Displaying items by tag: Musical theatre

Teatro Vista Productions, the Midwest's only Latine-led Equity theatre company, led by Executive Director Lorena Diaz and Artistic Director Wendy Mateo in collaboration with Associate Artistic Director Cruz Gonzalez-Cadel, announces its 2026-27 Season. The season opens with the groundbreaking live looping hip-hop musical Mexodus, November 7-21, 2026, presented by Studebaker Theater, P3 Productions and Audible, in collaboration with Teatro Vista Productions. The musical, making its Chicago Premiere, is written and performed by Brian Quijada and Nygel D. Robinson, choreographed by Tony Thomas, and directed by David Mendizábal. The season continues with Luis Alfaro's Mojada, March 12 - April 11, 2027, directed by Wendy Mateo and Denise Yvette Serna, presented in partnership with Court Theatre. Concluding the season is the Chicago Premiere of Reggie Hoops by Kristoffer Diaz, directed by Khanisha Foster, and presented as part of Teatro Vista Productions' multi-year partnership with Steppenwolf Theatre Company.

As part of its commitment to community engagement, supporting its artists and creating new digital projects, the TVP Season 36 includes the launch of a new In Process: Podcast starting in October featuring in-depth Artist on Artist conversations. The first episode will feature TVP Artistic Collective members Max Arciniega and Paloma Nozicka. Live Mexodus Listening Parties, on October 11, 18, 25 and November 1, will be held in locations throughout the city and strategically en route - from Teatro Vista Productions' homebase at The Exchange in Jefferson Park to where Mexodus is playing at the Studebaker Theater downtown - with each stop mirroring a chapter in the play's journey. TVP will also continue workshopping plays to live audiences with In Process Live; presenting La Lupe: My Life, My Destiny, by Carmen Rivera  and directed by Cándido Tirado, on January 23, 2027.

The 2026-2027 season includes:

Studebaker Theater, P3 Productions and Audible,

in collaboration with Teatro Vista Productions present

Mexodus

Written and performed by Brian Quijada and Nygel D. Robinson

Choreographed by Tony Thomas

Directed by David Mendizábal

Studebaker Theater, 410 S Michigan Avenue, Chicago

November 7-21, 2026

Press Opening: Saturday, November 7, 2026 at 7:30pm

Creators Brian Quijada and Nygel D. Robinson perform this groundbreaking hip-hop musical, using live instruments to build a soundscape live each night incorporating looping to layer rhythms, melodies, and harmonies to create full arrangements on the spot at each performance.

Told through bold storytelling and sick beats, Mexodus reimagines the Underground Railroad heading south to Mexico—unearthing a powerful, untold chapter of American history. Called "thrilling" by The Washington Post and "genius in motion" by the San Francisco Chronicle, this is theatre you feel in your body and your bones.

Tickets available at: https://www.fineartsbuilding.com/events/mexodus/.

Mojada

By Luis Alfaro 

Directed by Wendy Mateo and Denise Yvette Serna 

Presented In partnership with Court Theatre

Court Theatre, 5535 S Ellis Ave, Chicago

March 12 - April 11, 2027  

Press Opening: Saturday, March 20, 2027 at 7:30pm

An adaptation of an ancient classic tale of revenge, sacrifice, and the high price of pursuing freedom, Mojada renders Euripides's Medea myth urgently and achingly alive in the city of Chicago.

Medea survived a treacherous journey from Mexico to the United States in search of a better life, but the promise of the American Dream is quickly unravelling. She sews exquisite garments in her backyard, suffocated by fear. Her son sheds tradition as fast as he can, trading huaraches for Vans. And her husband grows distant, seduced by ambition and proximity to power. Trapped between who she was and who America demands she become, Medea finds herself in a standoff with the very dream she risked everything to reach. 

Co-directed by Teatro Vista Productions' Artistic Director Wendy Mateo and Artistic Collective member Denise Yvette Serna, Mojada confronts the contradictions at the center of American identity: opportunity and erasure, belonging and betrayal. Both a love letter and a searing indictment, this electrifying production asks: What are we willing to sacrifice in the pursuit of liberty?

Tickets are available at https://www.courttheatre.org/season-tickets/2026-2027-season/mojada/ .

The Chicago Premiere of

Reggie Hoops

By Kristoffer Diaz

Directed by Khanisha Foster

Co-Presented with Steppenwolf Theatre Company

Steppenwolf's 1700 Theater, 1700 N Halsted, Chicago

May 2027

Reggie was one of the NBA's most promising young executives and one of its most compelling characters: a queer Afro-Latina with a gift for structure and a keen appreciation of the art of on-court sacrifice. After an abrupt firing, she finds herself back at home navigating suburbia, parenthood, and her parents' anything but revolutionary past. An unexpected visit from a one-time fling forces her to reconsider what really matters and how far she's willing to go to succeed at the only things she's ever loved.

Reggie Hoops is a sharp, funny, and modern story about parenthood, generational pressures, and the pain that comes with chasing your passion, from the Tony-nominated writer of Hell's Kitchen and The Elaborate Entrance of Chad Deity.

Reggie Hoops is the second production presented as part of the multi-year partnership between Teatro Vista Productions and Steppenwolf. With Teatro Vista Productions in residency at Steppenwolf, both companies are modeling a relationship that they hope will inspire further collaboration in Chicago's iconic theater community among organizations of all sizes.

Tickets will be available soon at steppenwolf.org/.

Community Engagement and Special Events

In Process Podcast

Episode 1 featuring Max Arciniega and Paloma Nozicka
October 2026

Mexodus Listening Parties

Cafecito and Loops: A Mexodus Listening Tour headed South

October 11, 18 and 25, November 1, 2026

Mexodus will host four listening parties featuring excerpts from the Audible Original, each stop acting as a chapter in the experience. This series of events turns a night at the theater into a greater story. These listening parties will be scattered throughout the city, strategically en route from Teatro Vista Productions' homebase to the Studebaker Theater.

Sunday, October 11: The Exchange, home of TVP - Jefferson Park

Sunday, October 18: Magnifico Coffee Roasters & Coffee Shop - Avondale

Sunday, October 25:  Caña - West Town

Sunday, November 1: Groundswell Coffee Roasters - Fine Arts Building - Chicago Loop 

In Process Live: La Lupe: My Life, My Destiny

By Carmen Rivera

Directed by Cándido Tirado

Starring Melissa DuPrey as La Lupe

January 19-23, 2027 - Workshop

January 23, 2027 - Presentation with invited guests

Teatro Vista Productions will revisit this groundbreaking script 25 years after its world premiere with fresh talent and an evolved understanding of Afro-Latinidad in American pop culture.

Before there was Janis Joplin, Patti La Belle, and Madonna – there was LA LUPE.  Best known for her powerful voice, electrifying performances, and controversial life, La Lupe gained fame as one of the first Latin cross-over musical superstars. She was born Guadalupe Yoli Raymond in Santiago de Cuba in 1936, and became one of the most influential Latin performers of the 20th century.

After a fall from grace, La Lupe - now far from the spotlight and living in the Bronx - receives an "F" on an essay about her own life from a skeptical professor, igniting a struggle to reclaim the truth of her extraordinary musical legacy in a powerful story of defiance, passion, and redemption.

About Teatro Vista

Teatro Vista is a non-profit theatre and production company dedicated to multidisciplinary artists of color whose artistic expression on stage and beyond is rooted in the transformative power of owning and telling our own stories.

When the Chicago theater world wasn't ready for us, Teatro Vista Productions made space. For 36 years, we've told true stories that reflect our community. We're not just building on this amazing legacy; we're strengthening and expanding it for the future. Today we continue to actively engage in advocacy that seeks to increase the authentic representations of us on stage and screen.

Teatro Vista Productions believes we are stronger together — across disciplines, across experiences, across mediums, across diasporas. We center our collective of artists at the heart of everything we do. We empower our artists to create with their own authentic voice by providing the tools and resources they need to thrive in the industry. Our work is timely, relevant and authentically reflects our community. Now, as always, We Are Theater With A View.

The company is led by Executive Director Lorena Diaz, Artistic Director Wendy Mateo, and Associate Artistic Director Cruz Gonzalez-Cadel.

Follow TVP on social media & YouTube to experience the multidisciplinary talents of our Artistic Collective and stay connected. @teatrovista

There are some productions you watch, and then there are productions that make your heart swoon and your toe tap. Sheldon Epps’ Play On! is definitely the latter. Now playing at Chicago Shakespeare Theater, this exuberant musical takes Shakespeare’s Twelfth Night, moves it to 1930s Harlem, adds the extraordinary music of Duke Ellington, and transforms the story into a celebration of love, ambition, identity and music.

The magical kingdom of Illyria becomes Harlem, where aspiring songwriter Vy (Hailee Kaleem Wright) arrives with dreams of making it in show business. To get close to the legendary bandleader known as The Duke (Edred Utomi), Vy disguises herself as a man. Complications quickly follow when Lady Liv (Krystal Joy Brown) becomes attracted to Vy's alter ego. Shakespeare's mistaken identities remain at the heart of the story, but Cheryl L. West's book gives the familiar comedy a distinctly African American cultural identity.

West's script is hot and popping, filled with rhythm, humor and personality. She understands that the language of Shakespeare can be transformed without losing the comic machinery that makes Twelfth Night work. The characters may come from Shakespeare, but they walk, talk and move to the syncopated Harlem beat of the 1930s.

And that Harlem beat is everywhere.

The company of Chicago Shakespeare’s production of Play On! Photo by Kyle Flubacker.

The production's exciting choreography by Edgar Godineaux captures the elegance, sophistication and exuberance of the big-band era. The ensemble - Marquez Linder, Selena Robinson, Dylan C. Smith, Joey Stone, Shelbi Voss and Danny Dwaine Wells II - keeps the stage alive with movement and energy. The choreography doesn't simply accompany the music; it becomes part of the storytelling.

The Duke Ellington score is the production's heartbeat. Under the musical direction of Theodis Rodgers Jr., with beautiful orchestrations by Luther Henderson Jr., the music has both sophistication and swing. Ellington's compositions give the characters another way to express what they sometimes cannot say in words.

For me, the Harlem setting brought back a very personal theatrical memory. Play On! reminded me of the very first show I ever worked on, Bubbling Brown Sugar by Loften Mitchell, from a concept by Rosetta LeNoire (my theatre Godmother), in New York City. That experience introduced me to the power of Black theatre, music and storytelling existing together onstage. Watching Play On! brought some of that same feeling back—the excitement of seeing Black history, Black music and Black theatrical expression become one living theatrical experience.

That connection makes Play On! particularly meaningful. This isn't simply Shakespeare with jazz added to it. It is a conversation between William Shakespeare and Duke Ellington, two artists separated by centuries but connected through their understanding of human behavior, love, comedy and the power of performance.

The cast embraces that world beautifully. James Earl Jones II brings comic energy and warmth to Sweets, while Alanna Lovely gives Miss Mary a strong and engaging presence. James Harkness brings charm and theatricality to Jester. Alan H. Green gives Rev authority and comic flair.

At the center, Wright's Vy captures the vulnerability and determination of a young artist trying to discover who she is and where she belongs. Brown's Lady Liv brings glamour and emotional power, while Utomi's Duke possesses the commanding presence of a bandleader who has created his own musical kingdom.

Epps understands that the success of Play On! depends upon allowing Shakespeare's story and Ellington's music to breathe together. The result is a production that feels celebratory without becoming superficial, and contemporary without abandoning its literary foundation.

Play On! is Shakespeare filtered through the cultural richness of 1930s Harlem, propelled by Duke Ellington's music and driven by a syncopated Harlem beat.

It is a joyous reminder that great stories can travel across centuries - and sometimes, when the right music is added, they can still make us want to dance.

Highly Recommended

When: Through Oct. 18

Where: The Yard at Chicago Shakespeare Theater on Navy Pier, 800 E. Grand Ave.

Running time: 2 hours, 20 mins.

Tickets: $55-150

312-595-5600

chicagoshakes.com

If anyone has ever told you to buckle up and enjoy the ride, they were talking about life—and even if they didn’t know it, they were talking about Ride the Cyclone, the musical.

When six teenagers die in a rollercoaster accident and end up in purgatory, each arguing their case to be reborn (in song form) to a fortune-telling machine, the audience is given the gift of seeing six individuals as they really are—no pretense, but maybe with some well-earned bells and whistles—as they unapologetically define themselves and fight to extend their too-short earthly lives.

Canadian composers and lyricists Jacob Richmond and Brooke Maxwell bring a carnival disaster and its afterlife to life in their 2009 Ride the Cyclone the musical, which first premiered at the Chicago Shakespeare Theatre in 2015. This Arlington Heights Metropolis Performing Arts Center production is directed by Lillian Castillo, one of the original Ride the Cyclone cast members from the 2015 Chicago Shakespeare Theatre production and on the world premier cast recording, bringing her unique insight to this long overdue 2026 production in the Chicago suburbs, with musical direction by Carolyn Brady.

Front Row: Rylee Michelle as Constance Blackwood, Eldon Warner-Soriano as Ricky Potts, and Alex Merkel as Ocean O’Connell Rosenberg Back Row: Peyton Owen as Noel Gruber and Eric Amundson as Mischa Bachinski. Photography by Jennifer Heim.

Set in the remote town of Uranium City, Saskatchewan, Cyclone follows six members of the St. Cassian High School chamber choir as they ride the Cyclone rollercoaster (not to be confused with New York City’s Coney Island Cyclone built in 1927) and meet their demise when its sends them all plummeting to their deaths before they’d ever really gotten to experience life—or had they?

As the six choir kids wake in a purgatory ruled by the fortune-telling machine Karnak (played impressively by Dave Honigman, who looks and moves like an actual animatronic) they are told that one of them may be reborn to begin again the life that ended for them so swiftly—if, and only if, their fellow choir members unanimously vote for them to be reborn.

Thus begins the real ride, the wild, colorful journeys each teenager takes the audience on as they show us who they are, what they want, and what they each make of their life. And in doing so, they challenge the notion that a short life, or a quiet life, or a purely imaginative life, is not a life well lived.

Dave Honigman as The Amazing Karnak. Photography by Jennifer Heim.

The overachieving Ocean (played delightfully annoyingly and with nuance by Alex Merkel, who straddles the line between a try-hard class president and an unlucky teenage girl struggling to make sense of her fate) sings about her accomplishments, intellect, and drive, brutally putting down her choirmates in the process. 

Others live out the inner life they always wished for on earth, like the only gay kid in town Noel dreaming to be a disease-riddled French prostitute in the 1930s (played with fabulous conviction by Peyton Owen), or the disabled boy Ricky (played charmingly by Eldon Warner-Soriano) sharing his inner reality where he rules a planet of hot humanoid cats.

Eldon Warner-Soriano as Ricky Potts, Alex Merkel as Ocean O’Connell Rosenberg, Peyton Owen as Noel GruberPhotography by Jennifer Heim.

Misha, the Ukrainian transplant, played with the perfect of blend of teenage-boy posturing and vulnerability by Eric Amundson, first raps in hilariously obnoxious autotune before laying his heart bare expressing his love for his online girlfriend Talia. 

Constance, the naive pushover of the group, played with authenticity and sweetness by Rylee Michelle (stepping in for Diana Marilyn Alvarez), sings about the liberation she felt flying through the air to her death and reveals she may have actually been the most worldly and experienced of them all.

Like the Cyclone itself, it’s quite a ride.

Amelia Tam as Jane Doe. Photography by Jennifer Heim.

It even has a spooky factor beyond its dark subject matter: the headless girl, Jane Doe. Losing her head in the accident, Jane’s body was unclaimed at the coroner, she has no memories of who she was, and she’s replaced her head with her doll’s head, giving her a vacant, black-eyed stiffness that makes her creepy but also pitiful.

Played hauntingly and heartbreakingly by Amelia Tam, Jane Doe’s movements and presence are hypnotizing, scary, and sad all at once. The only character who sings in an operatic soprano, Jane steals the show every time she’s featured, her “Ballad of Jane Doe” possibly being the strongest song in the musical, where she first laments then rages about her death and the tragedy of being anonymous even to herself.

As director Lillian Castillo describes in her director’s note, composer Jacob Richmond wrote this show in response to his sister’s tragic and unexpected death. When she passed and became an anonymous statistic in a news story, “her wholly singular and marvelous existence boiled down to a number—that was the jumping off point, restoring individuality to a group of people who died suddenly.”

Center: Eldon Warner-Soriano as Ricky Potts, Back Left to Right: Peyton Owen as Noel Gruber, Rylee Michelle as Constance Blackwood, Amelia Tam as Jane Doe, Alex Merkel as Ocean O’Connell Rosenberg, and Eric Amundson as Mischa Bachinski. Photography by Jennifer Heim.

And while the subject matter is dark, the theme and message aren’t. There’s so much humor—both irreverent and whacky—love, and authenticity weaved into every line and note of this show. Ride the Cyclone encourages you to live your life to the fullest, whatever your wildly individual definition of that is.

Because life isn’t about how it ends—it’s about the ride.

Ride the Cyclone is playing at the Metropolis Performing Arts Center Main Stage through October 25, 2026. Tickets can be purchased at MetropolisMetropolis or by calling the box office at 847-577-2121.

Studebaker Theater, P3 Productions and Audible, in collaboration with Teatro Vista Productions, present the Chicago premiere of the groundbreaking, award-winning new hip-hop musical Mexodus, written and performed by Brian Quijada and Nygel D. Robinson, choreographed by Tony Thomas, and directed by David Mendizábal. Mexodus plays a limited three-week run at Chicago's historic Studebaker Theater at the Fine Arts Building, 410 S. Michigan Avenue, from November 7 to November 21, 2026.

Tickets for the Chicago premiere of Mexodus, November 7–21, 2026, are now on sale starting at $36, with discounted student tickets for $20, at FineArtsBuilding.com/Mexodus.

Told through live looping, bold storytelling and sick beats, Mexodus reimagines the Underground Railroad heading south to Mexico—unearthing a powerful, untold chapter of American history. Called an "electrifying theatrical experience" by The New York Times, "thrilling" by The Washington Post and "genius in motion" by the San Francisco Chronicle, this is theater you feel in your body and your bones. Created and performed by Brian Quijada and Nygel D. Robinson, this groundbreaking musical follows a freedom seeker and an unlikely ally as they forge a remarkable bond that transcends borders.

This year Mexodus won four Lucille Lortel Awards including Outstanding Musical, four Outer Critics Circle Awards including Outstanding New Off-Broadway Musical, three Drama Desk Awards including Outstanding Music, one Off Broadway Alliance Award for Best Musical, and one Drama League Award for Outstanding Production of a Musical—the first Off-Broadway musical to win the award in 30 years.

The Chicago premiere follows the musical's critically acclaimed twice-extended run at Audible's Minetta Lane Theatre in New York in 2025 and return Off-Broadway engagement at the Daryl Roth Theatre earlier this year. Mexodus is now available as an Audible Original, featuring the entire musical recorded in immersive Dolby Atmos sound design and extending its reach to millions of listeners around the world.

The Studebaker Theater engagement of Mexodus represents a homecoming for Brian Quijada and Nygel D. Robinson. Quijada is from the Chicago area, and Robinson previously called the city home. An early workshop and developmental performances of the musical were held in Chicago in 2021 and 2023.

"We couldn't be more excited to bring Mexodus to Chicago," said Brian Quijada and Nygel D. Robinson. "Not only do we both have connections to the city, but much of the development of Mexodus happened there. Chicago, pull up!"

Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin of P3 Productions added, "After building such a strong community around the show in New York City, we're thrilled to now bring this bold, original musical to Chicago audiences, especially at the historic Studebaker Theater. It's an honor to continue sharing the show's joy, energy, and message of solidarity with a city that feels so deeply connected to the spirit of Mexodus."

Kate Navin, Audible Head of Creative Development for North America, said: "It has been an honor to share Mexodus with the world, through the Audible Original release and on stage in New York, where it once again took the city by storm. We can't wait to present Brian and Nygel's groundbreaking musical in Chicago, where this work was nurtured during its development. As the production reaches more cities across the United States and listeners globally through Audible, we're continuing to broaden and honor this important story for audiences both in the theater and beyond."

Fine Arts Building and Studebaker Theater Proprietor Erica Berger said, "We are beyond proud to be a Co-Producer on Mexodus, one of the most exciting new musicals in recent memory. Brian Quijada and Nygel D. Robinson are two exceptional artists with strong ties to Chicago. The Studebaker Theater has been a creative home to innovative theater artists for more than 125 years, and bringing Mexodus home to Chicago further emphasizes our commitment to that legacy." Managing Artistic Director Jacob Harvey added, "We're actively building new pathways for how commercial productions can find a home in Chicago. Mexodus is our first co-producer credit on an Off-Broadway production, but it won't be the last. This is a new era for the Studebaker, cementing us as the premier Chicago venue for developmental and acclaimed productions alike."

Artistic Director Wendy Mateo of Teatro Vista Productions said, "Teatro Vista Productions cultivates the telling of stories that accurately reflect our community and increase the authentic representations of us on stage and screen. We are extremely honored to have been a part of the world premieres of Brian's Where Did We Sit on the Bus? and Somewhere Over the Border. So this is a full circle moment for us to help bring Brian and Nygel back to Chicago and to share the story of Mexodus with our audiences."

Mexodus was developed in previous productions at New York Stage and Film (2021), Baltimore Center Stage & Mosaic Theater Company of DC (Spring 2024), and Berkeley Repertory Theatre (Fall 2024).

The creative team for Mexodus includes Riw Rakkulchon (Scenic Design), David Mendizábal (Costume Design), Mextly Couzin (Lighting Design), Mikhail Fiksel (Looping Systems Architecture and Sound Design), Johnny Moreno (Video/Projections Design), Tony Thomas (Choreographer), and Claire Yenson, C.S.A. (Casting). Hope Villanueva is the Production Stage Manager, and theatrical supervision is by Cath Bates with general management by Pemberley Productions.

TICKETS

Tickets for the Studebaker Theater performances of Mexodus are now on sale starting at $36, with discounted student tickets for $20, at FineArtsBuilding.com/Mexodus.

PERFORMANCE SCHEDULE

Saturday, November 7 at 3 p.m. and 7:30 p.m. (press opening)

Sunday, November 8 at 1:30 p.m. and 6:30 p.m.

Tuesday, November 10 at 7:30 p.m.

Wednesday, November 11 at 7:30 p.m.

Thursday, November 12 at 2 p.m. and 7:30 p.m.

Friday, November 13 at 7:30 p.m.

Saturday, November 14 at 3 p.m. and 7:30 p.m.

Sunday, November 15 at 1:30 p.m. and 6:30 p.m.

Tuesday, November 17 at 2 p.m. and 7:30 p.m.

Wednesday, November 18 at 2 p.m. and 7:30 p.m.

Thursday, November 19 at 11 a.m. (student matinee)

Friday, November 20 at 2 p.m. and 7:30 p.m.

Saturday, November 21 at 3 p.m. and 7:30 p.m.

ABOUT P3 PRODUCTIONS

P3 Productions is an award-winning producing team led by Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin, dedicated to uplifting new voices and communities. Broadway productions include CALL ME IZZY, HOW TO DANCE IN OHIO, and JOB. In addition to MEXODUS, upcoming productions include WANTED, INTER ALIA, and THE NINTH WOMAN. Recent co-producing credits include EVERY BRILLIANT THING, ART, SUNSET BLVD., JUST FOR US, and A STRANGE LOOP on Broadway, as well as INTER ALIA, KINKY BOOTS, 1536, SUGAR DADDY, THE IMPORTANCE OF BEING EARNEST, NEXT TO NORMAL, and ORLANDO in London's West End. Learn more at www.p3.productions.

ABOUT AUDIBLE THEATER

Audible Theater makes outstanding performances and powerful storytelling available to live audiences in New York City and millions of people all over the world. Since founding in 2018, Audible Theater's dynamic mix of live and audio theater productions have been praised as "trailblazing" (Variety), "illuminating" (Forbes), and "an exemplary use of the medium" (The Observer).

Audible Theater productions have garnered more than 60 nominations and 14 wins across the theater awards landscape. More than 120 audio theater titles have released on Audible. Audible Theater has produced the multi-award-winning and seven-time Tony Award-nominated musical Dead Outlaw, with music and lyrics by David Yazbek and Erik Della Penna, book by Itamar Moses, conceived by David Yazbek, and directed by David Cromer; Hannah Moscovitch's play Sexual Misconduct of the Middle Classes starring Ella Beatty and Hugh Jackman; Sorry for Your Loss written by and starring Michael Cruz Kayne;  Laura Benanti: Nobody Cares written by and starring Laura Benanti; Alex Newell and the Gospel of a Diva written by and starring Alex Newell; Nostalgia: A Love Letter to NYC written by and starring Eva Noblezada; Girls & Boys starring Carey Mulligan; Harry Clarke starring Billy Crudup; and many others at Audible's Minetta Lane Theatre in New York City. Audible Theater has also produced audio adaptions of acclaimed plays including Colman Domingo's Wild with Happy starring Domingo, Oprah Winfrey, Sharon Washington, Alex Newell, and Tyler James Williams; David Henry Hwang's Yellow Face starring Daniel Dae Kim and Jason Biggs; David Auburn's Summer, 1976 starring Laura Linney and Jessica Hecht; and many more.

In May 2018, Audible announced that the Minetta Lane Theatre in Greenwich Village would serve as its creative home for live performances in New York, with Audible members receiving exclusive access to discounted tickets and related audio content. Since then, Audible has hosted and produced a wide variety of live performances at the Minetta Lane including dramatic plays, comedic shows, original musical performances, and more.

Since June 2017, Audible has commissioned 50 playwrights to receive support from its $5 million Emerging Playwrights Fund dedicated to developing innovative English-language works from around the globe. The initiative enables the creation of original plays driven by language and voice, keeping with Audible's core commitment to elevate listening experiences through powerful performances and extraordinary vocal storytelling. Emerging Playwrights commissions have included Evil Eye by Madhuri Shekar, The Half-Life of Marie Curie by Lauren Gunderson, Good Enemy by Yilong Liu, and more.

ABOUT AUDIBLE, INC.

Audible, Inc., an Amazon.com, Inc. subsidiary (NASDAQ:AMZN), is the leading creator and provider of premium audio storytelling, offering global audiences a powerful way to enhance and enrich their lives through extraordinary content. Audible's catalog includes more than 1,000,000 audio titles, including Audible Originals as well as audiobooks and podcasts from leading studios, print, audio and magazine publishers and world-renowned entertainers.

ABOUT THE STUDEBAKER THEATER

Located inside Chicago's landmarked Fine Arts Building, the Studebaker Theater is one of the city's most historic performance venues, led by Erica Berger and Jacob Harvey. Since its curtain first rose in 1898, the Studebaker stage has been graced by luminaries including Bob Hope, Peter O'Toole, Mae West, Ethel Barrymore, Geraldine Page, Vincent Price and many more. Following a major multi-million-dollar renovation led by Berger Realty Group and completed in 2022, the Studebaker has been home to NPR's popular news quiz show "Wait Wait... Don't Tell Me!" and has hosted performances from new musicals including 44: The Obama Musical, Roald Dahl's The Enormous Crocodile, and Jim Henson's Emmet Otter's Jug-Band Christmas. Other recent productions include Ava: The Secret Conversations starring Elizabeth McGovern and Manual Cinema's Christmas Carol. Learn more at fineartsbuilding.com.

ABOUT TEATRO VISTA PRODUCTIONS

When the Chicago theater world wasn't ready for us, Teatro Vista Productions made space. For 35 years, we've told true stories that reflect our community. We're not just building on this amazing legacy; we are strengthening and expanding it for the future. Today we continue to actively engage in advocacy that seeks to increase the authentic representations of us on stage and screen. Teatro Vista Productions is led by Lorena Diaz (Executive Director), Wendy Mateo (Artistic Director) Cruz Gonzalez-Cadel (Associate Artistic Director) and Carina E. Sanchez (Board President).

Teatro Vista Productions believes artists of color are inherently genius across disciplines, experiences, media and diaspora. We center our collective of artists at the heart of everything we do. We empower them to create with their own voice by providing the tools and resources they need to thrive in the industry. Our work is timely, relevant and reflects our community. Now, as always, We Are Theater With A View. Join us across online channels at @teatrovista to experience the multidisciplinary talents of our Artistic Collective and visit teatrovista.org to stay connected to all things TVP. Pa'lante Juntos. Forward Together.

“Great Balls of Fire!” Chicago audiences have just one last chance to catch Paramount Theatre’s immersive musical Million Dollar Quartet, returning more than two years after its smash hit debut for a final run and holiday season comeback, October 7, 2026 - January 3, 2027.

Four legends. One night. Music history made. Don’t miss this last chance to experience one of the most popular jukebox musicals of all time. Four incredibly talented actor/musicians bring Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley back to life as they navigate the intricacies of fame, while delivering incredible, up-close 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 radically intimate restaging of Million Dollar Quartet was custom built for Paramount’s new 99-seat Stolp Island Theatre so audiences can say “I was there!” Starting October 7, performances are Wednesday at 1:30 p.m. and 7 p.m., Thursday and Friday at 7 p.m., Saturday at 2 p.m. and 7 p.m., and Sunday at 1 p.m. and 5:30 p.m. Exceptions: No show Thursday, November 26 (Thanksgiving). Added matinee Friday, November 27 at 2 p.m. No shows December 24 or 25 (Christmas Eve and Christmas). Show time Thursday, December 31 (New Year’s Eve) is at 2 p.m.

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

All seats are $87 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. Note: Tickets and group outings make excellent holiday gifts.

Chicago City Opera (CCO) presents the Chicago premiere of gothic horror opera Der Vampyr by composer Heinrich Marschner to a libretto by Wilhelm August Wohlbrück. Just in time to kick off the Halloween season, Der Vampyr is presented in three performances only Wednesday, October 7 at 7:00 PM at Colvin House 5940 North Sheridan Road, Friday, October 9 at 7:00 PM at Fulton St. Collective 1821 W Hubbard St. and Sunday, October 11 at 3:00 PM at the Skokie Theater 7924 Lincoln Ave. in Skokie. General admission tickets are $30 with preferred seating for $40 and select VIP tickets for $100. Tickets are on sale now at chicagocityopera.com.

First performed in 1828, Marschner's Der Vampyr is a thrilling predecessor to the vampire stories that have become a staple of popular culture - pre-dating Bram Stoker's Dracula by half a century. With mysterious characters, dramatic twists, and a richly atmospheric score, Der Vampyr captures the romance, suspense, and intrigue of the gothic tradition. Der Vampyr follows Lord Ruthven, a charming vampire who has until sunrise to claim three victims and escape eternal damnation. Along the way, seduction, betrayal, revenge, and supernatural forces collide.

"First rising to popularity in the 18th century, gothic literature was having a resurgence in the 1820's," said CCO Artistic Director Alexandra Enyart. "Marschner's Der Vampyr, though rarely performed in the U.S. today, was highly successful when it opened in 1828. Coming off the heels of German supernatural opera Der Freischütz by Carl Maria von Weber, and foreshadowing another - Richard Wagner's The Flying Dutchman - Der Vampyr is full of stunning German Romantic music. Filled with classic tropes from gothic horror, Der Vampyr is the perfect opera for a dark October night."

Conducted by CCO Artistic Director Alexandra Enyart with stage direction by SarahAnn Sutter, the cast includes baritone Jeremiah Strickler as Lord Ruthven, tenor Jordan Loyd as Edgar Aubry, soprano Jessie Lyons as Malwina, baritone Keaton Payne as Humphrey von Davenaut, soprano Ariel Emma as Janthe, mezzo-soprano Molly Clementz as Emmy Perth, tenor Bat Collazo as George Dibdin and baritone Kevin Wheatle as John Berkley. Pianist Jordan Crice serves as the orchestra. Adam Nicholson is the set designer and Molly Clementz is the graphic designer.

About Chicago City Opera

Founded in 2019 under the name Ouroboros Opera, Chicago City Opera is a Chicago based non-profit dedicated to providing high-quality performances of standard operatic repertoire in intimate spaces, making opera accessible to audiences and performers. CCO's unique and egalitarian approach to production utilizes a collaborative model in which all the performers on stage invest as equal shareholders to produce an opera. CCO continues to be committed to the community of Chicago and is dedicated to creating the best experiences possible for our community on both sides of the stage. 

Kokandy Productions’ Jekyll & Hyde, now presented by Broadway In Chicago at the Broadway Playhouse, arrives with the momentum of a bona fide Chicago phenomenon. After its run at Chopin Theatre was extended again and again - an almost unheard of feat for an intimate, homegrown musical - the show has now been picked up for a full commercial engagement, marking a major leap for the company and a testament to the production’s electric word of mouth. It is worth noting just how rare this is: Broadway In Chicago almost never transfers storefront productions, making this pickup one of the most significant Chicago theatre success stories in recent memory. Conceived for the stage by Steve Cuden and Frank Wildhorn, this staging proves how a storefront success can scale beautifully without losing its bite.

This reimagined take on The Strange Case of Dr. Jekyll and Mr. Hyde, drawn from Robert Louis Stevenson’s classic story, uses Leslie Bricusse’s book and lyrics to follow Dr. Jekyll, a brilliant yet splintering scientist whose compassion fuels his most dangerous ideas. He turns to self‑improvement experiments - attempting to isolate and remove the darker impulses that plague human behavior. Only after the town council votes down his proposal to move forward does Jekyll test his theories on himself, unleashing a violent alter ego - Mr. Hyde - that refuses to stay contained and seeks revenge on those who dismissed his ideas as reckless.

While Jekyll’s experiments drive the plot, the production grounds his unraveling in two sharply drawn relationships: his earnest, hopeful romance with Emma and his complicated, magnetic connection with Lucy. Emma represents the future he’s desperate to protect, while Lucy embodies the vulnerability and desire he can’t fully control. Together, they give the story its emotional spine, showing how Jekyll’s transformation fractures not just his identity, but the lives of the women who care for him.

Kokandy dives into the duality with sharp humor, vivid theatricality, and a pulsing score that turns the transformation into both a spectacle and a psychological spiral. As Jekyll’s world cracks - friends endangered, morality blurred, identity slipping - the production keeps the tension taut, balancing gothic thrills with a surprisingly human core.

(center) David Moreland and the cast of Kokandy Productions’ production of Jekyll & Hyde.

What makes this staging stand out is its inventiveness: clever staging, bold physicality, and a cast that commits fully to the grotesque and the gorgeous – and, wow, can they sing. It’s no surprise audiences kept returning at Chopin, pushing the run far past its original closing date. That groundswell of audience demand is precisely what caught Broadway In Chicago’s attention - a level of traction strong enough to propel a storefront musical into a full commercial engagement. Seeing it now elevated to the Broadway Playhouse feels like the rare occasion when Chicago’s storefront originality gets the larger platform it deserves. In fact, upon entering, guests are handed stickers to mark how many times they’ve seen the show. Whether it’s their first visit or their seventh - the highest number I spotted - theatergoers wear it proudly, a small but telling sign of the cult‑like enthusiasm surrounding this production.

Directed by Producing Artistic Director Derek Van Barham, this production thrives on a razor‑sharp sense of style and drive. Van Barham shapes Jekyll & Hyde with the confidence of someone who knows exactly how to blend horror and heart into one seamless theatrical rhythm. A kinetic drive and deft wit run through the score thanks to Nick Sula’s music direction, ensuring crisp transitions and character‑focused vocal work. With a rare 15‑piece live orchestra on stage, the production’s musical power hits with a fullness and immediacy that elevates every passage. Brenda Didier’s choreography is the secret weapon — precise, playful, and radiating personality, it turns the show’s physicality into storytelling and amplifies the divide at the center of Jekyll’s collapse.

Kokandy’s ensemble fires on all cylinders, creating a production that feels both wickedly fun and sharply realized. David Moreland anchors the show with a riveting, shape‑shifting performance as Dr. Henry Jekyll and Mr. Edward Hyde, his vocal work and physical transformations giving the story its ferocious pulse. Moreland delivers a performance of remarkable physical and emotional intensity, one that stands out among the strongest I’ve seen. With visceral depth and vocal heat, Ava Lane Stovall shapes Lucy Harris into a woman suspended between danger and desire, her performance threading vulnerability through every moment of volatility. She makes Lucy’s internal tug of war feel immediate, giving the role a current that’s both seductive and unsettling. Meanwhile, Emily McCormick’s Emma Carew delivers a beautifully grounded counterbalance, her warm, expressive songs reinforcing the production’s moral center and offering the steadiness Jekyll’s world so desperately lacks.

(center) Ava Lane Stovall with (left to right) Quinn Kelch and Ismael Garcia and (below) Quinn Simmons in Kokandy Productions’ production of Jekyll & Hyde.

As Simon Stride and Spider, Quinn Kech moves effortlessly between clipped propriety and feral swagger, pairing sharp character work with vocals that cut cleanly through the score. A steady moral throughline comes through in Kevin Webb’s Gabriel John Utterson, his warm baritone and grounded presence giving the story its emotional ballast. Nathan Calaranan brings a dignified, resonant authority to Sir Danvers Carew, shaping each turn with clarity and restraint. Around them, the ensemble meets the material with full‑throated commitment - singing with power, acting with specificity, and charging every scene with the kind of collective intensity that makes this production feel larger than its footprint. Led by Jeff Award winners Moreland, Stovall, and McCormick, the ensemble’s collective impact makes this Dr. Jekyll & Mr. Hyde feel vividly, thrillingly alive. The extended applause throughout the night were frequent and fully deserved.

The reimagined score is one of the production’s greatest triumphs, built on Frank Wildhorn’s music, yet reshaped into something leaner, sharper, and far more theatrical. Kim Scharnberg’s orchestrations give the music its dark, muscular edge, while Jason Howland’s arrangements sharpen its modern undercurrent. The orchestrations feel slyly contemporary and richly atmospheric, giving the story a sonic identity that matches Kokandy’s confident staging. Sula ensures every number lands with intention, whether it’s a brooding solo that tightens like a vice or an explosive ensemble sequence that floods the stage with adrenaline. And the vocal performances? They’re extraordinary – out of this world, presented with a clarity and force that elevate every musical moment.

The set evokes the grit and pressure of 1880s London without ever changing, a circular playing space with elevated risers that let the cast surround the action and heighten every moment of tension. Scenic designer Sotirios Livaditis, U.S.A., builds a world that’s intentionally fixed yet remarkably flexible, giving the ensemble multiple levels and angles to push the story forward. G. “Max” Maxin IV’s lighting and Matt Reich’s sound design sharpen that sense of immersion, shaping mood, focus, and dramatic impact from scene to scene. This talented design team gives us a unified environment that feels alive in its stillness - a single space that transforms through performance rather than mechanics.

Jekyll & Hyde comes highly recommended, not only for its inventive reworking but for the sheer theatrical command Kokandy brings to the Broadway Playhouse stage. Presented by Broadway In Chicago, the production (already extended) runs through November 8, 2026 at the Broadway Playhouse at Water Tower Place, with a runtime of 2 hours and 35 minutes including an intermission. It’s a bold, stylish, and wildly entertaining take on a classic tale - one that proves Kokandy’s storefront artistry can thrive beautifully on a commercial stage. I walked away from this production genuinely amazed, struck by how fully Kokandy has transformed a familiar title into something fresh, fearless, and alive. It’s a milestone not just for Kokandy, but for Chicago theatre itself - a reminder that the city’s most daring work can rise all the way to the downtown marquee.

https://www.broadwayinchicago.com/shows/jekyll-hyde/

Producer Jeffrey Seller and Broadway In Chicago have announced the world-premiere of the new musical THE PRINCESS BRIDE will begin performances in Chicago next summer at the James M. Nederlander Theatre, from July 19-August 22, 2027.

A miraculous blend of sword fights and satire, absurd fun and true romance, THE PRINCESS BRIDE has been both a beloved novel and celebrated film. Now, as you wish, it comes to enchanting life as a Broadway musical.

Like many timeless stories, this one asks the eternal question: Why does life have to be so complicated?

Journey to Florin, where a sweet-natured giant, a six-fingered (well technically 11-fingered) scoundrel, a vengeance-obsessed Spaniard, and an overconfident meanie all conspire to make things incredibly difficult for two young lovers just trying to live happily ever after. Prepare to die laughing and fall in love all at the same time, all over again.

The creative team features a book by Tony Award winner Bob Martin (The Drowsy Chaperone) and Tony-nominated Rick Elice (Jersey Boys), music and lyrics by Oscar-winning composers Kristen Anderson-Lopez (Frozen) and EGOT winner Robert Lopez (Frozen, The Book of Mormon), direction by Tony Award winner Alex Timbers (Moulin Rouge!) and choreography by Tony Award winner Andy Blankenbuehler (Hamilton, In the Heights).

Producer Jeffrey Seller is one of the most successful American producers of our time. He produced the Tony Award–winning musicals Rent, Avenue Q, In the Heights, and Hamilton. His shows have garnered twenty-two Tony Awards, including four for Best Musical. Jeffrey is the only producer to have mounted two Pulitzer Prize–winning musicals—Hamilton and Rent. He also revolutionized theater accessibility with the $20 ticket lottery for Rent, making theater affordable for all. 

The Princess Bride is based on the novel and Motion Picture written by William Goldman and the Motion Picture executive produced by Norman Lear and directed by Rob Reiner.

TICKET INFORMATION
THE PRINCESS BRIDE will be part of the next Broadway In Chicago season, on sale next month. Group tickets for 10 or more are on sale now by calling Broadway In Chicago Group Sales at (312) 977-1710 or by emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Individual tickets will go on sale at a later date. For more information, visit www.BroadwayInChicago.com.

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

For more information and tickets, visit www.BroadwayInChicago.com.
 

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Marriott Theatre, Chicagoland's longest-running musical theatre, presents its 2027 subscription season featuring five thrilling and memorable musicals: Pippin, A Gentleman's Guide to Love and Murder, Almost Heaven, Les Misérables and The Wiz. The season also includes three Theatre for Young Audiences productions and an engaging concert lineup. Beginning in 2027, Marriott Theatre will introduce new weekend performance times, with Saturday shows at 2pm and 7:30pm and Sunday performances at 1pm and 6pm.

The 2027 season kicks off with Stephen Schwartz's iconic musical masterpiece, Pippin, directed and choreographed by Jeff Award nominee Amber Mak (Marriott Theatre: Joseph and the Amazing Technicolor Dreamcoat, Buddy – The Buddy Holly Story, Disney's Finding Nemo). With an infectiously unforgettable score from four-time Grammy winner, three-time Oscar winner, Tony winner and musical theatre giant, Stephen Schwartz (Wicked and Godspell), Pippin is the story of one young man's journey to be extraordinary. Packed with iconic songs like "Corner of the Sky," "Magic to Do," "No Time at All" and "Morning Glow." Pippin starts performances January 27. 

Next on stage is A Gentleman's Guide to Love and Murder, the knock-'em-dead, uproarious hit filled with unforgettable music and unending hilarity, directed and choreographed by Katie Spelman (Marriott Theatre: Come From Away, The Music Man). When the charming and penniless Monty Navarro discovers he's ninth in line for an earldom, he figures his chances of outliving his predecessors are slight and sets off to speed up the line of succession by using a great deal of charm... and a dash of murder. Best Musical Winner: Tony Award, Drama Desk Award, Outer Critics Circle Award, and Drama League Award. A wickedly witty romp of disguises, dalliances, and delightfully untimely deaths, starring Marriott Theatre favorite Alex Goodrich as the ENTIRE D'Ysquith Family! A Gentleman's Guide to Love and Murder starts performances April 14.

For summer, celebrate the legendary life and legacy of John Denver with Almost Heaven: Songs of John Denver, directed by James Vásquez (Marriott Theatre: In the Heights, Always Something There..., Damn Yankees). American musical icon John Denver's timeless melodies echo from Rocky Mountain highs to the Green Mountains of Vermont. Set against a backdrop of America in the late 1960s and early 1970s, Almost Heaven celebrates the life and times of this down-to-earth music man with dozens of chart-topping hits including: "Rocky Mountain High," "Sunshine on My Shoulders," "Annie's Song," "Take Me Home, Country Roads," "Leaving on a Jet Plane," "Calypso" and many more. Almost Heaven is a theatrical salute to the music that inspires us to dream of new roads and new destinations. Almost Heaven: Songs of John Denver starts performances June 16.

The epic Les Misérables takes the stage in 2027, directed by Jessica Fisch (Marriott Theatre: Beautiful: The Carole King Musical, Come from Away, Catch Me If You Can) and choreographed by Marriott Theatre Associate Artistic Director Katie Johannigman (Marriott Theatre: A Little Night Music, The Magic School Bus). Set against the backdrop of 19th century France, Les Misérables tells an enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. This epic and uplifting story has become one of the most celebrated musicals in theatrical history. The magnificent score of Les Misérables includes the songs "I Dreamed a Dream," "On My Own," "Bring Him Home," "One Day More," "Master of the House" and many more.  Packing an emotional wallop that has thrilled audiences all over the world, its powerful affirmation of the human spirit has made Les Misérables a cherished masterpiece. Les Misérables starts performances August 25.

When the holidays roll around, "ease on down the road" to the beloved Broadway gem, The Wiz, directed and choreographed by Deidre Goodwin (Marriott Theatre: director/choreographer of Heartbreak Hotel and Beehive, choreographer of Catch Me If You Can). Infusing L. Frank Baum's The Wonderful Wizard of Oz with a dazzling mix of rock, gospel and soul music, this timeless tale of Dorothy's adventures through the land of Oz is an effervescent explosion of music, dance, magic, and delight. Winner of seven Tony Awards including Best Musical, The Wiz is a fun, fresh, family-friendly musical. The Wiz starts performances November 10.

Marriott Theatre's commitment to family entertainment continues with a vibrant lineup of Theatre for Young Audiences productions throughout 2027. The season kicks off with the action-packed musical adventure The Lightning Thief: The Percy Jackson Musical, directed by Derek VanBarham and choreographed by Tommy Rivera-Vega, running February 19 through March 27. Young theatergoers will then delight in the heartwarming Lyle, Lyle, Crocodile: The Musical (a pilot production of the Theatre For Young Audiences edition), directed by Christopher Llewyn Ramirez and choreographed by Nich O'Neil, from July 9 through August 8. The final TYA production brings a fresh take on a classic fairy tale with the world premiere of Hansel & Gretel: Off The Grid, written by Johanna McKenzie Miller, Michael Mahler and Steven Strafford, directed by Miller and choreographed by Mandy Modic, running November 27 through January 9.

The 2027 Artists Lounge Live Concert Series will bring to the stage Hello Again: Eric Gutman Sings Neil Diamond on March 15-17, Good Vibrations: Michael Mahler Band Salutes The Beach Boys on September 13-14, Dream Lover: The Music of Bobby Darin and Connie Francis, starring Devin DeSantis and Anastasia Arnold on December 6-7, and Rockin' Down the Clock: 100 Years of Hits! on December 31.

Beginning Wednesday, September 16, audiences can purchase 2027 season subscriptions and single tickets to all upcoming shows and concerts. Current subscribers: your renewal packets will land in your mailbox shortly. Single ticket prices begin at $78 for mainstage productions, and $19.75 for Theatre for Young Audiences (plus tax and handling fees). For more information on Marriott Theatre or to purchase tickets to the current hit musical, Come From Away, please visit MarriottTheatre.com or follow the theatre on social media @marriotttheatre.

ABOUT MARRIOTT THEATRE

Founded in 1975, Marriott Theatre is known for presenting new and classic musicals, often direct from Broadway and has staged more than 260 productions before an estimated 12,000,000 people in its history. Marriott Theatre has received more than 600 Joseph Jefferson Award nominations and has employed more than 6,000 artists. In addition to the presentation of classic American musical theatre, Marriott Theatre has become a driving force in the development of original and re-imagined musicals.

Pippin and A Gentleman's Guide to Love & Murder are presented through special arrangement with Music Theatre International (MTI).

Almost Heaven is present by arrangement with Aruba Productions.

Les Misérables is presented through special by arrangement with Music Theatre International and Cameron Mackintosh LTD.

The Wiz and The Lightning Thief are presented by arrangement with Concord Theatricals.