Displaying items by tag: Theater

Open Space Arts has announced casting for its Chicago premiere of A THIRD WAY, a sharply funny, deeply compassionate new play that reimagines what love, marriage, and family can look like in the 21st century. Winner of the Del Shores Foundation Playwriting Award, the play received its acclaimed world premiere in 2024 at Actor's Express in Atlanta, where it was praised for its emotional honesty, contemporary relevance, and nuanced queer storytelling. ARTSATL said, it was "deeply introspective" in addition to having "some truly hilarious moments, with a playful energy throughout." Open Space Arts' founder David G. Zak, who was recently nominated for the Jeff Awards for Direction – Short Run Production for OSA's MR. PARKER, is directing. A THIRD WAY will play in Open Space Arts' intimate 25-seat theatre at 1411 W. Wilson Ave., Chicago. It will play three weekends, from April 3 through 19.

At the center of the play are Nico and Matt, a married couple committed to building a relationship that exists outside traditional binaries. When familiar figures from the past and unexpected new connections enter their world, long-standing assumptions are quietly—and sometimes explosively—challenged. With humor, warmth, and razor-sharp insight, A THIRD WAY explores the fragile balance between desire and responsibility, freedom and commitment. Rather than offering easy answers, the play invites audiences to sit inside uncertainty, asking what it really means to choose love when there are no clear rules.

Zak Wilson and Chris Sylvie have been cast as Matt and Nico. Wilson, who will play Matt, was seen most recently in the area as Karl and Steve for CLYBOURNE PARK with Buffalo Theatre Ensemble. He has also appeared in numerous productions with the prestigious Asolo Rep in Sarasota, Florida. Sylvie, who appeared in Open Space Arts' SUNSETS, will play Nico. Oliver Maalouf (of Steep Theatre's HAPPY DAYS ARE HERE (AGAIN)) is playing Haamid, a one-time hookup of the couple who becomes more seriously involved with Matt. Erica, Nico's best friend who has her own challenges finding a relationship, will be played by Alondra Rios, who recently appeared in LAS BORINQUEÑAS at Visión Latino and SIDE BY SIDE BY SONDHEIM at Oil Lamp Theatre. 

The production team for A THIRD WAY includes Zach Stinett (Sound Design), Jade Andrews (Costume Design), Devin Meseke (Scenic Design), Ethan Brentlinger (Lighting Design), Greta Zandstra (Intimacy Director), and Claire Ragusa (Stage Manager).

With humor, warmth, and razor-sharp insight, A THIRD WAY explores the fragile balance between desire and responsibility, freedom and commitment. Rather than offering easy answers, the play invites audiences to sit inside uncertainty, asking what it really means to choose love when there are no clear rules.

Intimate in scale but expansive in implication, A THIRD WAY speaks to contemporary audiences navigating evolving definitions of partnership, family, and belonging—without telling them what to think.

Open Space Arts' A THIRD WAY will open on Friday, April 3 at 7:30 pm and play through Sunday, April 19, 2026. Performances will be at Open Space Arts, 1411 W. Wilson in Chicago. Tickets are $30 and are on sale now at www.openspacearts.org. 
 
LISTING INFORMATION
 
A THIRD WAY
By Lee Osorio
CHICAGO PREMIERE
Directed by David G. Zak
April 3-19, 2026
Thursdays, Fridays and Saturdays at 7:30 pm, Sundays at 3:00 pm
Open Space Arts, 1411 W. Wilson Ave., Chicago
Tickets $30.00 general admission, $25.00 students and seniors. On sale now at www.openspacearts.org. 
 
Nico and Matt are a married couple committed to building a relationship that exists outside traditional binaries. When familiar figures from the past and unexpected new connections enter their world, long-standing assumptions are quietly—and sometimes explosively—challenged. With humor, warmth, and razor-sharp insight, A THIRD WAY explores the fragile balance between desire and responsibility, freedom and commitment. Rather than offering easy answers, the play invites audiences to sit inside uncertainty, asking what it really means to choose love when there are no clear rules.

Intimate in scale but expansive in implication, A THIRD WAY speaks to contemporary audiences navigating evolving definitions of partnership, family, and belonging—without telling them what to think.

Lee Osorio (playwright) is an award-winning playwright and actor whose work centers queer lives, cultural intersections, and the emotional complexity of modern relationships. Based in Atlanta, Osorio is a longtime collaborator with Actor's Express, where he has developed and premiered multiple works.

He is the recipient of the 2023 Del Shores Foundation Playwriting Award,recognizing A THIRD WAY for its originality, compassion, and contribution to contemporary queer theatre. As an actor, Osorio is a former Alliance Theatre Acting Apprentice and has appeared on stages throughout the Southeast, bringing a performer's instinct for rhythm, dialogue, and character to his writing.
 
Osorio's plays are known for blending humor with emotional honesty and resisting easy moral conclusions in favor of deeply human portraits. A THIRD WAY represents his most ambitious work to date.

David G. Zak (Director) has won seven Jeff Awards in Chicago, including four for Directing (ANIMAL FARM, DR. SEX, PARADE, POPE JOAN), two for writing (THE HIROSHIMA PROJECT, THE COUNT OF MONTE CRISTO) and a special Jeff for "Fostering Diversity in Chicago Theater." He was recently nominated for his direction MR. PARKER, produced by Open Space Arts in earlyb2025. In his 27-year stint as Artistic Director of Bailiwick Repertory, he directed the world premiere production of THE CHRISTMAS SCHOONER, the US premieres of Sir Peter Hall's ANIMAL FARM and JERRY SPRINGER – THE OPERA, and many original works including the political dramas THE HIROSHIMA PROJECT and SIN: A CARDINAL DEPOSED. He has directed in London (THE IRISH CURSE), Seoul (DOLLHOUSE, FANTASTICK, THE GHOST'S COOKBOOK), Dublin (OH, HOLY ALLEN GINSBERG, AT THE FLASH), Boston (SIN: A CARDINAL DEPOSED), Los Angeles (DR. SEX, AT THE FLASH) and New York (MARLOWE and POSEIDON: AN UPSIDE-DOWN MUSICAL). His productions of the American Premieres of JERRY SPRINGER – THE OPERA, Sir Peter Hall's ANIMAL FARM, PARADE, POPE JOAN, and Dennis DeYoung's HUNCHBACK OF NOTRE DAME all won the Jeff Award for best musical. His most recent Chicago productions have included: MY LIFE AS A COWBOY, THE BOY FROM OZ, Terrence McNally's SOME MEN, AFTERGLOW, PRISCILLA: QUEEN OF THE DESERT, THE BOOK OF MERMAN, HIS GREATNESS, and UNDER THE RAINBOW FLAG. He was inducted into Chicago's Gay and Lesbian Hall of Fame in 2013.

OPEN SPACE ARTS, a 501(c)3 non-profit organization, is dedicated to combating homophobia and transphobia through the transformative power of creativity and cultural expression. Our mission is to foster inclusivity, promote understanding, and empower marginalized communities by utilizing various artistic mediums to challenge discriminatory beliefs and attitudes. OSA recently received six Joseph Jefferson Award nomination (short run categories) for its work in 2025, including Production, Direction, Principal Performer, and Featured Performer, for MR. PARKER. Last year,  OSA won some of the top honors in the f Jeff Awards for work produced in 2024, including Production of a Play – Short Run (COCK), Direction of a Play – Short Run (Michael D. Graham - LIGHT SWITCH), Performer in a Principal Role – Short Run  (Philip Andrew Monnett – LIGHT SWITCH), and Performer in a Supporting Role – Short Run (Sonya Robinson – COCK) . Additionally, Open Space Arts has produced SUNSETS: TWO ACTS ON A BEACH, ROSENBERG, MASSAGE THERAPY, MERCY KILLING, MR. PARKER, "it's been ten years since everyone died. a play about final girls," SCANDALOUS BOY, GANGSTA BABY, DORIAN and THE KRAMER PROJECT in live performances. OSA also produces the Queer Expressions Film Fest, a hybrid fest of streaming and in-person events, which runs from November 1 to July 1 annually. Open Space Arts is led by David Zak. 

Nearly 30 years after its box-office-record-setting 1997 Chicago premiere production, August Wilson's Ma Rainey's Black Bottom returns to The Goodman, helmed by Chicago legends Chuck Smith (Director) and Harry J. Lennix (Associate/Music Director). Get a peek into the rehearsal room of Smith's all-Chicago cast, including E. Faye Butler (Fat Ham), Al'Jaleel McGhee (Revolution(s)), Scott Aiello (Chicago Shakespeare Theatre's Hamlet), David Alan Anderson (Writers Theatre's Stick Fly), Matt DeCaro (The Cherry Orchard), Marc Grapey (The Iceman Cometh), Tiffany Renee Johnson (Holiday), Jabari Khaliq (Toni Stone), Kelvin Rostin Jr. (Gem of the Ocean) and Cedric Young (Inherit the Wind). Understudies include Wydetta Carter (Court Theatre's Porgy and Bess), Robert Cornelius (Lottery Day), Isis Elizabeth (Paramount Theatre's Brighter Future), Patrick Newson Jr. (BUST), Joseph Primes (BUST) and Ron E. Rains (Holiday). Special events related to the production include Ma Rainey's Black Affinity Night (April 10) and College Night (April 22). More details below. Ma Rainey's Black Bottom appears March 28 through April 26 in the 856-seat Albert Theatre; opening night is April 6. For tickets ($34-$104, subject to change), visit the Box Office (170 N. Dearborn), call 312.443.3800 or visit GoodmanTheatre.org/MaRaineys. The Goodman is grateful for the support of Allstate Insurance Company (Lead Corporate Sponsor), The Elizabeth Morse Charitable Trust (Lead Sponsor of IDEAA Programming), The National Endowment for the Arts (Production Support), PAXXUS (Corporate Sponsor Partner) and WBEZ Chicago (Media Sponsor).

"When The Goodman was in the process of producing all ten plays in the August Wilson cycle for the first time, I had the opportunity to direct only one—Ma Rainey's Black Bottom, featuring Harry Lennix as Levee. Now, I've got Harry as Music Director and sound designers Rob Milburn and Michael Bodeen with me to do it again," said Goodman Family Resident Director Chuck Smith, who directed The Goodman's acclaimed 1997 production. "One person I miss having in the room is August Wilson, who was there in 1997. His work and advice led to the creation of a very special production that set a box office record at that time. I know we will all work to make something like that happen again. I'm feeling very good about what's happening here already!"

"There are few legacies in American theater that rival Chuck Smith's. Actor, educator, theater founder, director—Chuck has spent decades enriching the theater scene in Chicago and beyond," said Walter Artistic Director Susan V. Booth. "And while his repertoire as a director is wide, it is when he takes on the work of another legend—August Wilson—that the measure of his impact is most deeply felt. To have him revisit this seminal Chicago work in our theater's Centennial Season feels right in every way."

It's 1927 Chicago, and Ma Rainey (E. Faye Butler), "The Mother of the Blues," takes her time getting ready to record. Tensions and temperatures rise as the musicians recount tales of rage, joy, betrayal and faith in astonishing stories and a heart-stopping climax. Chicago legends Chuck Smith and Harry J. Lennix reunite to make magic again with a "genuine American masterpiece" (Chicago Reader).

SPECIAL EVENTS

Ma Rainey's Black Affinity Night
April 10 | 6pm
Tickets: $50 (event + show admission)

This pre-show event is designed for those who identify as Black and offers a unique opportunity to explore the cultural roots and musical legacy that shaped the 1920s—and beyond. The evening will feature a Live DJ Set and conversation with Rae Taylor (DJ Rae Chardonnay), the 2025 DJ Scholar-in-Residence for the Renaissance Project. Use code BLACKAFFINITY when purchasing a ticket for this performance online.

College Night
April 22 | 6pm
Tickets: $13 (reception + show admission)

For less than the price of a movie ticket, college students are invited to experience Ma Rainey's Black Bottom—along with a pre-show reception including all-you-can-eat pizza, soda and a discussion with a member of Goodman's Artistic Team. Use code COLLEGE when purchasing a ticket for this performance online; a valid college ID will be required to pick up tickets at will call.

ABOUT THE ARTISTS

August Wilson (April 27, 1945–October 2, 2005) authored Gem of the Ocean, Joe Turner's Come and Gone, Ma Rainey's Black Bottom, The Piano Lesson, Seven Guitars, Fences, Two Trains Running, Jitney, King Hedley II and Radio Golf. These works explore the heritage and experience of African Americans, decade-by-decade, over the course of the twentieth century. His plays have been produced at regional theaters across the country and all over the world, as well as on Broadway. In 2003, Mr. Wilson made his professional stage debut in his one-man show, How I Learned What I Learned. Mr. Wilson's works garnered many awards including Pulitzer Prizes for Fences (1987)and The Piano Lesson (1990); a Tony Award for Fences; Great Britain's Olivier Aware for Jitney; as well as eight New York Drama Critics Circle Awards for Ma Rainey's Black Bottom, Fences, Joe Turner's Come and Gone, The Piano Lesson, Two Trains Running, Seven Guitars, Jitney and Radio Golf. Additionally, the cast recording of Ma Rainey's Black Bottom received a 1985 Grammy Award, and Mr. Wilson received a 1995 Emmy Award nomination for his screenplay adaptation of The Piano Lesson. Mr. Wilson's early works included the one-act plays The Janitor, Recycle, The Coldest Day of the Year, Malcolm X, The Homecoming and the musical satire Black Bart and the Sacred Hills. Mr. Wilson received many fellowships and awards, including Rockefeller and Guggenheim Fellowships in Playwrighting, The Whiting Writers Award, 2003 Heinz Award, was awarded a 1999 National Humanities Medal by the President of the United States and received numerous honorary degrees from colleges and universities, as well as the only high school diploma ever issued by the Carnegie Library of Pittsburgh. He was an alumnus of New Dramatists, a member of the American Academy of Arts and Sciences, a 1995 inductee into the American Academy of Arts and Letters and on October 16, 2005, Broadway renamed the theater located at 245 West 52nd Street The August Wilson Theatre. Additionally, Mr. Wilson was posthumously inducted into the Theater Hall of Fame in 2007.

Chuck Smith is The Goodman Family Resident Director, Board of Trustees member and resident director at the Westcoast Black Theatre Troupe in Sarasota. Mr. Smith's Goodman credits include Objects in the Mirror, Two Trains Running, Pullman Porter Blues, By the Way, Meet Vera Stark and The Amen Corner, among many others. He also served as dramaturg for the Goodman's world-premiere of August Wilson's Gem of the Ocean. Regionally and locally, he has directed at the Oregon Shakespeare Festival, Milwaukee Repertory Theater, Seattle Repertory Theatre, MPAACT, American Blues, Black Ensemble Theatre, and Congo Square Theatre Company, among others. Mr. Smith is an Emmy Award-winner, a recipient of the Paul Robeson Award and was the 2001 Chicago Tribune Chicagoan of the Year.  

Harry J. Lennix is a distinguished film, television stage actor and producer. He returns to Goodman Theatre following productions of Inherit the Wind, August Wilson's How I Learned What I Learned (produced by Congo Square in association with The Goodman) and Ma Rainey's Black Bottom, directed by Chuck Smith. Recently at Steppenwolf Theatre, he appeared in Purpose. He also appeared in Purpose on Broadway and was Tony-nominated in the Lead Actor in a Play category. He starred for 10 seasons on NBC's The Blacklist. Moviegoers know Lennix from The Justice League, Man of Steel, Batman V. Superman: Dawn of Justice, The Matrix: Reloaded, The Matrix: Revolutions, Ray and The Five Heartbeats. Lennix also recurred for 7 seasons on the Showtime series Billions. Lennix made his Broadway debut in Radio Golf. He has directed A Small Oak Tree Runs Red, The Five Heartbeats and The Glass Menagerie. He has starred in King Hedley II at the Mark Taper Forum and in 2001 he played in Cymbeline for Theatre for a New Audience at the Royal Shakespeare Company. In July 2014, Lennix created Exponent Media Group.

Cast of August Wilson's Ma Rainey's Black Bottom (in alphabetical order)

Directed by Chuck Smith

Associate/Music Director Harry J. Lennix

Scott Aiello...Policeman/US Sturdyvant 
David Alan Anderson...Cutler 
E. Faye Butler...Ma Rainey 
Matt DeCaro...Sturdy 
Marc Grapey...Irvin 
Tiffany Renee Johnson...Dussie Mae 
Jabari Khaliq...Sylvester 
Al'Jaleel McGhee...Levee 
Kelvin Roston Jr....Toledo 
Cedric Young...Slow Drag

Understudies include Wydetta Carter (Ma Rainey), Robert Cornelius (Toledo), Isis Elizabeth (Dussie Mae), Patrick Newson Jr. (Levee/Sylvester), Joseph Primes (Slow Drag/Cutler) and Ron E. Rains (Irvin/Policeman).

CREATIVE TEAM

Co-Sound Designer...Michael Bodeen 
Co-Sound Designer...Rob Milburn 
Costume Designer...Evelyn Danner 
Lighting Designer...Jared Gooding 
Set Designer...Linda Buchanan 
Intimacy and Violence...Greg Geffrard
Vocal Coach...Marie Ramirez Downing
Bass Coach...Anderson Edwards 
Line Producer...Malkia Stampley 
Intimacy and Violence Assistant...Chels Morgan 
Assistant Director...Lo Williams 
Assistant Lighting Designer...Trey Brazeal

Casting is by Lauren Port, CSA. Neena Arndt is the Dramaturg. Angela Adams is the Production Stage Manager. Imani Ross is the Stage Manager.

ENHANCED AND ACCESSIBLE PERFORMANCES

Visit GoodmanTheatre.org/Access for more information about The Goodman's accessibility efforts.

ASL-Interpreted...April 17 at 7:30pm – An ASL interpreter signs the action/text as played. 
Audio-Described...April 18 at 2pm; Touch Tour; 12:30pm – Action audibly enhanced via headset. 
Spanish-Subtitled...April 18 at 7:30pm – Spanish-translated dialogue via LED sign.
Open-Captioned...April 19 at 2pm – LED sign presents dialogue in sync with the performance.

ABOUT THE GOODMAN

Since 1925, The Goodman has been more than a stage. A theatrical home for artists and a gathering space for community, it's where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves.

Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection and change through new plays, reimagined classics and large-scale musicals. With distinctions including nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson's "American Century Cycle." In addition, the theater frequently serves as a production partner—with national and international companies to Chicago's Off-Loop theaters—to help amplify theatrical voices.

But The Goodman believes a more empathetic, more connected Chicago is created one story at a time, and counts as its greatest legacy the community it's built. Generation-spanning productions and programs offer theater for a lifetime; from Theater for the Very Young (plays designed for ages 0-5) to the long-running annual A Christmas Carol, which has introduced new generations to theater over five decades, The Goodman is committed to being an asset for all of Chicago. Education and Engagement programs led by Clifford Director of Education and Engagement Jared Bellot and housed in the Alice Rapoport Center use the tools of theater to spark imagination, reflection and belonging. Each year, these programs reach thousands of people (85% from underserved communities) as well as educators, artists and lifelong learners across the city.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago's early cultural renaissance. That spirit of creativity and generosity endures today. In 2000, through the commitment of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—The Goodman opened the doors to its current home in the heart of the Loop.

Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals. 

Walkabout Theater Company returns to producing in Chicago with the production that launched the company in 1999, Poor Poor Lear, written by Nina Sallinen and Katja Krohn, original direction by Katja Krohn with 2026 direction by Founding Artistic Director Kristan Schmidt, March 12 - 15 at Chopin Theatre, 1543 W. Division St. Poor Poor Lear stars Nina Sallinen and a new mystery guest every night. In addition to the production of Poor Poor Lear, Walkabout Theater Company is pleased to announce Kristan Schmidt's return to the role of Walkabout's artistic director. After Schmidt's founding of the company in 1999, Walkabout has gone on to create and produce all new work for more than 25 years. The company enjoyed multiple periods of work led by different creative teams, including the branching off of the company's most recent ensemble to form a new entity called the Wender Collective. This March, Kristan Schmidt and Nina Sallinen mark their return at Walkabout with an updated version of Walkabout's 1999 initial opening production, Poor Poor Lear. The total performance running time is two hours including intermission. Performances are Thursday, March 12 - Saturday, March 14 at 7 p.m. and Sunday, March 15 at 3 p.m. Tickets are $20 for general admission with $15 tickets for students and seniors. Tickets are now on sale at WalkaboutTheater.org or ChopinTheatre.com.

In this original dark comedy, 36-year-old actress Nina Sallinen, portrays a 90 year-old Grande Dame (also named Nina Sallinen) of the Scandinavian Theater.  The old actress has brazenly chosen Shakespeare's King Lear as the material for her final artistic farewell performance.  She has a special interest in the theme as she believes her own two daughters to be just as greedy and neglectful as King Lear's. The performance, which she stages in her own apartment, unintentionally highlights the artist's own life story, as she gradually becomes cognizant of the deeper parallels between her life and that of King Lear's.  Instead of shaking up her own daughters with her performance, the old diva shakes up herself.  Her priorities and past choices come into question.

Poor Poor Lear is the production that launched Walkabout Theater in Chicago in 1999 at The Breadline Theater. Since then the production has been performed in Los Angeles, San Diego, & Santa Barbara (California), Brooklyn (New York), Stockholm (Sweden), Verona (Italy), Gdansk (Poland), Bitola (Macedonia), Novi Sad (Serbia) and Helsinki (Finland).

"Nina Sallinen and I hope to continue revisiting this play every 10 years," said Founding Artistic Director Kristan Schmidt. "Shakespeare's King Lear is such rich source material that its main themes keep reverberating differently each decade that we revisit Poor Poor Lear. We are looking forward to sharing this latest version with Walkabout's return to Chicago this spring."

ABOUT NINA SALLINEN, PLAYWRIGHT/PERFORMER

Nina Sallinen is an actress and writer from Finland  She has worked in various theaters across Europe, Chicago and Los Angeles.  Currently a  Los Angeles resident, she performs with The Odyssey, Geffen Playhouse, The Road Theater Company and Pacific Resident Theater.

ABOUT KRISTAN SCHMIDT, DIRECTOR (2026)

Kristan Schmidt has been creating, directing and producing new works of theater for the past 30 years. In 1999, Schmidt started Walkabout Theater in Chicago where she put her creative energy by wearing many hats. She enjoys experimenting with how theater can be created and presented.

ABOUT WALKABOUT THEATER

Walkabout Theater, founded in 1999, in Chicago by Kristan Schmidt, Nina Sallinen and were joined by MS NOW host, podcaster and New York Times best seller Chris Hayes in 2001. The company is dedicated to the production and creation of original work and arresting theatrical events. As a theater company, it challenges the theatrical form, the architecture in which theater is created and the capacity to tell a story. Through this exploration, Walkabout seeks to engage the audience in new ways that are unusual, innovative and that deepen the connection between the artist and the community.

Since its premiere in 1999, Walkabout's mission has been tied to design and presenting new works that are specially written for non-traditional spaces. In the past, they have produced work at The Edgewater Beach Hotel, The Hideout Music Club, The Cultural Center Exhibit Space, Garfield Park Conservatory, and a variety of parks, restrooms, gardens and locations throughout Chicago.

In addition Walkabout, has partnered with many Chicago organizations and institutions including the Museum of Contemporary Art, Neighbor Space Community Gardens, Collaboraction, Studio Gang Architects, Lookingglass Theatre, Lucky Plush Dance Theatre, Muntu Dance Theater and others.                                                

Walkabout Theater Company returns to producing in Chicago with the production that launched the company in 1999, Poor Poor Lear, written by Nina Sallinen and Katja Krohn, original direction by Katja Krohn with 2026 direction by Founding Artistic Director Kristan Schmidt, March 12 - 15 at Chopin Theatre, 1543 W. Division St. Poor Poor Lear stars Nina Sallinen and a new mystery guest every night. In addition to the production of Poor Poor Lear, Walkabout Theater Company is pleased to announce Kristan Schmidt's return to the role of Walkabout's artistic director. After Schmidt's founding of the company in 1999, Walkabout has gone on to create and produce all new work for more than 25 years. The company enjoyed multiple periods of work led by different creative teams, including the branching off of the company's most recent ensemble to form a new entity called the Wender Collective. This March, Kristan Schmidt and Nina Sallinen mark their return at Walkabout with an updated version of Walkabout's 1999 initial opening production, Poor Poor Lear. The total performance running time is two hours including intermission. Performances are Thursday, March 12 - Saturday, March 14 at 7 p.m. and Sunday, March 15 at 3 p.m. Tickets are $20 for general admission with $15 tickets for students and seniors. Tickets are now on sale at WalkaboutTheater.org or ChopinTheatre.com.

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.

Daniel Hurst’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 designer 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.

Filament Theatre, the Northwest Side's premier theater for young audiences, is delighted to present the world premiere of Farewell Opportunity from May 2-17, 2026. Commissioned by Filament Theatre in 2019 and written by local Chicago playwright Georgette Kelly, Farewell Opportunity tells the story of Halley, who visits the NASA Jet Propulsion Lab and meets the Opportunity Mars rover. The two have something in common: a curious spirit and a shortened life expectancy. Halley and the NASA scientist in charge of the Mars mission find themselves transformed by an unlikely friendship—with each other, and with a rolling robot millions of miles away. With poetic language and magical realism, Farewell Opportunity explores the question "How do you keep on roving when you—or someone you love—faces a dust storm that threatens to block out the sun?"

Associate Director of Advancement, Julia Stemper, shares, "Filament is honored to showcase this gorgeous piece to young people. Communicating a message about life's temporariness to young audiences is both tremendously delicate and important. Georgette Kelly does this beautifully in her script – with wonder, magic, and creativity. We are looking forward to seeing the impact it has on both new and familiar families visiting Filament for this production."

Farewell Opportunity will be performed on Wednesdays at 10 AM, Saturdays at 11 AM & 2 PM, and Sundays at 2 PM & 6 PM.  Previews will be held April 25-April 29. All ages welcome, best enjoyed by ages 5+. School and community group pricing available. Tickets at www.filamenttheatre.org. To inquire about school field trips or group buy-outs, please email This email address is being protected from spambots. You need JavaScript enabled to view it..

Farewell Opportunity

By Georgette Kelly

Directed by Raquel Torre

ABOUT FILAMENT THEATRE: 

Filament Theatre, on Chicago's Northwest Side, has been creating innovative theater for young audiences since 2007, serving thousands of families annually, often at no cost, through theatre programming, camps, school residencies, and classes. The mission of Filament Theatre is to create a more equitable society by celebrating and amplifying the perspectives and experiences of young people through the performing arts. Creating immersive and site-specific theatre that inspires, empowers, and activates young people and their communities, Filament's unique production process welcomes young people into the room as essential collaborators.  Filament imagines a world where young people are the experts and adults are the allies working to build a more just world for all. As the only theatre of its kind in Chicago, Filament is a vital home for innovative artists and young people finding and using their power through the performing arts. Awards: TYA Artistic Innovation Award - FORTS: Build Your Own Adventure (2025), Chicago Tribune Best Off-Loop Theatre (2016), Illinois Theatre Association Award of Excellence in Theatre for Young Audiences (2020), Bayless Family Foundation Stepping Stone Grant Recipient (2022). 

Filament Theatre is partially supported by Mark Edelman Theater Fund at the Jewish Community Foundation of Greater Kansas City, a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events, The Illinois Department of Commerce and Economic Opportunity, the Illinois Arts Council, and more.

Her Story Theatre has announced the World Premiere of Kurt McGinnis Brown's two-hander THE OFFICIAL BIOGRAPHY, to play March 28 – April 19 at The Den Theatre in Chicago. When young black journalist Xan Smith is assigned to interview the once successful, now aging white novelist, Henry Percival, the two form an unlikely bond during their contentious meetings. After Henry reveals something unexpected about his past, the two writers must consider the uncertain relationship of truth to storytelling in general, and specifically to the story of Henry's life. THE OFFICIAL BIOGRAPHY will keep audiences guessing as they follow its plot twists, surprises, and suspect decisions. The drama, which was workshopped at Chicago Dramatists in 2017 and Art Lit Lab in Madison, Wisconsin in 2016, is the work of prolific playwright Kurt McGinnis Brown, who has had plays produced across the country, including in Chicago, Los Angeles, and New York. The Jeff Award-winner and former Artistic Director of Strawdog Theatre Richard Shavzin will direct. Press opening is Wednesday, April 1 at 7:30 pm in the Upstairs Main Stage of The Den Theatre, following previews on March 28, 29 and 31. It will play through April 19.

Veteran Chicago actor and Actors Equity member Gary Houston, whose many credits include GEM OF THE OCEAN and JOE TURNER'S COME AND GONE at the Goodman Theatre, will play the septuagenarian novelist Henry Percival. Shelby Marie Edwards, seen most recently in Pegasus Players' YOUNG PLAYWRIGHTS FESTIVAL and RABBITS IN THEIR POCKETS at Lifeline Theatre, has been cast as the young journalist Xan Smith.
 
The production team includes Garrett Bell (Set Design), Sam Bessler (Lighting Design), Mary Bonnett (Costume Design), George Zahora (Sound Design), Wendye Clarendon (Actors Equity member, Stage Manager), Morgan Watkinson and Josh Hogan (Assistant Stage Managers), Steve Kruse (Technical Director), Tristan Predmore (Lighting Technician), Nora Brooks (Scenic Painter), Lucas Holeman (Carpenter), and Kaitlyn Hettinger (Carpenter, Scenic Painter).

Tickets to THE OFFICIAL BIOGRAPHY are $40 for General Admission and $30 for Seniors plus taxes and fees) for regular performances; and $35 General Admission for previews. Students and industry members are $20 all performances, and group prices are $30 per person for all performances. Tickets are on sale now at www.thedenthreatre.comand The Den Theatre Box Office 773-697-3830.

Tin Drum Theatre Company is proud to announce the cast and creative team for the Chicago premiere of Southern Rapture at Theater Wit, 1229 W. Belmont Ave., June 11 - 28, written by Eric Coble and directed by Jason Palmer. The preview for Southern Rapture is Thursday, June 11 at 7:30 p.m. and the opening night performance is Friday, June 12 at 7:30 p.m. The performance schedule is Thursdays - Saturdays at 7:30 p.m. and Sundays at 3 p.m. Tickets are $30 with $15 student tickets and may be purchased at TinDrumTheatre.com. 

In the heart of the Bible Belt, a local theatre company announces it will stage a play called Rapture in America—complete with seven seconds of male nudity—sending the city into a frenzy. Based on actual events, Eric Coble's Southern Rapture turns this civic eruption into a wickedly funny satire about artistic freedom, arts funding, the weaponization of civic institutions and what happens when conviction outruns common sense.

Originally commissioned by Actor's Theatre of Charlotte, Southern Rapture draws directly from one of the city’s most explosive cultural battles. In 1996, Charlotte Repertory Theatre announced a production of Angels in America.. The district attorney attempted to bring criminal charges, however, emergency court injunctions required the show to open. “Good Morning America” broadcast a train-wreck debate, turning a local arts dispute into a national spectacle.

Eighteen months later, county commissioners retaliated by slashing $2.5 million in arts funding, destabilizing organizations across the city. Although much of that funding was later restored, the interruption sent lasting ripples through Charlotte’s artistic landscape. Charlotte Rep won the Angels battle, but the controversy produced long-term consequences that cost it the war. Amid donor fatigue, mounting financial strain and leadership turnover, the company closed permanently in 2005.

The Southern Rapture ensemble cast includes Teddy Boone (he/him, Mayor Winston Paxton), Shannon Leigh Webber (she/her, Marjorie Winthrop), Michael Stejskal (he/him, Donald Sherman), Mary Anne Bowman (she/her, Allissa Marquand, Nyla-Jean Geisy, Julia Overmyer), Jenny Hoppes (she/her, Laverne Jackson, Pam, Clarice Paxton, Tina), Jordan Gleaves (he/him, Simon Larisher, Emmett Whipple, Nightline Host, Franklin McManus) and Andrew Bosworth (he/him, Mickey Stedman, Reverend Dupree, Anton Finewitz). 

The creative team includes Steve Needham (he/him, producer), Jason Palmer (he/him, director), Teddy Boone (he/him, casting director), Emily Nicholas (she/her, stage manager), Sil Rivera (they/them, asst. stage manager/scenic asst.), Kaitlyn Hettinger (she/her, technical director/scenic designer), Kasey Wolfgang (she/her, costume designer), Ellie Fey (she/her, lighting designer/master electrician), Zach Stinnett (he/him, sound designer) and Erin Alys (she/her, intimacy/movement director).

Content notice: Southern Rapture includes a brief nude scene.

ABOUT ERIC COBLE, playwright

Eric Coble is an award-winning American playwright whose work spans sharply drawn dramas, audacious comedies, and incisive social satire. Born in Edinburgh and raised on the Navajo and Ute reservations of the American Southwest, Coble brings a distinctive blend of wit, empathy and theatrical boldness to the stage.

His plays have been produced across the United States and internationally, including on Broadway, Off-Broadway and at major regional theatres. His Broadway debut—The Velocity of Autumn, starring Estelle Parsons and Stephen Spinella—earned Parsons a Tony Award nomination. Other widely produced works include The Giver (stage adaptation), Bright Ideas, My Barking Dog, Fairfield, The Dead Guy, Natural Selection and Southern Rapture, among many others.

Coble’s scripts have received a Jeff Award, the ATCA Steinberg New Play Award citation, the Governor’s Award for the Arts (Ohio) and multiple Edgerton New Play Awards. His work has been developed or produced by The Kennedy Center, Playwrights Horizons, Manhattan Class Company, Denver Center Theatre Company, Cleveland Play House, Alliance Theatre, Arena Stage and Actors Theatre of Louisville, among others.

Known for his sharp comic voice and his ability to illuminate the tensions and absurdities of contemporary American life, Coble continues to be a vital and provocative presence in the new-play landscape. He is a member of the Playwrights’ Center and a graduate of Ohio University’s MFA program.

ABOUT JASON PALMER, director

Jason Palmer is the co-founder and co–artistic director of Tin Drum Theatre Company, where he helps shape bold, conversation-driven work in Chicago’s storefront scene. He recently directed the 2024 world premiere of Winter Garden by Steve Needham and the 2025 Chicago premiere of Nick Payne’s Incognito.

A multi-disciplinary theatre-maker with over 30 years of experience, Palmer’s work spans directing, producing, performance, dramaturgy and design across New York, Chicago, Los Angeles and Ireland. Early in his career he served as literary manager and assistant director at Gilgamesh Theater Group and assistant directed Keith Reddin’s Off-Broadway premiere of Black Snow. In Chicago, his long association with the erstwhile Bailiwick Repertory Theatre included performing, stage management and coordinating several seasons of the Bailiwick Directors’ Festival. His performance in Nicholas Patricca’s Oh Holy Allen Ginsberg at the 2006 International Dublin Gay Theatre Festival earned a Best Actor nomination and an Honorable Mention.

Palmer has also worked with the Western Region of Actors’ Equity Association and the Directors Guild of America, giving him a strong grounding in theatrical and labor structures. His technical experience includes lighting design, set construction and stage management, and he is a multiple-time Irene Ryan nominee.

As co–artistic director of Tin Drum Theatre Company, Palmer is committed to developing new work and supporting Chicago’s next generation of storefront artists.

ABOUT TIN DRUM THEATRE COMPANY

Tin Drum Theatre Company exists to disrupt complacency and reassert theatre’s civic purpose. Creating theatre that asks something of its audience, moving beyond comfort to provoke conversation and critical engagement. Tin Drum believes community begins where audiences and ideas collide, and where dramatic disturbances are created.

Teamwork, bravery and fun are at the forefront of Splish Splash: A Day on the Lake, The Goodman's latest Theater for the Very Young (TVY) offering for theatergoers 0-5 and their adult friends and family.  Co-directed by Jamal Howard (The Lizard y El Sol) and Ellie Levine (Threshold's RAIN at Filament Theatre), this nautical adventure—recently extended through March 22—was developed in collaboration with Northwestern undergraduate students and 2- to 5-year-olds from Total Child Preschool in Evanston. Splish Splash: A Day on the Lake appears in The Goodman's Alice Center in an extended run over two more weekends: March 7, 8, 21 and 22. Splish Splash also appears at three Chicago Public Schools—Talcott Fine Arts and Museum Academy, Gregory Academy and Ruth Bader Ginsburg Elementary School—March 9-13.  For tickets ($13 adults 18+; $18 kids 12 months-17 years; under 12 months free), visit the Box Office (170 N. Dearborn), call 312.443.3800 or purchase at GoodmanTheatre.org/Splash. The Goodman is grateful for the support of Wintrust Commercial Bank (Community Programs Sponsor) and Kirkland & Ellis, LLP (Arts in Community Sponsor).

When the moon tumbles into the lake and breaks into pieces, it's up to a brave crew of young sailors to help the Great Blue Heron and their friends—Crayfish, Beaver, Turtle and Yellow Perch—put it back together again. Through songs, puppetry and joyful hands-on play, little ones and their grown-ups will dive into an underwater world of wildlife, wonder and waves. The cast includes Kylie Anderson (BOOK UP!), Sonia Goldberg (Kokandy Productions' Amélie), Tina Muñoz Pandya (The Matchbox Magic Flute) and Michael-Forest (Mikey) Walden (Refracted Theatre Company's Tambo & Bones).

Previous Goodman Theatre Theater for the Very Young productions include BOOK UP! (2025), The Lizard Y El Sol (2024) and In My Granny's Garden (2023).

Full company of Splish Splash: A Day on the Lake (in alphabetical order)

Developed in collaboration with Northwestern University's Imagine U

Co-directed by Jamal Howard and Ellie Levine

Kylie Anderson...Splash/Teaching Artist
Sonia Goldberg...Splish/Teaching Artist
Tina Muñoz Pandya...Blue Heron
Michael-Forest (Mikey) Walden...Sailor

CREATIVE TEAM

Set/Props/Costume Designer...Jillian Gryzlak 
Sound Designer...Stephen Moore 
Line Producer...Jared Bellot 
Production Associate...Jojo Wallenberg 
Production Assistant...Lauren Westfahl
Build Assistant...Ellie Terrell
Build Assistant...Kevin Rieg

Devised in collaboration with Madelyn Cantzler, Laura Fajardo-Riascos, Grace Hall, Ani Lawit, Andrew McCarthy, Kennedy Naseem, Sophie Pong, Ajayla Self and Ella Waffner.

Casting is by Lauren Port, CSA. 

ABOUT THE GOODMAN

Since 1925, The Goodman has been more than a stage. A theatrical home for artists and a gathering space for community, it's where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves.

Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection and change through new plays, reimagined classics and large-scale musicals. With distinctions including nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson's "American Century Cycle." In addition, the theater frequently serves as a production partner—with national and international companies to Chicago's Off-Loop theaters—to help amplify theatrical voices.

But The Goodman believes a more empathetic, more connected Chicago is created one story at a time, and counts as its greatest legacy the community it's built. Generation-spanning productions and programs offer theater for a lifetime; from Theater for the Very Young (plays designed for ages 0-5) to the long-running annual A Christmas Carol, which has introduced new generations to theater over five decades, The Goodman is committed to being an asset for all of Chicago. Education and Engagement programs led by Clifford Director of Education and Engagement Jared Bellot and housed in the Alice Rapoport Center use the tools of theater to spark imagination, reflection and belonging. Each year, these programs reach thousands of people (85% from underserved communities) as well as educators, artists and lifelong learners across the city.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago's early cultural renaissance. That spirit of creativity and generosity endures today. In 2000, through the commitment of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—The Goodman opened the doors to its current home in the heart of the Loop.

Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals. 

TICKETS HERE

With spot-on performances across a large cast, William Inge’s 1949 script for “Come Back, Little Sheba” is receiving a definitive production at American Blues Theater’s intimate Studio Theater. Those of us of a certain age had this work buried deep into our cultural formation by the searing film version starring Shirley Booth, who won the 1952 Oscar and a Tony for her earlier Broadway performance as Lola. 

This was my first time to see the stage version, and director Elyse Dolan goes back to Inge’s original script, which fits beautifully into this captivating 90 minute show (no intermission). The set by Shayna Patel closely tracks Inge’s intentions, right down to the telephone at the base of the stairs. Lighting by Brendan Marble and Sound Design by Thomas Dixon couple especially well in high throttle jazz interludes signaling scene changes or turning points in the plot. And those costumes (Lily Walls) were just what the playwright envisioned, right out of the end of the 1940s.

Cisco Lopez as the Milkman with Gwendolyn Whiteside as Lola.

Contemporary audiences may see ‘Come Back, Little Sheba” as a showcase of the reduced role of women in post-WWII society, their lives centered on homemaking and “keeping their man happy.” But it is something more, too - a portrait of two diametrically opposite personalities - Lola (Gwendolyn Whiteside is remarkable) and her husband Doc (Philip Earl Johnson is a portrait of seething restraint) - locked together in an unbalanced relationship. Inge subtly laces in the clues to their unhappiness. Doc’s ambition to complete medical school was cut short when he felt compelled to marry Lola at 18 after getting her pregnant. Her pregnancy didn’t come to term, and he quit his medical studies. Instead of a doctor he became a chiropractor, and took to the bottle.

Lola, who was a high school beauty queen, has given up caring about her looks under the withering abuse she suffered during his drinking days. But he joined AA, and has eleven months sober - but lives with an internalized rigidity while presenting a caring face to the world around him. Underneath it all, he is filled with resentment.

On the couch, Ethan Surpan as Turk and Maya Lou Hlava as Marie.

A shift has entered this couple's fragile homelife with the arrival of the sprightly Marie (Maya Lou Hlava is perfect in the role). This comely coed is boarding with them, studying art at the university. She has a hot jock boyfriend, Turk (Ethan Surpan is a study in self-assured youthful machismo). Marie also has another boyfriend back home, Bruce (Justin Banks), a well-paid young businessman on his way up.

Inge sends the clues through the behavior of Johnson’s Doc that he is crushing on Marie, and quite jealous of Turk. Eventually his sober resolve crumbles under his longstanding unresolved resentment - that he is not an MD, this new jealousy, and that he is stuck with Lola, who smothers him with attention and coaches him somewhat intrusively on his AA practices. It is also an early serious treatment of the AA 12-step recovery program, founded ion the 1930s. Doc's involvement in it is core the the plot and character motivation. 

Lola, for her part, expresses her longing for better days gone by with a fixation on her runaway pup Sheba. Though Sheba went missing quite a while back, Lola still dreams of her return, and periodically calls for her puppy from the porch. An eternal optimist, she is ultimately the likeable center of the action. Marie and Turk love her. To show Lola through others’ eyes, Inge gives us two other characters, Elmo the Postman (William Anthony Sebastian Rose) and Milkman (Cisco Lopez). Whiteside’s Lola is so lonely she tries almost too hard to engage them, but nevertheless, her open heart compels their empathy and she wins them over. Everyone seems to love Lola except the next door neighbor Mrs. Coffman (Joslyn Jones), who derides Lola over her unkempt house.

In the last third of the play, mayhem breaks loose, and you will be stunned, shocked and glued to your seat by the culmination of this stunning drama. As Tolstoy put it, “All happy families are alike; each unhappy family is unhappy in its own way.” And “Come Back, Little Sheba” shows how true this is. Highly recommended. 

“Come Back, Little Sheba” runs through March 22 at American Blues Theater in Chicago.

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