wicked is about, you guessed it, a wicked witch. Following this same logic you think I’d have known what Godspell would be about prior to seeing the show. But I, ironically, judged incorrectly and found myself judged. Having heard the name in musical theatre circles and knowing it was a Broadway darling for years, I was genuinely surprised to find that Godspell was not some spooky musical about casting spells or witchcraft and wizardry but a musical based upon the gospel according to St. Matthew. Boy did I judge that book by its cover.

Godspell is a musical based on the Gospel of Matthew, which tells the story of Jesus through a modern-day group of non-Biblical characters symbolizing his "disciples" who enact his parables through song, dance, and comedy. This production of Godspell finds a fractured and disconnected community gathered at a local coffee shop discovering the transformative power of forgiveness and embracing radical love.

Like any theatrical experience patrons must have a willing suspension of disbelief. There is a burden to check all preconceived biases at the door and allow themselves to be immersed into another world for a few short hours. That’s where the magic of theatre resides, with oneself. For the first act of Godspell, I regrettably did not suspend my disbelief. I found myself resistant to the words, given they were word for word from the Gospel of Matthew. Bearing in mind I had not researched the play nor even studied the synopsis, merely checking off the show from my musical theatre bucket list, I went into the theatre not knowing anything about this play. Two songs in and I found myself not in a cushioned theatre seat but in a hardbacked pew, wondering how everyone around me was smiling and laughing while I sat questioning what was going on and pointing out hypocrisies and double-standards. Godspell is nearly word-for-word the gospels and include infectious pop and rock songs like “Day by Day,” “Prepare Ye the Way of the Lord,” “O Bless the Lord My Soul” that one might hear in any new age church. I felt myself rejecting the play, the words that were being said, the songs that were being sung, even wondering how so many people in the audience knew the play word-for-word, bar-for-bar. Surely this is just propaganda? Surely this is some kind of joke. But then it hit me. I’m being critical in the worst way. I’m judging this book by its cover. I allowed my preconceived biases to blind me of the possibility of a great show. I quickly cast away my disbelief.

Godspell was phenomenal. Debuting in 1970 with music and lyrics by Stephen Schwartz, the musical has been a consistent success, even becoming a major motion picture staring Victor Garber as Jesus. Music Theater Works’ version, directed by Matthew Silar, choreographed by Amanda Hope and music directed by Justin Kono, modernizes the play in a way that is not pandering or patronizing. Rather it weaves the play’s central theme and message with real people, quick witted humor, exceptional improv, and genuine love and care. While the context of the play can be preachy and heavy handed, as the Bible tends to be, this production is surprisingly light thanks to local Chicago talent like Jacob Simon as John the Baptist, Tafadzwa Diener, Dani Pike, and Ben Woods as the café community members. The intentional care and lightness the cast bring to their performances make you forget you’re listening to preachy gospel. You’re not being preached to, rather, you’re following skeptical and reluctant patrons find meaning in the words spoken at the open mic night by Jesus himself, exceptionally played by Eldon Warner-Soriano, and experiencing the lessons through clever and well-timed improv. Coupled with the talented cast, Silar’s version of Godspell strips away the heavy handedness, allowing the cast of characters to be their goofy-sometimes-awkward-yet-no-less-hilarious selves while still delivering impactful messages about loving your neighbor and forgiving others as you would want to be forgiven. It’s clear the cast and crew checked any preconceived biases at the door when staging this musical. Were one to have no prior knowledge of the Bible, the gospels, or religion itself, they’d find themselves immersed in a world of good words and teachings of love and acceptance one could find in dozens of books from Harry Potter to The Song of Achilles.

In today’s political and cultural climate, Godspell is a risky choice to put on. It was easy to allow that thin magical line between the real world and theatre to blur. It was easy to bring the real world with me when I ventured into the theatre. It was even easier to be stubborn and reject something simply because I don’t like how some people interpret, use, or weaponize the gospels. Personally, I think those very same people would do well to suspend their biases and see Godspell and be reminded about the true meaning and purpose of the very book they preach about. That being said, I think putting on Godspell in today’s political and cultural climate is not only important, it’s essential. The content of the play and Silar’s beautiful production will no doubt being necessary dialogue and spark conversation and ask audience members to reflect on the play vs. their defined ideals. Godspell is just a story of a man, told through the eyes of another man, and performed by exceptionally talented individuals. Or is it something more? Was this play preachy or did it have some real-life lessons and messages to take away? Do I reject the play or do I reject how others interpret the context behind the play? Am I being critical or skeptical? Hypocritical even? Hell, soon we’ll all be flocking to theatres to see a cinematic production about a wicked witch and will probably have very little issue suspending our disbelief as we watch a witch flying on a magical broomstick with her army of flying monkeys. So I implore everyone to keep that same energy when viewing this production of Godspell. At the end of the day, it’s just a show, and gods know we can all use a bit more magic in our lives, even if it limited to the theatre.

Godspell is presented by Music Theater Works and is sponsored by the Whirled Peas Foundation and presented in partnership with Curt’s Café. It is playing now through November 16^th at The North Shore Center for the Performing Arts in Skokie (9501 Skokie Blvd, Skokie). Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300.

In 1997, Disney came out with the most magnificent adaptation of Rodgers and Hammerstein’s Cinderella that has ever been made. With talent like Brandy, Whitney Houston, Bernadette Peters, Jason Alexander, and Paolo Montalban, the rendition of the classic fairytale lives rent free in the minds of most millennials and their parents who endured countless rewatches of the film on The Disney Channel. With the resurgence and fascination of all things 90s, the musical will no doubt be a successful streaming event. The 1997 film managed to do something previous adaptations of the fairytale could not. It captured pure magic. The charm, the wonder, the beauty and enchantment, it was all perfect. Twenty-seven years later, that same charm and enchantment can be found at Marriott Theatre as they perform Rodgers and Hammerstein’s Cinderella.

Rodgers & Hammerstein’s Cinderella celebrates the timeless enchantment of the magical fairy tale. It tells the story of a young woman named Cinderella, mistreated by her cruel stepmother and stepsisters, who dreams of a better life and is granted a magical night at a royal ball by her Fairy Godmother, where she falls in love with the Prince, ultimately escaping her harsh reality and finding happiness through a glass slipper left behind at the ball. The classic story of Cinderella at Marriott Theatre follows her quest to attend the Prince’s Ball with a twist of originality, charm and elegance. With a magical, minimalist 360-degree stage, the musical transports a new generation to a miraculous kingdom of dreams-come-true. With great warmth and more than a touch of hilarity, this enthralling fairy tale still warms the hearts of children and adults alike.

Though Cinderella’s story has been told thousands of times over in every conceivable style, Rodgers & Hammerstein’s Cinderella has something special. The musical was originally written for television with music by Richard Rodgers and a book and lyrics by Oscar Hammerstein II. It aired in 1957 with the incomparable Julie Andrews playing the title role. The broadcast was viewed by more than 100 million people, the 1997 adaptation boasted an impressive 60 million. While Marriott Theatre cannot accommodate those numbers, the show continues to entertain sold out crowds. Princes and princesses of all ages gather at the Lincolnshire homestead to hear familiar numbers such as Impossible/It’s Possible, Ten Minutes Ago, and A Lovely Night. Jaeda Lavonne absolutely dazzles as Cinderella, accompanied by a remarkably talented cast to include Marriott darlings Lillian Castillo as the Fairy Godmother and Lorezno Rush Jr. as the King.

Marriott Theatre rounds out their season with this enchanting production, reviving the magic and charm of the musical just in time for the holiday season. Be sure to take your princes and princesses to see it before the stroke of midnight and the end of 2024. Rodgers & Hammerstein’s Cinderella is now playing at The Marriott Theatre (10 Marriott Dr, Lincolnshire) through December 29, 2024, a finer night you know you’ll never see. Tickets are available at www.marriotttheatre.com. 

Growing up our radio dial was tuned to one channel, K-Earth 101. In Southern California that station was the oldies, the classics, belting out hits from the 1950s and 60s; Sam Cooke, Buddy Hall, Mel Carter, Peggy Lee, The Ronettes, and so many more artists’ melodies and lyrics that are permanently tattooed on my brain. That music knowledge didn’t particularly help during middle school dances where 13 years olds grinded to The Bad Touch by The Bloodhound Gang but it did provide a solid foundation for an eclectic music playlist I continue to grow and curate today. Thanks to modern music apps we can now not only know the song but who sang it, and more astonishingly who wrote the music and lyrics. It is fascinating to find your favorite artists often wrote and composed songs for other artists, or your favorite songs are written by the same composer or produced by the same producer. It’s another level to musical appreciation that gets to the very heart and soul of the music. Music afficiandos loving to discover the artists behind the music will simply love Beautiful: The Carole King Musical, now playing at The Paramount Theatre. 

Beautiful: The Carole King Musical tells the story of Carole King, played by Tiffany Topol, and her musical journey and career. Starting out in Brookly we meet a 16-year-old aspiring songwriter in Carolee and journey through her early career composing music at 1650 Broadway for music publisher Donnie Kirshner, played by Ian Paul Custer. When she meets her future husband and lyricist Gerry Goffin, played by C.J. Blaine Eldred, we follow their early marriage and burgeoning careers as they team up to write some of the most iconic and lasting melodies and lyrics from huge 1960s artists like The Drifters and The Shirelles. Carole King’s career was filled with playful rivalries, endearing classics and emotional heartbreak but through it all she managed to see the beauty around her and become an era defining musician and artist and go on to become one of the most successful singer, songwriter and musicians in popular music history. 

First premiering in 2013, this modern musical is unlike any that you have ever seen. Synopsis and summaries about the play and captured in reviews are, in my humble opinion, purposely vague. The beauty of this musical is that it doesn’t have any original numbers nor does it sing-tell the story. Instead the writer Douglas McGrath uses King’s life story along with the music she wrote to show us her life, not tell us. He cleverly teases the music out, not immediately revealing the song, but having King or Goffin's characters slowly unveil the song to us. More satisfying than an unboxing video, the moment the first lyrics are sung or the melody tinkled on the piano keys, there is a collective and satisfying flutter of your heart, a spark in your brain at the recollection of the familiar song. It is made only more incredible as mini concerts within the play are performed by an incredible ensemble cast; The Righteous Brothers, performed by Luke Nowakowski, Matt Thinnes, The Shirelles performed by Marta Bady, Lydia Burke, Ariana Burks, Shelbi Voss, The Drifters, performed by Averis I. Anderson, Corey Barrow, Jared David Michael Grant, Calvin Scott Roberts, the incredibly talented ensemble cast embody the musical legends and perform just as they would have in the 1960s, fully immersing you into the heart and soul of King’s craft and talent. There is also a deep appreciation and respect for Carole King and how much influence she truly had on an entire generation of music, not counting her residual influence throughout her career with other artists. The satisfying, gratifying, and inspiring aspects of King’s life and influence is slowly unveiled to you as the audience and at times you’ll hardly be able to stay seated you’ll want to sing and dance along with the cast. The story telling is superb. It’s a love letter not only to King’s contribution to music but her rivals as well, Cythnia Weil and Barry Mann, played by Rebecca Hurd and Christopher Kale Jones respectively, and the music they all wrote that defined an era. You’ve never seen anything quite like Beautiful: The Carole King Musical. 

Going into this show I did not research Carole King's life story nor her songbook collection. I wanted to go in blind, knowing of the singer-songwriter but not being able to name many of her songs from memory. I had many people tell me what the musical was about and provide a brief summary of what it was about. All of their words failed to truly capture the magic and beauty of this show. I’m afraid my review will also fail to articulate and capture the true essence of the story. This Musical is like a song I must share with you but like a good song you cannot appreciate it until you hear it for yourself, experience it for yourself. If you see one show this summer, take a drive and enjoy the charming city of Aurora. Paramount Theatre is a gorgeous hidden gem nestled within the walkable and charming downtown community. It’s a perfect date night opportunity complete with theatre and live concerts mixed in. Theatre lovers will love the storytelling of the musical and music lovers will rejoice at the familiar melodies, only needing to resist singing along with the timeless classics. One fine day you’re gonna want to check off this musical from your list, don’t miss your chance to do so in 2024.

 Beautiful: The Carole King Musical is now playing at The Paramount Theatre in Aurora, Illinois and runs through June 16^th. Tickets are available at www.paramountaurora.com.

It’s often said that in the workplace you should refrain from talking about politics and religion; too personal, too easy to offend someone. Throughout my working years the only topic of conversation that has caused controversy is that around children; Do you have any? Are you trying for one? You’re having another? Well why don’t you want a kid? They’re the best thing. They’re the worst thing. In my experience, there is no topic more invasive or sensitive topic to bring up in the workplace than pregnancy and childbirth. Oscar Wilde once said that ‘Life imitates art far more than art imitates life.’ While there is no greater culturally universal experience than pregnancy and childbirth, the way we approach these conversations has changed and should continue to change. In the artistic medium of Theatre, BABY the musical, now playing at the Citadel Theatre, neither helps to change these conversations nor helps us view our lives in a different way.

BABY the musical follows three couples on a university campus deal with the painful, rewarding and agonizingly funny consequences of the universal experience of pregnancy and upcoming parenthood. There are the college students, Danny and Lizzie (played by Ben Ballmer and Madison Jaffe-Richter), in their junior year of college barely at the beginning of their adult lives facing an unplanned pregnancy; Pam and Nick (played by Katie Engler and Mark Yacullo) the thirty-somethings, having trouble conceiving but determined to try, Alan and Arlene (played by Joe Lehman and Julie Bayer) and the middle-aged parents, looking forward to seeing their last child graduate from college when a night of unexpected passion lands them back where they started.

Originally written and premiering on Broadway in 1983, BABY was updated in 2004. Twenty years later, the play needs another revision if not retired entirely. While pregnancy and birthing is an integral part of life and universal across all cultures, this musical performing in 2024 is as dated as Hello, Dolly or The Music Man; time capsules of a bygone era that simply doesn’t resonate with audiences today as they did in the eras they premiered. The musical is predictable, filled with overplayed tropes and stereotypical cliches, but the musical is really a love letter to pregnancy which for many is not possible and not a walk in the park. There are incredible plays that look at pregnancy, birthing, and parenthood through satirical, dramatic, or humorous lenses. BABY the musical’s only lens is that pregnancy is wonderful and everyone should do it regardless of the circumstances they find themselves in, broke college student, infertility troubles, unhappy older couple, everyone should want a baby. This type of art doesn’t reflect life as it’s viewed today.

Citadel Theatre’s ensemble cast performed beautifully with the material they had to work with. The trouble is not in their musical talents or acting abilities, the trouble with BABY is it simply is outdated and can’t stand on a modern stage. The way we as a society approach pregnancy nowadays has changed. More modern musicals such as Mom! The Musical or MotherFreakingHood! approach the same conversation in a way that resonates with audiences today, steering away from tropes to tell real, raw, stories of the pitfalls, trials, and highs of pregnancy. Even with an update in 2004, it’s been 20 years since it’s been revised and 40 since it was created. Watching the play, despite the exceptional cast, staging, and direction at Citadel, it simply felt tired and outdated, and at times downright cringy. Life can be cringe but art shouldn’t be.

BABY the musical is now playing at the Citadel Theatre (300 S. Waukegan Road, Lake Forest) through Sunday May 19, 2024. Tickets are available on the company’s website at www.citadeltheatre.org.