Displaying items by tag: comedy

Theatre 31 Productions’ Gus and Alice has returned to the Greenhouse Theater Center this month. Written by Chicago playwright Mike Rago, the light‑hearted slice‑of‑life comedy follows an elderly married couple whose days revolve around avoiding gluten and surviving a game of Trivial Pursuit. As they enter their next chapter, Alice wonders whether a retirement community might be the right move - though her curmudgeonly husband will need some convincing.

Gus and Alice made its debut in New York before heading to the Windy City earlier this year for a sold‑out run. Now the original cast returns for this limited engagement, greeted with an unmistakably warm welcome on opening night.

The one‑act play has the feel of a ’90s sitcom (albeit one with a few well‑placed expletives). It kicks off with snappy dialogue and brisk blackouts that introduce the couple and their marriage - full of the love and bickering reminiscent of The Honeymooners’ Ralph and Alice. These characters are familiar, but the timelessness of the humor still rings true.

Rago set out to write a show centered on aging parents, a group often sidelined in comedy. At the core of the production’s success is the chemistry between Al Lerner and Michelle McKenzie‑Voigt, who bring Gus and Alice to life with a dynamic ease that anchors every scene they share. McKenzie‑Voigt, a Chicago‑based theater actress, professional voice talent, and multiple Chicago Emmy Award‑nominee, gives Alice a warm, grounded presence that balances Lerner’s sharper edges. Chicagoans may recognize Lerner from his days as a sports reporter and radio talk show host - a career that includes his work as a Sports Anchor/Reporter for ABC’s WLS‑TV, a Feature Reporter for NBC’s WMAQ‑TV, and a major on‑air presence at WGN Radio, where his talk show was nationally syndicated. Together, Lerner and McKenzie‑Voigt play off each other beautifully, trading barbs or getting on each other’s nerves while keeping their characters rooted in an understanding of love. Lerner grounds the cantankerous Gus with a short‑tempered crankiness that somehow remains endearing, while McKenzie‑Voigt shines as the sensible, fun‑loving Alice who can keep her husband in check.

Supporting the central pair is Peter Goldsmith as their son. His relaxed, relatable persona fits the role naturally; he deftly portrays a son who understands his parents’ quirks and effortlessly lets it slide when his dad calls him by his brother’s name. He proves to be the perfect straight man, playing the role with an intelligent ease.

The small ensemble adds quirky flavor. Valerie O’Connor is especially funny as the neighbor who’s had a bit too much to drink. A few ensemble members lean into a heightened, overly silly style of comedy, but it mostly suits the material. The show caps off with a high‑energy curtain‑call dance to the Macarena, a playful final beat that even draws a few audience members to join in.

Gus and Alice delivers a warm, laughter‑filled evening. This breezy comedy may tread familiar territory, but it reminds us what truly makes a family: loving each other even when we drive each other crazy.

Runtime: 1 hour 5 minutes

Rating: PG‑13

No intermission

Remaining show dates and times: Saturday, August 15 at 7:30 PM, Saturday, August 22 at 3:00 PM, Sunday, August 23 at 3:00 PM

The Greenhouse Theater Center 2257 N Lincoln Ave Chicago, IL 60614 Up Main Stage

Tickets: https://ci.ovationtix.com/36644/production/1281986

Back by popular demand, the sold out hit, THE BOOK OF MORMON , is returning to Chicago! Broadway In Chicago is excited to announce tickets will go on sale on Friday, August 7. THE BOOK OF MORMON will play Broadway In Chicago’s Cadillac Palace Theatre (151 W. Randolph St.) for a limited engagement, October 23 – November 1.THE BOOK OF MORMON tour production photos can be found here.THE BOOK OF MORMON features book, music and lyrics by Trey Parker, Robert Lopez and Matt Stone. The Broadway production is directed by Parker and two-time Tony Award winner Casey Nicholaw, and choreographed by Nicholaw. The tour is directed and choreographed by Jennifer Werner based on the original Broadway direction and choreography. Set design is by three-time Tony Award winner Scott Pask, costume design is by Tony Award winner Ann Roth , lighting design is by five-time Tony Award winner Brian MacDevitt, sound design is by two-time Tony Award winner Brian Ronan, and hair design is by Josh Marquette. Orchestrations are by Tony Award winner Larry Hochman and two-time Tony Award winner Stephen Oremus. Music supervision and vocal arrangements are by Stephen Oremus. Casting is by Carrie Gardner.Since opening on March 24, 2011, THE BOOK OF MORMON  has become one of the most successful shows in Broadway history, breaking the Eugene O’Neill Theatre house record more than 50 times. In addition to nine Tony Awards including Best Musical and the Grammy for Best Musical Theatre Album, THE BOOK OF MORMON  won five Drama Desk Awards including Best Musical, the NY Drama Critics Circle Award for Best Musical, the Drama League Award for Best Musical and four Outer Critics Circle Awards including Best Musical.The West End production opened in February 2013, winning four Olivier Awards including Best New Musical, and breaking the record for the highest single day of sales in West End history. The first-ever UK and European tour launched in Manchester in June 2019, winning ‘Best Theatre Show’ at the Manchester Evening News City Life Awards before touring throughout the UK and Europe.THE BOOK OF MORMON has been performed on three continents and has won over 30 international awards. The musical has smashed long-standing box office records in New York, London, Melbourne, Sydney and in cities across the U.S. and the world.The Original Broadway Cast Recording for THE BOOK OF MORMON, winner of the 2011 Grammy Award for Best Musical Theater Album, is available on Ghostlight Records.NETWORKS PRESENTATIONS (Producer) is an industry-leading producer of touring theatrical productions, committed to delivering quality entertainment to audiences worldwide for more than 25 years. www.networkstours.comFor more information, visit thebookofmormontour.com

PERFORMANCE SCHEDULE
Friday, October 23 – 7:00 p.m.
Saturday, October 24 – 2:00 p.m. & 7:30 p.m.
Sunday, October 25 – 1:00 p.m. & 6:30 p.m.
Tuesday, October 27 – 7:00 p.m.
Wednesday, October 28 – 7:00 p.m.
Thursday, October 29 – 7:00 p.m.
Friday, October 30 – 7:00 p.m.
Saturday, October 31 – 2:00 p.m. & 7:30 p.m.
Sunday, November 1 – 1:00 p.m. & 6:30 p.m.

TICKET INFORMATION (As of August 6, based on availability and subject to change)
Individual tickets for THE BOOK OF MORMON go on sale Friday, August 7 and range from $49.00 - $139.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

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

For more information and tickets, visit www.BroadwayInChicago.com.
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Lake Forest's Citadel Theatre has announced the full cast and crew for its season opener - the satirical comedy EUREKA DAY, which examines the frequently contradictory practices of a fictional, highly progressive private school located in Berkeley, California. The play, which premiered in Berkeley in 2018, deals with topical subjects like vaccinations, privilege, and communication, utilizing sharp wit, farce, and intense dialogue to create laughter. It was produced on Broadway in the 2024-25 season and won the 2025 Tony Award for Best Revival of Play. Scott Westerman, the director of such Citadel hits as MISERY, A JUKEBOX FOR THE ALGONQUIN, THE MOUSETRAP, THE CHRISTIANS, and SEX WITH STRANGERS, will direct. 

 
Leading Westerman's cast as Don, a member of the school's board who tries to keep the peace when the debate over whether or not the school should require vaccinations becomes heated, will be Steve McDonagh, who recently earned raves for his performance as "Man in Chair" in Theo Ubique's THE DROWSY CHAPERONE. The school's founder, Suzanne, will be played by Jennifer Ruffner, seen earlier this year in Citadel's ADMISSIONS. Cast as Carina, the parent of a black student at the school, is Alexis Primus, who appeared in TUTA Theatre's THE LONG CHRISTMAS DINNER in 2024 and 2025. Ethan Check, of 2023's GODS AND MONSTERS at Theater Wit, has the role of Eli, a stay-at-home dad. Carmen Liao (Raven Theatre's A DOLL'S HOUSE) will be Meiko – a single mother who deeply opposes vaccinations. Kristin Weed, seen recently on the North Shore in HAIRSPRAY with Uptown Music Theatre, will play Winter – one of the parents on the school's executive committee. Understudies are Jason Clark (u/s/ Don), Amy Yulish (u/s Suzanne), Kristin Weed (u/s/ Carina), Austin Rambo (u/s/ Eli), and Stephanie Fongheiser (u/s/ Meiko).

The production team is Scott Phelps (Producer), Ellen Phelps (Producer), Kate Espinoza (Stage Manager), Bob Knuth (Set Design), Devin Meseke (Scenic Charge), kClare McKellaston (Costume Design), Jodi Williams (Lighting Design), Petter Wahlbäck (Sound Design), Mitchell Pollitt (Master Carpenter), Randy Rozler (Properties Design), Kira Nutter (Intimacy Director), Devon Carson (Assistant Director), Kristin Weed (Run Crew).

Season subscriptions are available for the full four-show season at $140.00, or as flex passes that can be used for the patron's choice of either three shows for $115.00 or two shows for $80.00. Preview flex passes are also available for $45 (two shows), $55 (three shows), or $65 (four shows). Subscriptions and single tickets priced at $50 (plus ticketing fees) are now on sale at www.citadeltheatre.org. 
 
Citadel Theatre is in residence in the West Campus of the Lake Forest School District at 300 S. Waukegan Road, Lake Forest. Further information and ticketing is available on the company's website at www.citadeltheatre.org.

EUREKA DAY
By Jonathan Spector
Directed by Scott Westerman
Friday, September 11 – Sunday, October 11, 2026
(Preview September 9 at 7:30 pm)

Preview ticket prices $27.15 including ticketing fee. Regular run prices $53.40 including  ticketing fee. Discounts available for groups, seniors and students.
Citadel Theatre, located in the West Campus building of the Lake Forest School District, 300 S. Waukegan Rd., Lake Forest, IL.
Tickets available online at www.citadeltheatre.org or by phone at 847-735-8554, ext. 1
 
In this hilarious 2025 Tony Award-winning satire, an elite private school is thrown into crisis when a mumps outbreak divides parents and board members over vaccines. As debates intensify and facts grow slippery, every solution only deepens the conflict. EUREKA DAY asks us to fully recognize the humanity of those we disagree with.

This summer, the Starship Edsel boldly goes where they maybe shouldn’t go as Otherworld Theatre, Chicago’s premier destination for Science Fiction and Fantasy performance, presents the premiere of Starship Edsel: Season 4. Running from August 9 through September 13 at Second City’s De Maat Theatre, this improvised Star Trek parody illuminates the ship you wouldn’t hear about in the greater Starfleet Universe.

The Director, Executive Producer, and showrunner is Anthony LeBlanc (Second City Mainstage alum, former Executive Producer/Artistic Director, and Jeff Award nominee), with Otherworld’s Director of Development Dylan Schaefer as Managing Producer and Wanjiku Kairu Oliver as Associate Producer. Starship Edsel is a Star Trek fan’s dream. Otherworld is widely known for hit genre‑bending shows including Improvised Romantasy, Moon, Prism, Power! and Twihard! A Twilight Musical Parody.

Coming off their recent stint in early TOS’s 23rd century, the Edsel crew is thrown into Starfleet Academy’s 32nd century. Will they be able to handle the cultural differences faced by the Starship Discovery? Will the entire crew have to attend Starfleet Academy with prepubescent teens to prove they can handle this new time period? What exactly can a Betazed do telepathically? All this—and a brand‑new captain—will be revealed in the latest six‑week mission of the Starship Edsel.

“We’re going to have a lot of fun while going to places we haven’t been to. Just like improvisation, we are playing in a part of Star Trek that hasn’t been defined yet. It’s great to play inside a limited container,” says LeBlanc.

Beyond its Chicago mainstage run, Starship Edsel has built a proven track record entertaining convention crowds across the Midwest, including C2E2, FanExpo Chicago, and Starbase Indy. Full cast includes Lilly Bolduc, Ian Deanes, Stephen Fauss, Eliana Decker‑Glick, Matt Kawa, Mike Mazzella, Edward Neequaye, Wanjiku Kairu Oliver, Croix Perkins, Carlos Rivera, Janice Rumschlag, Liam Ryan, Dylan Schaefer, Bernadette Santos Schwegel, and Keely Smith. Created from a LARP written by Brandon Brylawski. Special guests include Rich Alphonso, Alex Bellisle, James Dugan, Javid Igbal, Steve Nelson, Cassidy Russel, Andy Stagmeyer, CJ Tuor, and Craig Uhlir.

About the Show

Starship Edsel is an improvised farce set aboard Starfleet’s worst vessel, the USS Edsel. Plagued with mechanical problems and design flaws—and filled with Starfleet’s most problematic personnel—the Edsel was assigned to remain in parking orbit above a vacation planet, ordered to give VIP tours of an “authentic Federation Starship.” After an incursion by the Romulan Empire, the Edsel was thrust into the center of a galactic crisis.

The show follows the ship and her crew on their subsequent misadventures throughout the galaxy. Blending fast‑paced comedy with affectionate sci‑fi satire, each performance boldly explores strange new worlds, unexpected adventures, and the corners of the Federation no one wants to visit, with a special guest each night.

Performance Details & Tickets

Starship Edsel will be performed at Second City’s De Maat Theatre, located in Chicago’s Old Town district.

• Run Dates: Opening – Sunday, August 9 at 6 p.m.; Closing – Sunday, September 13 at 6 p.m. • Location: Second City’s De Maat Theatre, 1608 N. Wells, Chicago, IL 60614 • Tickets: $25 general admission • Direct Ticket Link: https://www.secondcity.com/shows/chicago/starship-edsel-an-improvised-star-trek-satire-chi

Media outlets, convention organizers, and programming directors interested in booking Starship Edsel or scheduling interviews with the cast and creative team can contact: Wanjiku Kairu Oliver at This email address is being protected from spambots. You need JavaScript enabled to view it.

About Otherworld Theatre Company

Vape! The Grease Parody, a hilariously unhinged spoof of the beloved stage and film musical Grease, will make its Chicago debut at the Apollo Theater, 2550 N. Lincoln Ave., Aug. 20 – Jan. 3, 2027. Travel Arts Journal called the production "a sharp, quick-witted comedy" and "a fast-and-furious production that can be summed up in one word: hilarious!" Tickets go on sale July 22 at 10 a.m. at vapethemusical.com. The press performances will be on Saturday, Aug. 22 at 2:30 and 7:30 p.m.

Written by Catie Hogan and Sketchworks Comedy, Vape! features lyrics and additional book by Billy Recce (A Musical About Star Wars, FIVE: The Musical Parody) and Danny Salles (TV's Joan and Melissa, Kathy Griffin: My Life on the D List). Produced by Sketchworks Comedy, with Seth Rudetsky and James Wesley Jackson serving as creative consultants, Vape! is directed by Jack Plotnick (Broadway's Disaster!), with choreography by Ashley Marinelli (Stranger Sings! The Parody Musical), and features music supervision and arrangements by Lena Gabrielle (Emojiland). Visceral Entertainment is the executive producer and general manager.

Vape! lovingly pokes fun at all of the wonderful moments, sexual innuendos, outrageous characters, rivalries and secret romances from the original musical. The hair products may have changed, but the drama and the thirst for hallway clout remain timeless. It's the musical you know and love, but dragged through a cloud of strawberry-scented vapor and a TikTok filter... It's the show that you want ("...Ooh! Ooh! Ooh, honey!").

Originally premiering in Atlanta in 2018, Vape! was scheduled to premiere in New York in August 2019. Ten days before the first performance, the rightsholders of Grease served Sketchworks Comedy a cease-and-desist letter, claiming Vape! violated their copyright. As a result, Sketchworks Comedy filed a lawsuit against Grease, believing that they were protected under fair use law. After a two-and-a-half-year legal battle, Chief Judge Laura Taylor Swain of the Southern District of New York ruled that Vape! is, indeed, a parody. Vape! Went on to make its triumphant debut in a celebrity packed benefit concert at NYC's Town Hall in 2025, followed by an extended run Off-Broadway.

"I am so thrilled to be returning to this wonderfully silly, in the best way, parody of one of my absolute favorite movies," said Plotnick. "After a fantastic Off-Broadway run in New York, I'm especially excited to bring Vape! to a great comedy town like Chicago, in the wonderfully intimate Apollo Theater. The space will allow us to create a really fun and totally unique experience for audiences, welcoming them right into the campus of Rydell High."

In response to its New York debut, Vape! The Grease Parody has received praise for its witty humor, energetic performances and fresh take on the beloved musical classic. Medium raved "Vape! Brilliantly blends the classic spirit of Grease with today's pop culture, with modern humor, clever writing and a cast full of charisma." TheaterScene called the production "brash, fast and unapologetically smart. The rare spoof that works both as satire and theater. Affectionate parody rooted in cultural truth," and Hollywood Press Corps hailed the production as "a must-see! A fun, irreverent night out, it's Grease, lovingly dismantled and reconstructed for a new generation. I couldn't stop laughing." Even the original producer of the 1972 New York debut of Grease, Ken Waissman, who brought the production to Broadway after seeing its premiere in Chicago at the Kingston Mines, described the musical as "a witty, funny and fully engaging sendup of our forever popular Grease... the excellent cast embodies the spirit of their '50s counterparts with absolute perfection."

Scenic design is by David Goldstein; costume design is by Matthew Solomon; lighting design is by Zach Pizza; sound design is by Daniel Lundberg, and props are by Brendan McCann. Casting is by Cindi Rush, and will be announced at a future date.

The performance schedule from Aug. 20 – Sept. 20 is as follows: 

• Thursdays and Fridays at 7:30 p.m.
• Saturdays at 2:30 and 7:30 p.m.
• Sundays at 2:30 p.m.  

Beginning Sept. 22, the performance schedule will be:

• Tuesdays through Fridays at 7:30 p.m. 
• Saturdays at 2:30 and 7:30 p.m.
• Sundays at 2:30 p.m.  

There will be Thursday matinees on the following dates: Oct. 8 and 22, Nov. 5 and 19 and Dec. 3 and 17.

Tickets go on sale July 22 at 10 a.m. and are priced from $45 - $65, with Pink Squad Premium Seating starting at $85, including all fees.  Tickets can be purchased at vapethemusical.com, by calling the Apollo Theater box office at 773-935-6100, or in person at the box office.  For group sales, contact Group Tix & Tours at 312-423-6612.

About the creators of Vape! 

JACK PLOTNICK (Director) co-wrote and directed the Broadway musical Disaster (NYT Critics Pick.), and the Sony Pictures feature film Space Station 76. He executive produced/starred in the feature film (and cult hit!) Girls Will Be Girls, which was featured on Netflix. As an actor, he's had regular and recurring roles on Grace and Frankie, Z Nation, The Mentalist, Buffy the Vampire Slayer, Reno 911 and Drawn Together, plus appearances in the films Meet the Fockers, Down With Love, Rubber and Gods and Monsters.

ASHLEY MARINELLI (Choreographer). Credits include Stranger Sings! (Winner of Broadway World's "Best Off-Broadway Choreography" Award), Welcome to the Big Dipper (Off Broadway), The Perfect Game (Off Broadway), A Musical About Star Wars (Off Broadway), Once Uponzi Time (McCarter Theater), American Psycho (Winner of Broadway World's "Best Regional Choreography" Award), The True and Unquestionable Account of Dr. Joseph Snodgrass (World Premiere), Mystic Pizza (Engeman Theater) and Techies (Winner of Kennedy Center CTF's "Certificate of Merit for Outstanding Choreography" Award). 

SKETCHWORKS COMEDY includes CATIE HOGAN, LEANNA ADAMS, JOHN BABCOCK, CASEY HOLLOWAY, JULIE SHAER and BRIAN TROXELL (Original Writers/Producers). Sketchworks has been entertaining Atlanta audiences with award-winning sketch comedy since 2001. Their ensemble features some of Atlanta's top working professional writers and actors who have been featured all over the film, TV, and commercial landscape. Vape! The Grease Parody is their first foray into musical parody. More at sketchworkscomedy.com. 

BILLY RECCE (Lyrics & Additional Book) is a composer/lyricist and playwright, whose musicals include Little Black Book, directed by Tony Award® Nominee Kristin Hanggi, and most recently was staged in concert at the Bowery Ballroom starring Tony Award® Nominee Orfeh. OffBroadway/NYC: Fowl Play (music and lyrics, directed by Olivier Award-Winner Tye Blue), FIVE: The Parody Musical (music and lyrics), A Musical About Star Wars (music and lyrics), Singfeld (music and orchestrations), Balloon Boy: The Musical (book, music and lyrics; NYMF's youngest ever writer). Licensed titles include Concord/Broadway Licensing's The Big Twist: A Musical OzVenture (music), and 10 Ways to Survive the Zombie Apocalypse: The Musical (music and lyrics), based on one of the most produced plays in America of the same name. He has developed musicals with Ensemble Studio Theatre, Barrington Stage and the Edinburgh Fringe. He is a Two-Time MAC Award winner, an Orchard Project Greenhouse member, a Bushwick Star Grant Awardee, a Relentless Award semi-finalist, a Eugene O'Neill Finalist, a NAMT finalist, a two-time Wallowitch Award finalist and a Jonathan Larson Grant Finalist. billyrecce.com 

DANNY SALLES (Lyrics & Additional Book) is a writer/director/producer for television and theater. He directed the holiday movie The Christmas Thief for ION TV and four seasons of the ABC comedy The Middle. He was showrunner and director on various comedic TV reality series: Joan Rivers' Joan and Melissa (WeTV), Kathy Griffin: My Life on the D-List (Bravo, Emmy nomination) and Todrick (MTV) and codirected the Emmy-winning Recipe for Change (YouTube). For the stage, Danny recently directed the musical The Perfect Game is addition to writing book and lyrics and directing the musical comedy satire The First Annual Trump Family Special in LA and Off-Broadway starring Gina Gershon. Salles is Director of Creative Development at Visceral Entertainment.

Hell in a Handbag Productions, now celebrating its 25^th year, is pleased to present a revival of the fan favorite Joan Crawford Goes To Hell, written by Artistic Director David Cerda* and directed by Cheryl Snodgrass, playing August 21 – September 27, 2026 at The Clutch, Handbag's boutique performance space at 4335 N. Western Ave. in Chicago. Tickets are currently on sale at handbagproductions.org and buytickets.at/hellinahandbagproductions/2276662. 

The cast includes ensemble members David Cerda*, Lori Lee*, TJ O'Brien* and Michael Rashid* with Tyler Calhoun, Nick Dorado, Jennifer Engstrom, Haley Gillman, Gretchen Greear, Nicholas Ian, Ryan Kenny and Coco Sho-Nell.

About the Production:

Originally produced in 1999 with Sweetback Productions, Joan Crawford Goes To Hell is a roller coaster ride that explores the life of the legendary Hollywood star.

The premise? Joan Crawford (David Cerda*) dies, goes to hell and is forced to view her life through the eyes of her daughter, Christina (TJ O'Brien*) in a tale so big it needs three Joans! Part Mommie Dearest, part biography with a dash of Joan's lifestyle book, My Way of Life, Joan Crawford Goes to Hell is the perfect summer cocktail for those with a taste for camp.

The production team includes Marcus Klein* (Scenic Design), Ben Kress (Costume Designer), Liz Cooper (Lighting Design), Danny Rockett (Sound Design), Maggie O'Brien (Prop Design), DJ Douglass (Video & Projection Design), Syd Genco** (Makeup Design), Keith Ryan* (Wig Design), Matt Tenny (Fight & Intimacy Coordinator), Carol Kelleher (Production Manager), Jason Pikscher (Technical Director), Francis Brenner (Stage Manager), Rick Aguilar* (Photography) and Michael S. Miller* (Graphics).

*Denotes Handbag Ensemble Member | **Denotes Handbag Associate Member

PRODUCTION DETAILS:

Title: Joan Crawford Goes To Hell
Playwright: Artistic Director David Cerda*
Director: Cheryl Snodgrass
Cast (in alphabetical order): Tyler Calhoun (Various/Carol Ann u/s), David Cerda* (Joan #1), Nick Dorado (Mr. Deville/Various), Jennifer Engstrom (Celluloid Joan), Haley Gillman (Child Christina/Various), Gretchen Greear (Joan #2), Nicholas Ian (Various/Joan #2 & 3 u/s), Ryan Kenny (Carol Ann/Various), Lori Lee* (Helga/Various), TJ O'Brien* (Teen/Adult Christina), Michael Rashid* (Greg/Various) and Coco Sho-Nell (Joan #3).

Location: The Clutch, 4335 N. Western Ave., Chicago

Previews: Friday, August 21 at 7:30 pm, Saturday, August 22 at 7:30 pm, Sunday, August 23 at 3 pm and Thursday, August 27 at 7:30 pm.
Opening performance: Friday, August 28 at 7:30 pm
Regular run: Saturday, August 29 – Sunday, September 27, 2026.
Curtain Times: Fridays and Saturday at 7:30 pm; Sundays at 3 pm and 7 pm. Please note: There will be an added Industry Night performance on Monday, September 14 at 7:30 pm.

Tickets: $29* previews, $40 VIP previews*, $39* advanced general admission, $52* VIP/reserved seating. Group rates $35* for 10 or more. VIP tickets include a refreshment and reserved premium seating. Tickets are currently on sale at handbagproductions.org and https://buytickets.at/hellinahandbagproductions/2276662. *Ticket prices include processing fees.

About the Artists

David Cerda (Playwright) is a founding member and Artistic Director of Hell in a Handbag Productions, now celebrating its 25^th anniversary. As resident playwright, he has written many Handbag productions as well as acted in them. His play, The Drag Seed was produced at LaMaMa Experimental Theater and his Golden Girls Lost Episodes parody shows have been produced around the country and featured in Golden Con: Thank you for being a Fan, the world's first fan convention dedicated to all things Golden Girls at Chicago's Navy Pier. Cerda is a proud inductee into the Chicago LGBT Hall of Fame and recipient of a Jeff Award for lifetime achievement for his body of work and service to the community. He lives in Chicago with his partner, Christopher and Walter the Wonder Dog..

Cheryl Snodgrass (Director) is an alumnus ensemble member of HIAH and is back to direct her 11^th production at her artistic home. She directed Die Mommie! Die!, Haywire, Rip Nelson's Halloween Spooktacular, SCARRIE: The Musical, L'Imitation of Life, The Birds, The Drag Seed (at Mary's Attic, Chopin Theatre and LaMama in NYC), A Fine Feathered Murder and Scary Town. She's worked extensively as a visiting artist at Mill Mountain Theatre, Studio Roanoke and Hollins University (Roanoke, VA). Cheryl has directed for Sweetback, Glass Apple, Trap Door, The Foundlings, Tellin' Tales, Jonny Staxx Presents, Filet of Solo and Larkspur Productions. Most recently, Cheryl directed the pre-publishing premier of John Cariani's new play Darker the Night Brighter the Stars at the Penobscot Theatre Company in Bangor, ME and the world premiere of The Posthumous Trial of Giulia Tofana at The Den. Next up, Cheryl will be returning to Penobscot Theatre Company to direct The Book Club.

About Hell in a Handbag Productions

Hell in a Handbag is dedicated to the preservation, exploration, and celebration of works ingrained in the realm of popular culture via theatrical productions through parody, music and homage. Handbag is a 501(c)(3) Not for Profit. For additional information, visit handbagproductions.org.

Gary Gulman brings his new tour, 7th Hour: An All New Standup Show, to The Den Theatre, offering Chicago audiences a chance to see a comic who has spent decades refining the long-form, slow-burn style that has become unmistakably his. His five sold-out shows over the weekend are being recorded for an upcoming comedy special, giving each performance an added spark as he works through material with both confidence and care. Gulman’s comedy has always lived in the space between sharp observation and gentle self-reflection, and this latest set continues that progression with a mix of wry honesty and carefully shaped storytelling. His stop at The Den feels less like a routine tour date and more like a chance to watch a veteran performer stretch into new territory while still delivering the precision that has made him one of stand-up’s most quietly dependable voices.

The evening opened with Evanston’s own Sam Froum, whose set proved to be a sharp and genuinely funny warm-up for the night. He brought an easy confidence and a quick, clever rhythm to the stage, landing jokes with the kind of timing that immediately pulls a room in. It was a strong showing, and a fitting lead-in to Gulman’s tightly built headlining act.

Across 7th Hour, Gulman moves through a wide constellation of personal history, weaving together stories that span his depression, his admiration for his father’s unwavering integrity despite the loss of friends it may have cost him, and the realities of growing up with a single mother while navigating the rough edges of two bullying older brothers. His Jewish upbringing becomes a recurring thread, most notably in an extended, delightfully overthought retelling of the story of Moses - a bit that shifts from biblical epic to neurotic character study in a way only he can pull off. From there, he wonders aloud why Jewish people didn’t simply “like” Jesus so that Christianity might have evolved into an upbeat, colorful, pastel-tinted sect of Judaism, only to immediately challenge his own premise with the kind of self-correcting logic that fuels his best material. That exploration leads him into Jesus’ Sermon on the Mount, where he zeroes in on “do unto others as you would have them do unto you,” a phrase he deeply takes to heart, breaking it down with methodical curiosity as he imagines Jesus trying it out in front of smaller crowds at "open mounts" before delivering it on the big stage. Along the way, he has fun with the apostles - especially John and “Doubting” Thomas - treating them less as distant religious figures and more as characters he can analyze, tease, and reinterpret through his own gently overthinking lens. He even slips in a detour to Christian Bale’s Batman, acting out a hilarious gravel‑voiced exchange with Gary Oldman’s Commissioner Gordon that fits seamlessly into his stream of overthought observations.

He also devotes time to the values and education he drew from PBS, especially the steady presence of Mr. Rogers, whom he references with undeniable affection. Gulman lights up when recalling – and briefly singing – the closing song, “It’s Such a Good Feeling,” along with the simple but radical reassurance Mr. Rogers offered at the end of each episode: “I like you just the way you are.” He treats that sentiment with an earnest respect that shows how deeply it shaped him, even as he wonders aloud how anyone can truly live as their full, unfiltered self outside of a very small circle of people. He folds in humorous family stories tied to pledge drives, broadening the emotional palette of 7th Hour and grounding the comedy in the cultural touchstones that helped him make sense of the world long before he ever stepped onstage.

Gulman’s humor is a distinct blend of long-form storytelling, analytical overthinking, gentle self-examination, and slow-burn observational detail. He builds jokes the way essayists build arguments - layering premises, revisiting ideas, correcting himself mid thought, and letting the comedy emerge from the precision of his logic as much as from the punchline. His style is warm, meticulous, literary, and deeply human, often turning small moments from childhood, religion, or pop culture into sprawling, carefully engineered comedic set pieces.

And in 7th Hour, he brings that entire toolkit with him - sharper, fuller, and more emotionally grounded than ever. The show feels like Gulman operating at the height of his powers, shaping personal history into comedy with a confidence that suggests he knows he’s building material worthy of an upcoming special. What stands out most is how fully he leans into that mastery; 7th Hour plays like a comic working with total clarity of purpose and delivering exactly the kind of work only he can create.

Gulman’s career has been shaped by a steady run of smart, carefully built specials that highlight his gift for long-form comedy. From Boyish Man and In This Economy? to the critically praised It’s About Time and The Great Depresh, he has assembled a body of work defined by warmth, clarity, and an almost literary sense of structure. His stand-up has also been a reliable presence on late-night television, with memorable sets on Conan, The Late Show with Stephen Colbert, Jimmy Kimmel Live, and The Tonight Show, each showcasing his ability to turn everyday frustrations and cultural quirks into slow-building, sharply observed stories. Together, these appearances have cemented him as one of the most consistent and quietly influential voices in contemporary stand-up.

If you get the chance to see Gulman live, take it. 7th Hour shows a comedian in full command of his craft, delivering work that is thoughtful, funny, and unmistakably his. It’s the kind of performance that reminds you why stand-up, at its best, feels both intimate and expansive at the same time.

Goodman Theatre’s Iceboy! arrives as a gleefully off the rails musical that blends Broadway glamour, Neanderthal chaos, and theatrical myth making into one of the most delightfully strange premises to hit Chicago in years. It’s a satire, a love letter to showbiz, and a playful reimagining of how Eugene O’Neill might have found inspiration for The Iceman Cometh - if history had taken a wildly different turn.

Set in 1939, Iceboy! or The Completely Untrue Story of How Eugene O’Neill Came to Write “The Iceman Cometh” follows Broadway superstar Vera Vimm, who purchases the newly thawed 40,000‑year‑old Neanderthal after he’s discovered in the Arctic. An orphan herself, Vera risks the last of her money because she sees in Iceboy not just a curiosity, but the possibility of a son. Once he thaws, “Iceboy” unexpectedly becomes a theatrical sensation, charming Manhattan and quickly rising to stardom. His meteoric fame threatens Vera’s own spotlight, creating a comic rivalry as she scrambles to maintain her status.

Meanwhile, playwright Eugene O’Neill - stuck in a bout of severe writer’s block - becomes fascinated by Iceboy’s sudden cultural impact. In this fictionalized retelling, Iceboy’s presence and persona inspire O’Neill to write The Iceman Cometh, intertwining the Neanderthal’s improbable celebrity with one of American theatre’s most iconic works. The musical plays as a satirical backstage romp - part showbiz fable, part absurdist comedy - where ambition, ego, and theatrical legend collide, all delivered with a cheerful, madcap sensibility that feels straight out of the Mel Brooks playbook. The tone is broad, cheeky, and joyfully irreverent, embracing the kind of anything goes comic mayhem Brooks perfected in The Producers and Young Frankenstein.

Megan Mullally as Vera Vimm and Nick Offerman as Eugene O'Neill in Iceboy! at Goodman Theatre. Photos by Todd Rosenberg.

To appreciate just how boldly Iceboy! reframes O’Neill’s legacy, it helps to remember what The Iceman Cometh actually is.

O’Neill’s future Pulitzer Prize offering inspired a four-hour film that’s essentially a parade of drunks in a dim bar, each clinging to dreams they’ll never pursue - the bar itself a metaphor for their inability to move forward, trapped in the same place both physically and emotionally. The 1973 film adaptation centers on the down and out patrons of Harry Hope’s saloon in 1912 Greenwich Village. These men - alcoholics, former revolutionaries, disgraced professionals - spend their days drowning in booze and clinging to “pipe dreams” of future redemption.

Their routine is disrupted when charismatic salesman Theodore “Hickey” Hickman arrives - sober, zealous, and determined to force everyone to abandon their illusions. Hickey’s mission to strip the barflies of their comforting fantasies leads to emotional unraveling, bitter confrontations, and ultimately a chilling confession about his own past. The story is a tragic, philosophical exploration of hope, delusion, and the brutal cost of facing reality.

All of that brooding, booze-soaked existentialism makes Iceboy!’s approach even more refreshing. Where O’Neill’s world traps its characters, this musical unleashes its own with joyful abandon - led by an ensemble so charismatic and so sharply funny that the show vibrates with life.

Guiding the production is director Marc Bruni, who shapes the show with crisp timing and a clear sense of comic architecture, keeping its wild premise buoyant without letting it unravel. The music by Mark Hollmann gives the story a light, upbeat foundation, and the lyrics by Hollmann and Jay Reiss add steady humor throughout. The book by Erin Quinn Purcell and Reiss keeps the tone approachable, offering just enough structure for the characters to play within. Joann M. Hunter’s choreography provides simple, well‑placed movement that supports the show’s comic rhythm without calling attention to itself.

It certainly helps that Iceboy! is powered by an outrageously talented and instantly likeable ensemble. Husband and wife duo Nick Offerman and Megan Mullally make a dynamite team - Offerman is superb, bringing his signature deadpan charm to Eugene O’Neill, the same understated precision and dry, unflappable humor that’s made him beloved in Parks and Recreation, Devs, and The Last of Us. Mullally, best known for her Emmy winning turn as Karen Walker on Will & Grace, her unforgettable Tammy II opposite husband Nick Offerman on Parks and Recreation, and her Broadway run in How to Succeed in Business Without Really Trying, delivers a riotously funny, razor sharp performance as Broadway titan Vera Vimm. She tears into the role with fearless comic bravado and vocal firepower that reminds you she’s a true musical theatre pro - her belt is thrilling, her phrasing wickedly playful, and her comedic musicality is a show in itself. Few performers can time a sharp aside with Mullally’s precision.

(L-R) Melanie Brezill, Shawn Pfautsch, Megan Mullally, SarahStiles and Grey Henson in Iceboy!

Cedric Yarbrough, best known for Reno 911! and Speechless, is terrific as Floyd Richards, Vera’s devoted lover and perpetually stressed playwright. He brings a warm, rumpled charm to the role, layering Floyd’s desperation with impeccable timing, sly vocal humor, and a steady stream of perfectly landed one-liners. His presence gives the show a grounded comic pulse that keeps the chaos humming - and his baritone is impressive.

Chicago favorite Alex Goodrich is a delight as Frankenstein, one of Vera’s long-suffering caretakers, layering the role with buoyant physical comedy and a wonderfully off-kilter energy that fits the show’s boisterous comic verve.

As Iceboy or “Jeff,” Grey Henson is a revelation - wide eyed, instinctive, and musically explosive. He plays the Neanderthal with such innocence and uninhibited theatrical gusto that the audience can’t help but root for him. He’s a genuine surprise as well, offering several scene-stealing moments that deepen the show’s comic momentum and give its wild energy an extra spark.

And Sarah Stiles, as Lambert, Vera’s whip‑smart, perpetually overwhelmed assistant, makes every appearance count with her explosive comedic instincts and razor‑precise delivery. Her timing is immaculate - every flustered aside, every clipped retort, every moment of mounting panic lands with such clarity and control that she elevates even the smallest beat. Stiles has a way of shaping a line so it hits with both intelligence and impact, turning Lambert’s exasperation into one of the show’s most consistently funny throughlines.

Together, this ensemble - Offerman, Mullally, Yarbrough, Henson, Stiles, Goodrich, and a bench of other strong players rounding out the cast - forms an ecstatically silly comedy machine, a group so talented and irresistibly likeable that the laughs never let up and every performer feels essential to the show’s delirious momentum.

The musical numbers are wonderfully fun. Songs like the opening number “Historic Find,” the gloriously unhinged “Can You Call Me ‘Mama’?,” and the full company showstopper “Hooray for Iceboy!” set the tone for the musical’s raucous spirit. Each one is packed with sharp wit, big Broadway energy, and the kind of gleeful absurdity that keeps the audience laughing long after the button. “Historic Find” opens the show with a clean burst of discovery‑driven momentum, “Can You Call Me ‘Mama’?” makes full use of Mullally and Henson's sharp comic instincts, and “Hooray for Iceboy!” brings the full company together for a lighthearted, good‑natured celebration. This sample size of songs highlights how musically nimble and consistently funny Iceboy! is - a score that shifts easily between cleverness, silliness, and moments of heightened theatrical play.

One of the funniest musical numbers in the show is “Marry Me,” sung with perfect comic contrast by Grey Henson and Sarah Stiles. In it, Iceboy proposes to Lambert with disarming sincerity, offering what he believes are tender declarations of affection - only to fold in a series of prehistoric “courtship traditions” drawn from his caveman understanding of romance. Throughout the song Iceboy sings to her, “I want to take you from behind,” his way of saying he'd like to marry her. The result is a wonderfully off‑balance duet that lands as one of the show’s most genuinely hilarious moments.

Adding to the show’s irresistible charm is the fantastic Art Deco set designed by Paul Tate Depoo, which instantly places us inside Vera Vimm’s lavish living room - all gleaming lines, bold geometry, and glamorous period detail. Depoo’s design captures the theatrical excess of 1939 Broadway while giving the actors a playground of visual delight. On each side of the stage, Eugene O’Neill’s writing desks sit like dueling stations of inspiration and frustration, a clever touch that keeps his presence woven into the action. And, true to O’Neill’s legacy, there’s always a bottle within reach, a sly nod that becomes both a running joke and a thematic anchor. It’s a smart, stylish environment that supports the comedy while grounding the show in a richly imagined world.

Iceboy! or The Completely Untrue Story of How Eugene O’Neill Came to Write “The Iceman Cometh” is an outrageously inventive, joy-charged burst of musical comedy that proves Goodman Theatre can still surprise us in the best possible ways. With its fearless cast, sharp writing, and deliriously fun score, it’s the kind of show that sends you out grinning and grateful for the sheer imagination on display. Iceboy! runs through August 9th at Goodman Theatre and stands as one of the most riotously entertaining nights out you’ll find this summer.

Very highly recommended.

Now extended through August 16th. For tickets and/or more show information, click here.

Is there anything more alluring than a summer night in Chicago? The lakefront beaches, the meandering pathways, the festivals and street foods, the hidden gardens where free art productions are staged, whatever you like, you can find it in the city during summer evenings. There is no shortage of parks to explore or cultural events to experience, thanks in part to the Mayor’s Night Out in the Parks program that partners with organizations to stage free artistic experiences in neighborhood parks all around the city. One such organization kicked off its summer series with a spectacular – and free – performance of Shakespeare’s As You Like It, now playing throughout Chicago parks through August 2^nd.

Shakespeare’s As You Like It is a comedy that follows Rosalind and Orlando, two lovers who each run away from their own political and familial problems and escape into the Forest of Arden. Disguised as a shepherd boy, Rosalind finds Orlando and convinces him to woo her under the guise of curing him of his love for Rosalind. Multiple couplings occur, lessons of life and love are expounded on, and, as every Shakespeare comedy does, As You Like It ends with a wedding – four to be precise.

foreground - Thomas Russell and Connor O. Locklin. Photo by Steven Townsend, Distant Era.

As You Like It is the 2026 production of Midsommer Flight, a theatre troupe that stages high-quality, accessible performances of Shakespeare’s plays in Chicago. Directed by Producing Artistic Director Beth Wolf, this summer’s production continues to delight audiences and draw crowds, presenting free performances to Chicago communities that aim to bring people together. Midsommer Flight is an Arts Partner with Chicago Park District and a participant in the Mayor’s Night Out in the Parks initiative. They will be performing the classic Shakespeare comedy throughout the summer at different neighborhoods throughout the city, but if you think you’ve seen a Shakespeare production, (seen one, seen them all, right?) I beseech you to venture to one of the parks. At the best of times, Shakespearean stories can be difficult to follow: analogous phrasing, double entendres, prosaic old-timey insults, and slurs; it’s not always easy to follow. Midsommer Flight, however, gives the old texts modernity, witty asides, and an expressive atmosphere that makes the play easy to follow and understand. The acting is superior, and the inclusivity is a delightful and refreshing display of humanity at its finest. Talent of the Midsommer Flight cast would rival that of any Shakespearean theatre company, charging hundreds of dollars for seats, and staging productions in grand halls. And the best part? The productions are completely free to the public. The accessibility, the garden park scenery, and the flowy costuming truly provide a magical experience, embodying the spirit, humanity, and beauty of the arts.

There are many benefits to living in and around the Chicagoland area, but summertime really brings out the best and brightest Chicago has to offer. Night Out in the Parks is but one of the many incredible accessible programs bringing cultural events to neighborhoods to “amplify the artistic and cultural vibrancy of our city in every neighborhood and enhance quality of life across Chicago.” Find out more about Night Out in the Parks here. When initiatives such as this meet the grassroots talent and love shown by Midsommer Flight, magic happens. Whether you like it because it’s in your local park or you like it because it is free, there is truly something for everyone this summer in Chicago. You can truly have it just as you like it. As You Like It will be performed outdoors at six Chicago parks through August 2^nd. Learn more about Midsommer Flight and its mission, and check out the list of upcoming performances at parks throughout Chicago and reserve your free space today!