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The Joffrey Ballet today announced that President and CEO Greg Cameron will depart in December 2027, concluding a 15-year tenure that transformed the organization's financial and institutional strength and elevated its standing in Chicago and the international dance community.

The transition follows a succession plan Cameron and the Joffrey Board of Directors developed three years ago. The Board has formed a search committee and is finalizing the selection of a national search firm. The committee will conduct an extensive search within and outside the dance world, with Cameron's successor expected to begin before the end of 2027. Cameron will continue to lead the organization throughout the search and work closely with the Board and incoming CEO to ensure a smooth transition.

"All of us are temporary stewards of these organizations," Cameron said. "Our responsibility is to leave them stronger. This transition was set in motion from a place of stability and with great confidence in the Joffrey's future. I will spend the next 15 months advancing our priorities and creating every opportunity for the next President and CEO to succeed."

Cameron joined the Joffrey in 2013 with extensive experience in philanthropy and civic leadership. His appointment demonstrated the value of looking beyond traditional backgrounds to identify an executive whose vision matched the organization's ambitions. The Board will take the same expansive approach in identifying the Joffrey's next President and CEO.

"Greg's leadership changed the trajectory of the Joffrey, and we enter this transition with tremendous momentum," said Board Chair Jim McDonough. "Our next CEO will inherit a thriving cultural institution, prepared to pursue its future from a position of extraordinary strength. We will cast a wide net for a leader who champions artists, cultivates enduring partnerships, and can spearhead a complex organization of this scale."

Under Cameron's leadership, the Joffrey eliminated an ongoing budget deficit, established the organization's first endowment, and created the Artistic Innovation Fund, which is on its way to successful completion. These achievements placed the Joffrey in the strongest financial position in its history and created an enduring foundation to artistically thrive. In 2026, Make It Better Foundation founder Susan B. Noyes honored Cameron's tenure with a $3 million endowment gift to the Joffrey, carrying forward his leadership values of collaboration, innovation, and artistic excellence.

Cameron also led the organization through two strategic planning sessions with McKinsey & Company. The resulting plans became road maps for the Joffrey's growth, guiding long-term financial modeling and sustained investment in its people. With a high-performing leadership team, the Joffrey strengthened governance and negotiated two consecutive five-year agreements with the American Guild of Musical Artists (AGMA). This institutional stability allowed the Joffrey to invest more deeply in its artists and increase the scale of its work.

"The business of the Joffrey exists to give the art form the support it deserves," Cameron said. "Financial strength equips artists with the freedom and resources to take risks and create on a grand scale. We built an organization capable of sustaining the Joffrey's artistic ambitions while supporting the health and well-being of our artists. I am enormously proud of what our team has accomplished together."

Cameron guided the Joffrey's move to Lyric Opera House, increasing the Company's production capabilities and establishing a long-term residency through 2034. He also helped forge partnerships with leading ballet companies that brought major co-productions to Chicago, including Anna Karenina with The Australian Ballet, Princess and the Pea with Oregon Ballet Theatre, Atonement with Ballett Zürich and Eugene Onegin with San Francisco Ballet.

His tenure included the 2016 world premiere of Christopher Wheeldon's reimagined The Nutcracker, now a cornerstone of the Company's repertory. Cameron championed the expansion of live music and helped secure the Joffrey's first commissioned orchestral scores.

"Greg gave the Joffrey the structure to pursue ambitious ideas with confidence," said The Mary B. Galvin Artistic Director Ashley Wheater MBE. "He understood that the Joffrey could honor its remarkable history while building something larger for the future. Greg sees possibility everywhere—in a partnership, a production or a relationship waiting to grow. His belief in the Joffrey inspires others to believe in it, too."

Beyond the dance field, he developed collaborations with the Chicago Symphony Orchestra, Harris Theater for Music and Dance, Ravinia, and the Museum of Contemporary Art Chicago. Partnerships with Art on theMART, Aurora University, and the Golub Capital Board Fellows Program at Northwestern University's Kellogg School of Management strengthened the Joffrey's role within Chicago's cultural community.

Cameron led the transfer of the complete Joffrey archive to the Jerome Robbins Dance Division of The New York Public Library for the Performing Arts in 2017—the Library's largest acquisition in a decade. The archive led to the Company's first large-scale retrospective, The Joffrey + Ballet in the U.S., which opened at the Library for the Performing Arts in 2024 before traveling to Chicago in 2025, presented by Wrightwood 659. The project brought nearly 70 years of the Joffrey's history before the public while preserving its films, photographs, and records for future artists and scholars.

Cameron also helped bring the story of Winning Works—The Joffrey Ballet's annual choreographic competition for emerging artists—to a national audience. Working with Kartemquin Films, he helped launch the documentary project, secured funding, and engaged PBS as its broadcast partner. Premiering Friday, September 18, Joffrey Ballet: The Next Movement follows the 2024 Winning Works choreographers in Chicago as they create original works with students from the Grainger Academy. The documentary reveals how choreographers find their voice and how access to a studio can change an artist's life.

Cameron established Joffrey for All, an organization-wide commitment to making dance accessible and ensuring that people across Chicago can experience and participate in the art form. Under his leadership, the Joffrey increased its investment in dance education and access. The Joffrey also deepened its presence in Chicago Public Schools, providing dance education to approximately 1,600 students in 30 partner schools each year. Free student matinees of The Nutcracker welcome more than 5,000 CPS students, offering many their first experience of live ballet accompanied by a full orchestra.

In 2018, the Joffrey received its first naming gift: $5 million from the Galvin Family, which named the Mary B. Galvin Artistic Director position. Two years later, in 2020, a $3 million gift from the Abbott Fund named the Abbott Academy Director position, and, in 2025, a $5 million gift from The Grainger Foundation endowed and renamed the Joffrey Academy of Dance to the Grainger Academy of The Joffrey Ballet—a landmark commitment that secured the Academy's future and increased scholarship support for the next generation of artists.

Today, the Joffrey generates an estimated $51 million in economic activity across Chicago, including $32 million in direct spending. The organization supports over 300 jobs and welcomes more than 135,000 audience members each year. Its artists, staff, students, and patrons contribute to the vitality of downtown Chicago while driving business to local restaurants and hotels.

Cameron has championed the arts as an essential part of Chicago's civic future. His work includes stewardship efforts along State and Randolph Streets and support for the Cultural Stadium, a vision for harnessing the city's cultural institutions as a force for downtown renewal. In 2011, he was inducted into the Chicago LGBT Hall of Fame, whose members also include Joffrey co-founder and former Artistic Director Gerald Arpino.

Cameron describes his leadership philosophy as being an "elegant partner"—leading with trust, caring for people, and becoming the kind of partner others seek out. That approach guided the Joffrey through the COVID-19 pandemic and informed its continued investment in professional growth, wages, and employee benefits, including recent completion of the Joffrey Tower Refresh Project to support the health and wellness of artists and staff.

"As Board Chair, I had the privilege of working closely with Greg during one of the most difficult periods in the Joffrey's history," said former Joffrey Board Chair Anne L. Kaplan. "Throughout the pandemic, he led with wisdom and extraordinary compassion, keeping care and feeding of our community at the center of every decision. His attentiveness to the individuals across the organization, paired with his steady judgment, carried the Joffrey through the crisis and made us stronger. That is the kind of leader Greg is, and it is one of the many reasons the Joffrey stands apart today."

Cameron's planned departure comes as arts organizations nationwide face constrained funding, rising costs, and shifting audience behavior. Against that backdrop, the Joffrey stands as a powerful story of resilience. The Company is debt-free, its long-term investments are $40 million and growing, and it continues to break box-office records.

"Greg's impact can be seen in the Joffrey's financial strength and on its stages, but it is equally present in the culture he created," McDonough added. "He cares deeply about the people who make this organization possible, sustaining it by investing in talent and establishing a culture of care and accountability. The leadership team he assembled is a defining part of his legacy and an important source of continuity for the years ahead."

The transition continues the Joffrey's history of reinvention. Robert Joffrey and Gerald Arpino founded the Company in 1956 as a touring ensemble dedicated to creating a distinctly American form of ballet. Its move from New York to Chicago in 1995 established a permanent home and began a new era of growth. Cameron's arrival in 2013 opened another chapter, defined by financial stability and greater institutional reach. Today, the Joffrey is recognized across the dance field as a model of how administrative strength can advance artistic achievement.

"We have accomplished far more than I imagined when I arrived," Cameron said. "Every milestone belongs to the artists, administrative staff, Board of Directors, Women's Board Members, and supporters who believed in where the Joffrey could go. We made deliberate choices about our future and followed through. Now we have the strength to build what comes next."

Following his departure, Cameron plans to continue supporting artists and arts education while broadening his civic work across Chicago.

"I remain committed to this city and to the artists who give it life," Cameron added. "I believe Chicago is the greatest city in the world, and I look forward to bringing my experience—and my values of curiosity, creativity, community and collaboration—to more organizations in service of its future. For now, my focus remains fully on the Joffrey and on preparing the strongest possible handoff to its next leader."

The Joffrey will share additional information as the search progresses.

About President and Chief Executive Officer Greg Cameron

Driven by his lifelong love for the arts, his hometown, and connecting with people from every background, Greg Cameron leads The Joffrey Ballet as President and CEO, responsible for organization-wide administration and strategy. Under Greg's partnership with The Mary B. Galvin Artistic Director Ashley Wheater MBE, the Joffrey has set new records at the box office and built the strongest financial foundation in its history. His 2013 appointment was the culmination of three decades of work in arts administration and philanthropy. 

As a child in suburban Chicago, Greg ran a makeshift theater out of his garage and sold more mints than anyone else for his local YMCA. And as an adult, he turned those passions into a career raising funds for the cultural organizations he loves. At the Chicago Department of Cultural Affairs; the Art Institute of Chicago; the Museum of Contemporary Art, where he rose to the role of Deputy Director and Chief Development Officer; and WTTW/WFMT, where he served as COO, Greg dedicated himself to supporting art and artists and to creating meaningful experiences for others.

Today, Greg leads the Joffrey's efforts to support unforgettable productions and new commissions, reach out to organizations and communities across Chicago, and open up world-class ballet for audiences from all backgrounds. Throughout the span of his 40-year career as an arts administrator in Chicago, Greg has volunteered for a wide range of nonprofit organizations and civic committees. He currently serves on the Facing History and Ourselves Chicago Advisory Board, the State Street SSA Commission, and the Driehaus Museum Board. In 2024, Greg was honored by the Association of Fundraising Professionals Chicago Chapter with their Benjamin Franklin Award, and by the University of Illinois Chicago Alumni Association with their Distinguished Service Award.

About The Joffrey Ballet 

The Joffrey Ballet is one of the premier dance companies in the world today, with a reputation for boundary-breaking performances for 71 years. The Joffrey repertoire is an extensive collection of all-time classics, modern masterpieces, and original works.  

Founded in 1956 by pioneers Robert Joffrey and Gerald Arpino, the Joffrey remains dedicated to artistic expression, innovation, and first-rate education and engagement programming. The Joffrey Ballet continues to thrive under The Mary B. Galvin Artistic Director Ashley Wheater MBE and President and CEO Greg Cameron. 

The Joffrey Ballet is grateful for the support of its 2026–2027 Season Sponsors: The Abbott Fund, Alphawood Foundation Chicago, Daniel and Pamella DeVos Foundation, The Florian Fund, Gallagher, Anne L. Kaplan, and Lynda Sue Lane, M.D. Season-long sponsorship of the Company Artists is generously made possible by Margot and Josef Lakonishok.

Live Music Sponsors: Sandy and Roger Deromedi, Sage Foundation, and The Marina and Arnold Tatar Fund for Live Music. The Joffrey also acknowledges our Season Partners: ATHLETICO and Chicago Athletic Clubs.

For more information on The Joffrey Ballet and its programs, visit joffrey.org. Connect with the Joffrey on Facebook, Instagram, and LinkedIn. 

This new staging of Mean Girls the Musical, now playing at Paramount Theatre in Aurora’s downtown theatre district, brings Tina Fey’s sharp, culturally defining high-school satire to the stage with a pop-infused score and a contemporary theatrical energy that reframes the familiar story for a new generation - and they do a pretty fetch job with it. What this production captures especially well is the all-too-well-known rush of being thrown back into the fiercely competitive atmosphere of high school all over again - the crowded hallways, the shifting alliances, the way a single rumor can tilt the entire school social landscape. The staging at Paramount Theatre makes those dynamics feel immediate, almost uncomfortably recognizable, reminding audiences how quickly the desire to fit in can override better judgment. It’s funny, sharp, and just self-aware enough to let you laugh at the chaos while remembering exactly what it felt like to navigate it.

The plot follows Cady Heron (Elizabeth Stenholt), a teenager who moves from Kenya to suburban Chicago and enters North Shore High School after years of being homeschooled. She quickly discovers that the school operates on a rigid social hierarchy, narrated with biting humor by Janis Sarkisian (Lucy Godínez) and Damian Hubbard (Steven Klenk), who guide her through the cliques and warn her about the most powerful group: The Plastics. Regina George (Dariana Mullen), Gretchen Wieners (Angel Alzeidan), and Karen Smith (Julia Hope Budd) rule the school with a mix of charm, intimidation, and ruthless social strategy, and when Regina unexpectedly invites Cady into their circle, she is pulled into a world of manipulation, gossip, and carefully curated popularity. Janis, who has a long-standing feud with Regina, convinces Cady to infiltrate The Plastics and report back on their behavior, setting off a chain of choices that gradually erode Cady’s sense of self as she begins adopting Regina’s tactics and losing sight of her own values.

Paramount’s “Plastics” are played by (from left) Julia Hope Budd as Karen Smith, Dariana Mullen as Regina George and Angel Alzeidan as Gretchen Wieners.

One of the production’s most “wow” moments comes when The Plastics first appear, silhouettes poised atop the school stairway before descending like rock stars - a clever, high-impact entrance that instantly sets the tone.

Central to the musical’s conflict is the Burn Book, a scrapbook created by The Plastics and filled with photos of classmates alongside handwritten insults, rumors, and secrets. It’s a private weapon of social destruction, and when Regina discovers Cady’s betrayal, she detonates it by releasing the book to the entire school, planting a fake insult about herself so she appears innocent. The fallout sparks a chaotic riot among the junior class, forcing Principal Duvall (Austin Nelson Jr.) to intervene and leading to a school-wide reckoning. 

Mean Girls taps into something painfully recognizable: the way girls learn to measure themselves against each other, and how the need to fit in can become its own quiet form of survival. It lays bare the unspoken rules of teenage girlhood - the constant self comparison, the social performance, the fear of exclusion - and shows how easily those pressures can harden into the very behaviors that hurt others. Beneath the comedy, there’s a clear understanding of how identity gets shaped, distorted, and reclaimed in the crucible of adolescence.

At the center of the production is Elizabeth Stenholt, whose performance as Cady Heron gives the show its emotional anchor. She charts Cady’s evolution with clarity, moving from wide-eyed newcomer to reluctant Plastic with a grounded, human touch. Opposite her, Dariana Mullen delivers a sharply etched Regina George, wielding charisma and calculated menace with effortless control. Together, Stenholt and Mullen create a dynamic push and pull that fuels the show’s momentum, supported by a leading cast whose charged performances keep the story vivid and unexpectedly heartfelt. Veronica Garza (Mrs. Heron / Ms. Norbury / Mrs. George) adds versatility and grounded humor across her roles, shifting smoothly between characters and giving each one a distinct presence; among the talented cast, she stood out as one of my favorites, especially in her turn as Regina’s humorously over-the-top “cool mom.”

Director Devon Hayakawa guides the production with a steady, clear approach, keeping the story moving and giving the cast room to shape their characters. Kasey Alfonso’s choreography brings consistent energy to the ensemble, supporting the humor and helping the larger numbers land with ease. Kory Danielson’s music direction and conducting provide a reliable foundation throughout, keeping the vocals tight and the orchestra responsive to the shifts in tone. The design team adds cohesive polish: Kotryna Hilko’s costumes are full of sexy punch and humorous excitement and Greg Hofmann’s lighting is an explosion of flashing pink tones that would delight any Mean Girls fan. Adam Rosenthal’s sound design maintains balance, Erin Pleake’s video work adds many layers of reality to the already aesthetically exciting set, and Ethan Deppe’s electronic elements blend smoothly into the score.

Cady (Elizabeth Stenholt, center), the new girl from Africa who transfers to Chicago’s North Shore High, is befriended by social outcasts Damian (Steven Klenk, left) and Janis (Lucy Godinez, right) in Mean Girls.

The set is impressively immense, a sprawling expanse of pink that never feels wasted or ornamental. Every nook and cranny is smartly utilized to build out North Shore High School, with stairways, hallways, classrooms, and common spaces folding into one another in ways that keep the action fluid and visually engaging.

The musical numbers are where this production really hits its stride, pairing Alfonso’s crisp, high-energy choreography with songs that sharpen the show’s humor and emotional stakes. I wasn’t necessarily expecting the music to land as strongly as it did, assuming the humor and engaging story would carry most of the weight, but the score proves to be one of the production’s biggest strengths. Elizabeth Stenholt shows she can truly belt, delivering powerhouse vocals in both “It Roars” and “I See Stars,” while Dariana Mullen matches her intensity and range with a commanding “World Burn.” Lucy Godínez gets a standout showcase of her own in “I’d Rather Be Me,” reinforcing why Janis Sarkisian remains such a fan favorite. Steven Klenk’s Damian - the “too gay to function” best friend - lands sharp comedic lines throughout and brings infectious energy to “Where Do You Belong?” The choreography makes clever use of the revolving floor and incorporates desks, lunch tables, and trays in ways that keep the staging inventive and visually playful. Comedy lands not just in the dialogue but in the musical staging itself - the heightened high-school dramatics, the sly visual gags, and the rhythmic timing that turns social chaos into full-company spectacle. The humor comes through clearly, supported by musical numbers that are confidently staged and consistently engaging.

Based on the now cult-favorite 2004 film, the musical premiered on Broadway in 2018, adapted once again by Tina Fey with music by Jeff Richmond and lyrics by Nell Benjamin. Its theatrical form allows the story to expand emotionally, using songs to deepen character motivations and give voice to internal conflicts that the film conveyed through montage or narration. While the musical retains the film’s core plot, several notable differences distinguish it from its 2004 source: updated characterizations, modernized humor, broader representation, a stronger presence of social media, and shifts in relationships and family dynamics that reflect contemporary storytelling.

Paramount’s production of Mean Girls the Musical proves to be a smart, engaging take on the material, carried by a committed cast and a creative team that understands how to translate the story’s humor and heart to the stage. It moves with confidence, lands its character beats cleanly, and offers enough freshness to make revisiting this world worthwhile. For audiences looking for a lively, contemporary musical with sharp performances and a cohesive design approach, Mean Girls is an easy recommendation - now running through October 11, 2026 at Paramount Theatre in Aurora.

https://paramountaurora.com/events/mean-girls/

Trap Door Theatre is thrilled to begin its 33rd season with the World Premiere of The Man Who Fell with the Rain, written by Andrei Kureichik and directed by resident director Kay Martinovich. The Man Who Fell with the Rain will play September 3rd – 19th, 2026 at Trap Door Theatre, 1655 W Cortland St. in Chicago. Tickets are now on sale at trapdoortheatre.com or by calling (773)-384-0494.

Based on the short story by Gabriel García Márquez, Kureichik's play is a darkly comic fable about a mysterious old man with enormous wings who falls from the sky into the yard of an ordinary couple.  As neighbors, opportunists, and skeptics descend upon the strange visitor, wonder gives way to greed, fear, and spectacle.

PRODUCTION DETAILS:

Title: The Man Who Fell with the Rain

Author: Andrei Kureichik

Translator: John Freedman

Adaptor/Director: Kay Martinovich

Cast (in alphabetical order): Carolyn Benjamin (2nd Neighbor/Woman), Tony-Elias Choufani (Fisherman/Sleepwalker), Dan Cobbler (Husband), Rich Cotovsky (Old Man with Enormous Wings), Heraldo Hermosillo (1st Neighbor/Son), Emily Lotspeich (3rd Neighbor), Laura Nelson (Wife), Keith Surney (Priest), and Gracie Wallace (Daughter of Neighbor/Spider Woman).

Location: Trap Door Theatre, 1655 W. Cortland St. Chicago, IL 60622

Regular Run: Thursday, September 3rd –Saturday, September 19th, 2026

Curtain Times: Thursdays, Fridays, and Saturdays at 8:00 pm. With a special performance on Sunday, September 13th at 7 pm including a talk back after the performance with the playwright.

Press performance: Press are encouraged to attend opening night.

Tickets: $25. Tickets are currently available at https://our.show/the-man-who-fell-with-the-rain or by calling (773) 384-0494.

About Face Theatre and Raven Theatre present a powerhouse co-production of the groundbreaking, Pulitzer Prize-winning musical A Strange Loop, with book, music, and lyrics by Michael R. Jackson and direction by About Face Theatre Artistic Associate Mikael Burke. The highly anticipated Chicago premiere will run October 8-November 8, 2026, on the Johnson Stage at Raven Theatre, 6157 North Clark Street in Chicago. 

Tickets go on sale September 8, 2026, at www.raventheatre.com, (773) 338-2177, or in-person at the Raven Theatre box office. Ticket prices range from $30-$45 with discounts for seniors, military and theatre industry.

A Strange Loop made history by winning the 2020 Pulitzer Prize for Drama, marking the first time a musical written by a Black artist received the honor. Jackson's blistering, autobiographical masterpiece went on to capture the 2022 Tony Awards for Best Musical and Best Book of a Musical. The story follows Usher, a Black, queer playwright who spends his days working as an usher on Broadway. He spends his nights struggling to write an original musical about a Black, queer playwright who spends his days working as an usher on Broadway. Lines blur, thoughts intrude, and soon he finds himself wrestling to break free from a very strange creative loop. This musical explores identity, race and sexuality through the lens of a young artist at war with a chorus of his own demons and inner voices on a journey towards understanding and self-love.

The cast includes: Eddie Weaver (Usher), Micah Mixon (Thought 1), Matheus Barbee (Thought 2), Christopher Wayland (Thought 3), Michael Turrentine (Thought 4), John-Payne (Thought 5), Naphtali Curry (Thought 6). The understudies are Jordan Harris (Usher), Simmery Branch (Thought 1), Aiden McCoy (Thought 2), Michael Davis Arnold (Thought 3), Shawn Smith (Thought 4) and Reginald Hemphill (Thought 5).

The creative team is: Mikael Burke (director), Kyu Park (music director), Breon Arzell (choreographer), Sydney Lynne (scenic designer), Brenden Marble (lighting designer), Hannah Kwak (sound designer), Matt Reich (associate sound designer), Janelle Smith (costume designer), Mariah Bennett (props designer), Chels Morgan (violence and intimacy designer), Terry Guest (associate director) and Christopher Richard Pazdernik (dramaturg). Christine D. Freeburg is the stage manager and Rachel Simmons and Charlotte Horton are the assistant stage managers. Catherine Miller is the casting director.

About Face Theatre Producing Artistic Director Megan Carney comments, "This co-production between About Face and Raven Theatre is a dream come true. Together we've assembled a team that is passionate about bringing complex Black queer lives to centerstage and uplifting this groundbreaking exuberant musical in Chicago. A Strange Loop meets the moment in a spectacular way, and we can't wait to share it with audiences this fall."

Raven Theatre Executive Director Jonathan Berry adds, "We are so thrilled to partner with About Face Theatre to bring the Chicago premiere of this bold, remarkable piece to the stage. It is rare to find a piece that is so fearlessly honest about an artist's experience.  A Strange Loop is a hilarious, touching, heartbreaking and ultimately uplifting journey and Mikael Burke is the perfect director to bring it to extraordinary life on the Raven stage."

A STRANGE LOOP 
book, music, and lyrics by Michael R. Jackson 
directed by About Face Theatre Artistic Associate Mikael Burke 

Co-production between About Face Theatre and Raven Theatre 

Run Dates: October 8-November 8, 2026 

Previews: October 8-11, 2026

Location: All performances will take place on the Johnson Stage at Raven Theatre, 6157 N. Clark St. in Chicago.

Tickets: Raven Theatre box office, 6157 N. Clark St. in Chicago; www.raventheatre.com; 773.338.2177

General Admission: $45; Student, Military, and Industry tickets $20. Previews $30.

Tickets go on September 8, 2026.

Schedule: Wednesdays, Thursdays, Fridays, and Saturdays at 7:30 p.m.; Sundays at 3 p.m.

CAST

Eddie Weaver (Usher)

Micah Mixon (Thought 1)

Matheus Barbee (Thought 2)

Christopher Wayland (Thought 3)

Michael Turrentine (Thought 4)

John-Payne (Thought 5)

Naphtali Curry (Thought 6)

Understudies: Jordan Harris, Simmery Branch, Aiden McCoy, Michael Davis Arnold, Shawn Smith, Reginald Hemphill and Gabriel Levi.

Notes of Interest:

• Raven and About Face are producing together for the first time. Raven produced its first musical last season with the highly successful Octet, which extended its run before transferring to the Goodman Theatre.
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• The blistering Pulitzer Prize winning musical explores identity, race and sexuality through the lens of a young artist at war with a chorus of his own demons and inner voices on a journey towards understanding and self-love. It was nominated for eleven Tony Awards and won for Best Musical and Best Book of a Musical at the 2022 Tony Awards.
•  
• A Strange Loop won the 2020 Pulitzer Prize for Drama. It is the first musical written by a Black artist to receive the honor.
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• A Strange Loop is autobiographical. Creator Michael R. Jackson spent years working as a Broadway usher at The Lion King, Mary Poppins, and Aladdin while struggling to write this piece. The show took roughly 18 years to get to Broadway, beginning as a simple personal monologue Jackson wrote shortly after graduating undergrad in 2002. Jackson clarifies that the show is an "emotional autobiography." While the literal plot points are fictionalized, the personal feelings of self-loathing, body image issues, and navigating a religious family are deeply real.
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About the Artists

Michael R. Jackson, Pulitzer Prize-winning playwright, composer, and lyricist is the creator of A Strange Loop, which the New York Times has called a "bravura meta-musical." The piece – which took Jackson eighteen years to create – won the Pulitzer Prize for Drama in 2020, eleven Tony Award nominations, a New York Drama Critics Circle Award, and two Tony Awards – for Best New Musical and Best Book. Jackson has been named one of TIME Magazine's "100 Most Influential People" (2022) and has received numerous awards including a New Professional Theatre Festival Award, a Jonathan Larson Grant, a Lincoln Center Emerging Artist Award, an ASCAP Foundation Harold Adamson Award, a Whiting Award, the Helen Merrill Award for Playwriting, the Windham-Campbell Prize, and a Dramatist Guild Fellowship. He has appeared on The Daily Show with Trevor Noah, CBS Sunday Morning, and Late Night with Seth Meyers, to name a few. He wrote book, music, and lyrics for the musicals White Girl In Danger and A Strange Loop (2019 world premiere at Playwrights Horizons in co-production with Page 73 Productions). Jackson holds a BFA and MFA in playwriting and musical theatre writing from the NYU Tisch School of the Arts. 

Mikael Burke (Director) is a Chicago-based director, deviser, and educator. A Princess Grace Award winner in Theatre and Jeff Award-winning director, his recent credits include: Oak by Terry Guest (Urbanite Theatre, World Premiere); Othello by William Shakespeare (Theatreworks Colorado Springs); Short Shakes! Romeo & Juliet (Chicago Shakespeare Theater); Notes from the Field by Anna Deveare Smith (TimeLine Theatre, Chicago Premiere); The Salvagers by Harrison David Rivers (Yale Repertory Theatre, World Premiere); Tambo & Bones by Dave Harris (Refracted Theatre Company, Chicago Premiere, winner of 8 Jeff Awards); Blues for an Alabama Sky by Pearl Cleage (Remy Bumppo Theatre Company); The Magnolia Ballet by Terry Guest (About Face Theatre, Chicago Premiere, winner of 2 Jeff Awards); Clyde's by Lynn Nottage (Theaterworks Hartford). Mikael is also an adjunct faculty member at DePaul University and Roosevelt University. MFA, The Theatre School at DePaul University.

Eddie Weaver (Usher) is making his Raven Theatre debut. An Atlanta native, Eddie is an actor, singer, and mover who earned his B.A. in Theatre Performance from Columbus State University. His previous credits include: A Strange Loop (Actors Express), Three Pianos (Florida Studio Theatre), Legally Blonde, Chicken & Biscuits, Purlie Victorious, and The Prom (Charleston Stage), among others.

Micah Mixon (Thought 1) graduated from Columbia College Chicago with a BA in musical theater and a minor American Sign Language. Some of her favorite past roles: understudying for the Armelia McQueen and Nell Carter tracks in Drury Lane's Production of Ain't Misbehavin', Hailey in Final Girlies and Final Girlies (Director's Cut) at iO theater, and Tacooma in Three Little Birds at Young People's Theater.

Matheus Barbee (Thought 2) is an actor and singer based in Chicago, originally from North Carolina. He is thrilled to be making his Raven and About Face debut, reuniting with Mikael Burke after collaborating on Violet at Northwestern University. Chicago Credits include Sister Act, A Christmas Carol (Drury Lane), The 25th Annual Putnam County Spelling Bee (Paramount), Diana the Musical (Theo Ubique), Goodnight Moon (Chicago Children's Theater), and The Play That Goes Wrong (Metropolis). Regional credits include The 25th Annual Putnam County Spelling Bee (as Chip at Indiana Repertory), Shrek the Musical (as Donkey at MGM Beau Rivage), West Side Story (as Chino at Surflight), Grease (MGM Borgata). Alumnus of Northwestern University.

Christopher Wayland (Thought 3) is returning to Raven Theatre for the fourth time and is working with About Face Theatre for the first time. Previous roles at Raven include Peter in The Luckiest, Jib in Hoodoo Love, and Pharus Young in Choir Boy. He is a Professor of Acting at the Chicago College of Performing Arts and earned an MFA in Acting from The Theatre School at DePaul University. In the Chicago area, he is a member of the Rivendell Theatre Ensemble and has worked at Goodman Theatre, Court Theatre, Paramount Theatre, Marriott Theatre, Porchlight Music Theatre, First Folio Theatre, 16th Street Theater, Oak Park Festival Theatre, Jackalope Theatre Company, Griffin Theatre, Teatro Vista, Haven, Lifeline Theatre, Stage Left Theatre, and with Right Angle Entertainment. His television credits includes a recurring role on The Chi (Showtime), neXt (FOX), Chicago Med (NBC), and APB (FOX), as well as several commercials including national campaigns for Kellogg's and Lowe's.

Michael Turrentine (Thought 4) has worked as an actor, writer, dancer, and social justice educator in Chicago for over a decade and doesn't plan on slowing down soon. Some of the theaters he has worked with include Paramount Theatre, The Marriott Theatre, Drury Lane Theater, Court Theatre, Steppenwolf Theatre, The Lyric Opera of Chicago, The Gift Theatre and many others. His TV credits include South Side, Emperor of Ocean Park, Somebody Somewhere and others.

John-Payne (Thought 5) is a Chicago theatre-artist and performer and is making their debut with Raven Theatre working on A Strange Loop. We hold a responsibility in being conscious and active members of our community through the art we create, and John-Payne is dedicated to making lasting change for queer/black & brown theatre folk, and challenging the structures which prohibit that change.

Naphtali Curry (Thought 6) is an actor based out of Chicago, Illinois, making his Raven Theatre debut. Some of his theatre credits include Benny in Rent (Capital City) and Donkey in Shrek The Musical National Tour (2024). His Chicago theatre credits include Mitch Mahoney in Spelling Bee (Paramount), Valentine in Twelfth Night (Chicago Shakes), Paul Williams in Real Housewives of Motown (Black Ensemble), ensemble in Rent (Porchlight).

RAVEN THEATRE tells stories of today and the past that connect us to our cultural landscape. Raven's commitment to modern drama in all of its forms, as well as its first-class education programming, have helped it remain a cultural cornerstone on the north side of Chicago for 40 years and counting. For 44 years, Raven Theatre has been the home to revivals of modern dramas and thought-provoking new works to the Northside Chicago community, as well as theatrical education to the children and schools in the surrounding neighborhoods. Founded in 1983, Raven moved into its current home in 2002 with its 85-seat Johnson Stage and its 56-seat Schwartz Stage.

ABOUT FACE THEATRE advances LGBTQ+ equity through community building, education, and performance. Since our founding in 1995, we've been a national leader in producing groundbreaking theater throughout Chicago that centers and affirms people who identify as LGBTQ+ and other intersecting identities. Working with nationally recognized and emerging artists of all ages, our programs include award-winning productions, touring shows, a Youth Ensemble, and new work development through Re/Generation Studio. Learn more and get involved at aboutfacetheatre.com.

After their award winning year, The Impostors Theatre Company (ITC) opens Season Eight with the highly anticipated world-premiere of The Snow Queen, a beloved folktale reimagined by ITC ensemble member Mallory Swisher, directed by ITC Artistic Director Stefan Roseen and ITC resident choreographer Anna Roemer. The Snow Queen explores the people who carry our stories when we no longer can – and the courage it takes to let them go. Equal parts whimsical, haunting, joyful, and deeply human, this production warms even the coldest hearts into blooming again. The Snow Queen runs from November 6 to November 21, 2026, at ITC's resident home, The Den Theatre, 1331 N Milwaukee Ave, Chicago, IL 60622.

Once there was, and once there was not, a little girl and a little boy...

Best friends Gerda and Kay spend the changing seasons weaving stories and tending their beloved garden. As the flowers bloom, so do they. But when a shard of enchanted glass pierces Kay's heart, everything changes. His laughter freezes. His warmth disappears. Swept away by the enigmatic Snow Queen to her kingdom beyond the aurora, Kay is destined to remain in an endless winter... unless someone dares follow.

Fueled by unwavering love and impossible hope, Gerda embarks on a journey into the unknown. Along the way she encounters unpredictable elements, a talking raven, a band of singing robbers, whispering flowers, deceptive sweetness, and strangers who become family. With every trial she must decide not only how to save Kay but who she is becoming.

Can Gerda withstand the bitter cold and the Snow Queen's relentless desire to control the narrative? Will Kay reclaim the story that was stolen from him, or surrender himself to the silence of the ice?

A beloved folktale reimagined through a new landscape, The Snow Queen explores the people who carry our stories when we no longer can – and the courage it takes to let them go. Equal parts whimsical, haunting, joyful, and deeply human, this production warms even the coldest hearts into blooming again.

The cast of The Snow Queen features ITC ensemble member Courtney Marie as The Snow Queen, with Shannon McEldowney as Gerda, Cee Scallen as Kay, Hilary Sanzel as Storyteller One (The Raven), Bryson David Hoff as Storyteller Two (The Reindeer), Mary Ross as Storyteller Three (Grandma), JA Loyd as Storyteller Four (Old Woman), Mab De Guzman as Storyteller Five (Sprite), Mara Currens as Storyteller Six (The Robber Girl), and Eilish Morse-O’Rourke as Storyteller Seven (Mother).

Following The Snow Queen, ITC’s Eighth Season will continue with the world-premiere of A Portrait of Dr. Gachet – an original musical written by ITC ensemble member Dominick Vicent Alesia. The season will conclude with Footholds Vol. 8, an anthology play written by the community and directed by ITC Operations Manager Courtney Marie.

About the Artists

Mallory Swisher (Playwright) is one of the founding ensemble members of The Impostors Theatre Company. She is a playwright (The Wood, Beyond the Garden Gate), actor, voice actor, and lighting designer. Acting credits include: Mary Poppins (Memorial Opera House), a staged reading of Tippy: Stories from the River (The Impostors), The Altercation in the Underworld (“Best of the Fest” at the Annual Madcap Production Short Play Festival), and Assassins (Crown Point Theater). She was voted First Runner-Up for “Best Theater Designer of 2023” by The Chicago Reader. Lighting design credits include: Footholds Vol.4, Miranda: A War-Torn Fable, Footholds Vol. 3, The House of Baba Yaga, Summer & Smoke, Tippy: Stories from the River, Footholds Vol. 1, Caged: An Allegory, and The Wood, all for The Impostors. Mallory has studied at the iO Theater and received her degree from Valparaiso University. Catch her every other Tuesday on Roll 4 Your Life: a D&D podcast, available on your preferred podcasting platform!

Stefan Roseen (Director & Sound Designer) is a Chicago-based director, designer, and playwright. Since its founding in 2016, Stefan has served as the artistic director of The Impostors Theatre Company (ITC). He most recently directed ITC’s Static-Head and the critically acclaimed, Jeff Award winning Helena & Hermia in the Enamored Odyssey, earning him the award for direction in the short run category. Additional directing credits include Pilot Island & Her Keepers, Beyond the Garden Gate, The Last Living Gun, Miranda: A War-Torn Fable, Windwalkers, Hertha Nova, Summer & Smoke, Tippy: Stories from the River, Caged: An Allegory, The Wood, Art, and The Terrible Tragedy of Peter Pan. His direction of the short play The Altercation in the Underworld won “Best Of” at the MadKap Productions Short Play Festival. Stefan has been Jeff Nominated for his direction of Helena & Hermia and Hertha Nova, as well as his artistic specialization of sound design for Pilot Island & Her Keepers. All three productions were also nominated for Best Production (Short Run), which Helena & Hermia recently won. By day, Stefan is an educator teaching Performance Art and Fine Art. Recent design credits include sound design for Rising Water and Big Time Toppers (Theatre L’Acadie), as well as scenic design for 7 Minutes to Live, Eurydice, A Doll’s House, 25/25, Occidental Express, the Jeff Recommended They, and the Jeff Nominated The Resistible Rise of Arturo Ui (Trap Door Theatre).

Anna Roemer (Director & Choreographer) is a Chicago-based choreographer, director, actor, and teaching artist. She is an ensemble member and the resident choreographer for The Impostors Theatre Company, as well as the co-founder and artistic director of Schoolhouse Shakespeare Company. Recent credits include choreography for the Jeff Award winning Helena and Hermia in the Enamored Odyssey, Monstrous, and Miranda: A War Torn Fable (ITC); as well as Sweeney Todd (Big Noise Theater) and 35 Millimeter: A Musical Exhibition (Three Brothers Theater Co.). She also acts as resident choreographer for the youth performing arts company Music House Inc., where she has choreographed and/or directed over 40 productions. Anna is passionate about creating spaces where stories can be told freely and joyfully, and she is so excited to share one of her favorite fairytales with audiences through The Snow Queen!

The Snow Queen

Parking and Transportation:
The Den Theatre is located in Wicker Park on Milwaukee Avenue. There is limited street parking available and The Den Theatre does not currently have parking or valet.

ITC recommends the usage of the ParkChicago and SpotHero apps. Metered parking is available on Milwaukee Avenue and surrounding side streets. Pay boxes are enforced from 8:00 A.M. – 10:00 P.M. on Milwaukee Avenue and from 8:00 A.M. – 6:00 P.M. on side streets. Pay boxes accept quarters and credit cards and can be fed up to two or three hours, depending on the location.

The theater is easily accessible via the Blue Line to Division or Damen stops and by bus from #56 (Milwaukee), #70 (Division), #50 (Damen), or #72 (North).

About The Impostors Theatre Company

The Impostors Theatre Company stages stories at the crossroads of retrospect and innovation, where the fantastic collides with the everyday. In order to better our discourse, our relationships, and ourselves, The Impostors aim to inspire an urgency for the arts by embracing the art of pretend.

In our eighth season of storytelling, The Impostors endeavor to share stories that weave directly throughout our objective to excite among youth a passion for the arts and to inspire alike the wide-eyed and world-weary. In a rerendering of a fairytale classic, our characters will chart course through a wintery landscape and its garden of lost things, focusing on the beating hearts of its heroes and its resigned foe. In the spring, a brand new musical will unspool the inner lives of those closest to the once unsung artistic genius, Vincent Van Gogh. And, in the fashion of perennial plants, our traditional anthology Footholds will return with an appreciative nod to other avenues of creating and sharing art.

The Impostors Theatre Company is a 501(c)3 non-profit arts service organization. For more information about The Impostors Theatre Company and donating to our mission, we invite you to visit theimpostorstheatre.com. Follow ITC on facebook.com/theimpostorstheatre and on instagram.com/impostorstheatre.

Full cast and production team have been announced for City Lit's production of August Wilson's KING HEDLEY II, to play from Friday, October 16 through Sunday, November 29. KING HEDLEY II is set in the same backyard in Pittsburgh's Hill District seen in August Wilson's SEVEN GUITARS (for which the company won the 2024 Jeff Award for Best Production of a Play). One of Wilson's "Century Cycle" of ten plays, each set in a different decade of the 20^th Century, KING HEDLEY II takes place in 1985, 37 years after the action of SEVEN GUITARS. KING HEDLEY II explores the lives of the children and neighbors of the characters introduced in the earlier play. It will be directed by City Lit Artistic Associate Manny Buckley, who earned a Jeff Award nomination for his direction of City Lit's SEVEN GUITARS. KING HEDLEY II will begins with previews October 16 and will play through Sunday, November 29.
 
Cast in the title role of King Hedley, recently released from prison and determined to rebuild his life on his own terms, is James Lewis, seen most recently in Chicago in A DOG'S HOUSE with Sandbox Theatre Collective. Lewis earned raves in 2025 as the brilliant and arrogant Ben Jonson in Promethean Theatre Ensemble's THE BOOK OF WILL. Andrea Conway-Diaz, remembered for her City Lit roles as Barbara Jordan in VOICE OF GOOD HOPE and Louise in SEVEN GUITARS; will play Ruby, King's mother, a former blues singer whose past reaches back to Wilson's SEVEN GUITARS. Isis Elizabeth, returning to the work of August Wilson after understudying the role of Dussie Mae in the Goodman Theatre's recent production of MA RAINEY'S BLACK BOTTOM, will be King's wife Tonya.
 
Brandon Boler, who is currently playing Ernie in City Lit's World Premiere adaptation of SHANE, is set to play Stool Pigeon, a neighborhood elder and witness figure whose prophetic language links everyday life to spiritual and historical forces. Ernest Henton, an ensemble member of The Artistic Home whose many credits with that company include the Chicago and New York productions of MALAPERT LOVE, will play Mister, King's longtime friend and partner.
 
Jelani Julyus, who had the only male role in HONEYPOT: BLACK SOUTHERN WOMEN WHO LOVE WOMEN in Fleetwood-Jourdain Theatre's world premiere co-production with Northwestern University, plays Elmore. Elmore is Ruby's former lover, whose return stirs old desires, unresolved history, and a devastating revelation. Understudies are Fred Cavair Robinson (u/s Elmore and Stool Pigeon), Yahdina U-Deen (u/s Ruby), LaTorious Givens (u/s Tonya), and Dairyon Bolden (u/s King and Mister).

The KING HEDLEY II designers include Jeremiah Barr (Scenic Designer), Mike McShane (Lighting and Sound Designer), Greg Geffrard (Intimacy/Violence Director), and Melanie Thompson (Props Designer). The production team also includes Michael Lesko (Stage Manager), Jeremiah Barr (Technical Director), Bruce Bennett (Scenic Charge), and Devi Angel (Assistant Stage Manager and crew).
            
All performances will be at City Lit Theater, 1020 W. Bryn Mawr Avenue, Chicago, on the second floor of the Edgewater Presbyterian Church. Tickets are priced at $32 for previews and $40 for regular performances and are on sale now. Senior prices are $5 off the applicable ticket prices. Students and active military are $22.00 for all performances.

KING HEDLEY II
by August Wilson
Directed by Artistic Associate Manny Buckley
25th Anniversary of the Broadway Production
October 16 - November 29, 2026
Previews October 16 – 23

Regular run October 24 - November 29, 2026
Fridays and Saturdays at 7:30 pm, Sundays at 3 pm, Monday, November 16 at 7:30 pm
Tickets $32 for previews and $40 for regular performances. Seniors $5.00 off all prices. Students and active military are $22.00 for all performances. Groups are $30 per person Prices include all fees and taxes.
Tickets available online at www.citylit.org or by phone at 773-293-3682.
All performances at City Lit Theater, 1020 W. Bryn Mawr, on the second floor (accessible via elevator) of the Edgewater Presbyterian Church.
 

Revisiting characters established in August Wilson's SEVEN GUITARS, this play returns to Pittsburgh's Hill District in 1985. King Hedley, a man recently released from prison, attempts to rebuild his life by selling stolen refrigerators so he can buy a video store. Despite decades of generational trauma, can King break free from the crippling socio-economic struggles that have held him down? Amid the realities of rampant crime and drug use in the neighborhood community, he tries to carve out his own destiny. 

Come From Away begins from a place of deep uncertainty, yet what emerges is a story grounded in the steady, everyday kindness people offer when they have nothing else to give. Rather than revisiting the events of September 11 themselves, the musical focuses on the human responses that rose in their wake - small gestures that became anchors for thousands of strangers. Currently running at Marriott Theatre, this production leans into that humanity, reminding us that even in moments defined by fear, communities can reveal their best selves and set the stage for the remarkable true story that follows.

The origins of Come From Away trace back to the ten-year reunion of Gander residents and the airline passengers who found themselves unexpectedly grounded there during the September 11, 2001 airspace shutdown. Writers Irene Sankoff and David Hein attended that gathering, listening as people shared memories of fear, generosity, and the strange intimacy of those five days. Those first-hand accounts became the foundation of their musical, built from interviews, lived experiences, and the community’s own reflections.

Come From Away tells the remarkable true story of how the residents of Gander, Newfoundland opened their town to nearly 7,000 stranded passengers, transforming crisis into connection. Sankoff and Hein’s folk-infused score and ensemble-driven storytelling capture both the urgency of the moment and the warmth that defined the community’s response. Through intersecting vignettes - a pilot grappling with the weight of the tragedy, a couple who unexpectedly find love, and townspeople mobilizing with astonishing kindness as they scramble to meet the needs of thousands - the musical builds a fast-moving, emotionally resonant tapestry of resilience. The many moments are uniquely moving. One storyline follows a gay couple who initially fear they may have been displaced into a community that would not welcome them, only to discover that Gander’s embrace is far more open-hearted than they ever expected. Another centers on a mother whose son is a New York City firefighter, her fear deepening with every hour she goes without word of his safety. A further scene reveals how fear and uncertainty led to an instance of racial bias toward a Middle Eastern passenger, underscoring the tension and misunderstanding that shaped those early hours. It is also notable how long it took many of the stranded passengers to even learn why they had been grounded, completely unaware of the September 11 attacks unfolding beyond the airport tarmac.

One of the most striking things Come From Away made me realize is how little I had ever considered the logistics of suddenly hosting 7,000 unexpected guests. Lodging is the obvious hurdle, but the production makes you think about everything else: baby formula and diapers for stranded families, toothpaste and toilet paper for thousands of people who never planned to stay overnight, the sheer volume of food, toiletries, and basic supplies required to keep an entire town functioning under extraordinary circumstances. It is the kind of practical, human detail that rarely crosses your mind until a musical places it right in front of you. And right in the middle of all that panic and uncertainty, one passenger quietly quotes Philippians 4:6 — “Be anxious for nothing.” The moment lands with such gentle force that it clearly holds the audience, as if the reassurance reaches beyond the stage.

The ensemble works together with the fluid precision Come From Away is known for, but a few roles naturally carry more emotional weight. Beverly, played by Lexie Dorsett Sharp, provides one of the show’s strongest through lines, her reflections as a pilot adding quiet depth to the production. Claude, portrayed by Alex Goodrich, anchors the local perspective with a steady, good-humored presence as Gander’s mayor who so wonderfully inspires the townsfolk, while Hannah, brought to life by Sharriese Hamilton, is a deeply felt presence as the firefighter’s mother. Around them, the rest of the company contribute vivid moments that round out the tapestry of stories, each adding texture without overshadowing the show’s ensemble spirit.

Lexie Dorsett Sharp and cast in Marriott's Come From Away. Photo by Justin Barbin.

The cast also gets a welcome lift from its other strong players, each actor shifting cleanly through multiple roles with the precision the show demands. Justin Albinder, in particular, delivers sharply timed, very funny moments that consistently land. Alongside him, Matt Crowle, Devin DeSantis, Denise Devlin, Sarah Bockel, Madison Kauffman, Heidi Kettenring, Michael Earvin Martin, and Jonathan Shaboo contribute to a unified, well-calibrated company whose collective work feels much larger than the sum of its parts.

Marriott’s production benefits from clear, confident leadership behind the scenes. Jessica Fisch’s direction keeps the ensemble moving with purpose, shaping the intersecting stories with a calm, assured touch that lets the emotional beats land without force. Katie Spelman’s choreography adds subtle lift to the staging - never flashy, but always intentional - helping the momentum build in ways that feel organic to the storytelling. Scenic designer Scott Penner and lighting designer Jesse Klug further elevate the production, using Marriott’s in‑the‑round configuration and luggage that doubles as plane seats to create the illusion of a bustling, overcrowded environment despite a cast of just twelve. Through razor‑sharp transitions, fluid movement, and smart spatial design, the stage often feels packed with 40 or 50 people, turning simplicity into spectacle without ever losing intimacy.

The musical’s score finds some of its strongest moments in a handful of standout numbers. “Me and the Sky,” led by Lexie Dorsett Sharp, remains the show’s defining emotional peak, her performance giving the song a grounded clarity that resonates long after it ends. Ensemble pieces like “Blankets and Bedding” and “28 Hours / Wherever We Are” showcase the cast’s cohesion, capturing both the frantic energy of Gander’s rapid mobilization and the passengers’ first fragile steps toward connection. Alex Goodrich brings an easy charm to “Screech In,” turning the raucous drinking ritual into one of the evening’s most crowd-pleasing scenes. And in “I Am Here,” Sharriese Hamilton delivers a quiet, concentrated punch, shaping one of the musical’s most affecting solo moments. The musical lift throughout is supported by conductor Celia Villacres and music coordinator Trevor Jones, whose work keeps the score driving, unified, and emotionally sharp. In these moments, the score shows its full range, moving easily between lightness, tension, and heartfelt storytelling.

What surprised me most was how deftly the musical balances somberness with humor. Given the weight of September 11^th (now approaching its 25^th anniversary), I expected the tone to stay anchored in grief, but Come From Away keeps finding pockets of levity, warmth, and genuine laughter. The humor never undercuts the tragedy; instead, it highlights the resilience and humanity that emerged in the midst of fear. The show moves back and forth between emotional registers with such ease that you are never left in one feeling for too long, making the experience unexpectedly uplifting.

Marriott Theatre’s production of Come From Away offers a thoughtfully crafted, emotionally grounded evening that earns its place among the company’s stronger musical offerings. The ensemble’s cohesion, the clarity of its overall arc, and the steady warmth woven throughout make this a production well worth seeing.

Highly Recommended.

Runs through October 18^th at Marriott Theatre in Lincolnshire.

One hour and forty‑five minutes with no intermission.

Tickets and additional information: www.marriotttheatre.com/show/come-from-away  

 Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to launch its 51st Season with Suzan-Lori Parks' Pulitzer Prize-winning drama Topdog/Underdog, helmed by Tony Award-winning director Kenny Leon, who returns to Steppenwolf following his hit production of King James. Ensemble members Glenn Davis (Windfall, Purpose–Chicago/Broadway, King James) and Namir Smallwood (Windfall, The Book of Grace, Bug–Chicago/Broadway) go head-to-head in this highly-anticipated revival, more than two decades after the company's celebrated 2003 production. 

Topdog/Underdog will play a limited engagement September 17 — November 1, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Single tickets are currently on sale at steppenwolf.org or the Box Office at (312) 335-1650. 

About the Production:

Brothers Lincoln and Booth, named in jest, are two Black men living in America just trying to get by. Lincoln dresses like his namesake, reenacting his assassination for money and laughs. Booth stays stuck in their apartment, working tirelessly on his three-card hustle. Sibling rivalry and a lifetime of resentment come to a head in this fast-paced and ferocious thrill ride. The deck is stacked with a Tony Award-winning director, a Pulitzer Prize-winning script and a tour-de-force showdown for ensemble members Glenn Davis and Namir Smallwood. "Take thuh cards and show me whatcha got!" 

The creative team includes Arnulfo Maldonado (Scenic Design), Dede Ayite (Costume Design), Lee Fiskness (Lighting Design), Justin Ellington (Sound Design), Jyreika Guest (Violence & Intimacy Consultant), Kate DeVore (Vocal Coach), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), ensemble member Laura D. Glenn (Production Stage Manager) and Jaclynn Joslin (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Topdog/Underdog
Playwright: Suzan-Lori Parks 
Director: Kenny Leon
Cast: ensemble members Glenn Davis (Lincoln) and Namir Smallwood (Booth)
Understudies: Anthony Fleming III (Lincoln) and Patrick Newson Jr. (Booth)

Location: Steppenwolf's Downstairs Theater, 1650 N. Halsted St., Chicago

Dates: Previews: Thursday, September 17 – Saturday, September 26, 2026
Opening: Sunday, September 27, 2026 at 6 pm
Regular run: Tuesday, September 29 – Sunday, November 1, 2026

Curtain Times: Tuesdays, Wednesdays, Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 7:30 pm; and Sundays at 3 pm. Please note: there will not be 7:30 pm performances on Tuesday, September 22, Thursday, October 1, Tuesday, October 6, Tuesday, October 13, Wednesday, October 21 or Thursday, October 22; there will be an added 2 pm matinee on Wednesday, October 21.

Tickets: Classic Memberships starting as low as $165 are now on sale for Steppenwolf's 2026/27 season at steppenwolf.org/myseason. Single tickets for Topdog/Underdog ($20 – $129*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale: Black Card Memberships with six tickets for use any time for any production and RED Card Memberships for theatergoers under 30. *Pricing includes an $8.50 handling fee

Steppenwolf offers 20 tickets for $20 (no added fees) for each performance of every membership series production. Use promo code 20FOR20 to redeem this offer online, available in advance until they're sold out for every main series show. Limit 2 tickets per person. You can also purchase by phone at (312) 335-1650 on the day-of show at 12 pm for main series performances. Limit 2 tickets per person.

Accessible Performance Dates:

Audio-Described and Touch Tour: Sunday, October 25 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Thursday, October 8 at 7:30 pm & Saturday, October 17 at 3 pm
ASL-Interpreted: Friday, October 16 at 7:30 pm

Education and Engagement:

Throughout the 2026/27 season, Steppenwolf continues its commitment to the next generation of theatre learners, makers and appreciators with robust education and engagement programming. Programming includes dedicated student matinee performances during four of the five Membership Series productions including Topdog/Underdog, Adirondack Chair Circle, The Comeuppance and Ellen B., in-school residencies in partnership with Chicago Public schools, workshops, panels and events specifically geared towards teens, as well as professional development trainings and resources for educators. For additional information about Steppenwolf's Education and Engagement programming and to register your school for a field trip, visit steppenwolf.org/education-community/school-teacher-programs/field-trips.

Artist Biographies:

Suzan-Lori Parks (Playwright) is a multi-award-winning writer and musician. She is the first African-American woman to receive the Pulitzer Prize for Drama for Topdog/Underdog, which recently won the 2023 Tony Award for Best Revival. Her other plays include Sally & Tom (2024), Plays for the Plague Year (Drama Desk Award, Best Music, 2023) and Father Comes Home From The Wars (2014). Parks' first marathon-writing "micro diary plays," 365 Days/365 Plays were produced worldwide in what was the largest grassroots collaborative theatre project to date. She is a MacArthur "Genius" Fellow, a novelist: Getting Mother's Body (Random House); and a screenwriter: Girl 6, Genius: Aretha, and The United States vs Billie Holiday. Parks also writes songs and fronts her band "SLP& The Joyful Noise," with her punk-couture medicine show, The Tune Up, world-premiering this summer. As a college student Parks is grateful to have studied creative writing with James Baldwin, who encouraged her to write for the theatre.

Kenny Leon (Director) is a Tony Award-winning director. Broadway: The Balusters, Othello, Our Town, HOME, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch, Topdog/Underdog, Ohio State Murders, A Soldier's Play, American Son, Children of a Lesser God, Holler If Ya Hear Me, A Raisin in the Sun, The Mountaintop, Stick Fly, August Wilson's Fences, Gem of the Ocean and Radio Golf. Off-Broadway: The Conversation (Astor Place Theatre), This World of Tomorrow (The Shed), King James, The Underlying Chris, Everybody's Ruby, Emergence-See! (The Public), Smart People (Second Stage). Opera: Amahl and the Night Visitors, Margaret Garner. Television: Robin Roberts Presents: Mahalia, Colin in Black & White, 4400, Amend: The Fight for America, American Son (adapted for Netflix), Hairspray Live!, The Wiz Live!, Steel Magnolias, Dynasty, In My Dreams. Author: Take You Wherever You Go. Artistic Director Emeritus: Kenny Leon's True Colors Theatre Company. Senior Resident Director: Roundabout Theatre Company. Awards: Obie, Actors Fund Medal of Honor, George Abbott Lifetime Achievement for American Theatre, Jason Robards Award for Excellence in Theatre.

Glenn Davis (Lincoln) is an actor, producer and Artistic Director of Steppenwolf Theatre Company, alongside Audrey Francis, where he has been an ensemble member since 2017. His Steppenwolf credits include Downstate, The Christians, You Got Older, The Brother/Sister Plays, Head of Passes, King James (also Mark Taper Forum), Describe the Night, Purpose and Windfall. Broadway credits include: Purpose; Bengal Tiger at the Baghdad Zoo (also Kirk Douglas Theatre, Mark Taper Forum). Off-Broadway credits include Transfers (MCC Theatre), Wig Out! (Vineyard Theatre), Downstate (Playwrights Horizons, Outer Critics Circle Nomination) and King James (MTC). Other regional credits include Moscow x6 (Williamstown Theatre Festival). International credits include Downstate (National Theatre, UK), Edward II, The Winter's Tale and As You Like It (Stratford Festival), Othello (The Shakespeare Company). Television credits include Billions, 24, The Unit, Jericho and The Good Wife. Glenn is an Artistic Associate at the Young Vic in London and at the Vineyard Theatre in New York. He is also a partner in Cast Iron Entertainment, a collective of artists consisting of Sterling K Brown, Brian Tyree Henry, Jon Michael Hill, Andre Holland and Tarell Alvin McCraney. Cast Iron is currently in residence at The Geffen Playhouse in Los Angeles. In 2021, Glenn founded The Chatham Grove Company along with his producing partner Tarell Alvin McCraney.

Namir Smallwood (Booth) joined the Steppenwolf Theatre Company ensemble in 2017. Steppenwolf: Windfall, Mr. Wolf, You Will Get Sick, The Book of Grace, Seagull, Bug, True West, BLKS, Monster, Man In Love, The Hot L Baltimore, Last Night and the Night Before. Broadway: Pass Over, Bug. Off Broadway: Pipeline, Pass Over (Lincoln Center). Chicago: The Lost Boys of Sudan (Victory Gardens Theater); Charm (Northlight Theatre); The Grapes of Wrath (The Gift Theatre); East Texas Hot Links (Writers Theater). Regional: Marin Theatre Company, Pillsbury House Theatre, Ten Thousand Things, Guthrie Theater. International: True West (Galway International Arts Festival). Television: Chicago Fire, Betrayal, Elementary, American Rust (Showtime/FreeVee); Power Book IV: Force (STARZ). Film: Rounding, About Time, Bailey's Blues.

Accessibility:As a commitment to make the Steppenwolf experience accessible to everyone, performances featuring American Sign Language Interpretation, Open Captioning and Audio Description are offered during the run of each STC production. Assistive listening devices (ALDs), large-print programs and Braille programs are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information:United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul M. Angell Family Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, Walder Foundation, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Rich and Margery Feitler, FROST CHICAGO, Jessica and Dominic Green Family Fund, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Polk Bros. Foundation, Sacks Family Foundation, Gary Sinise Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo, and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the Illinois Arts Council and the City of Chicago Department of Cultural Affairs and Special Events.            

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 51 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

The first thing you notice about the meticulously curated Black dance performance held at the Harris Theater over the weekend is language.  The eloquence and weight of the words used to explain why the Chicago Black Dance Legacy Project (CBDLP) exists and what it hopes to achieve. 

Organized in 2019, Black dance companies rooted in Chicago joined forces to learn from one another artistically and operationally while working in collaboration with the Reva and David Logan Center for the Arts in Hyde Park and “other University of Chicago entities”. Sustaining viability and preserving legacy were placed at the heart of the project’s end objectives. 

Its formation would have several residual benefits.  An annual festival of dance performed by the companies who make up CBDLP remains chief among them.  Events like the one held Friday night to a sold-out house also raise the profile of Black dance in Chicago and underscore its contributions to the city’s cultural topography and its continuing vitality. 

Dancing the Archive:  Embodied Histories, Collective Power / Photos by Kyle Flubacker.

Honoring and showcasing the history and the arc of Black dance sat at the core of Dancing the Archive: Embodied Histories, Collective Power, the title of the evening’s multi-textured production.  Not only was it dense with dance featured by ten of the project’s cohort companies, video clips that provided essential context on the trailblazers who spearheaded creative renewal within the Black creative community was also woven through this remarkable gala.  The clips also helped to convey the importance and significance of the works being performed.  Framed as chapters in a book, the dances flowed together to tell a comprehensive story.

Made up of 175 companies, dance culture in Chicago is extraordinarily deep, wide and rich. For Black companies who often face greater exposure challenges, Dancing the Archive serves to train the spotlight on their presence and gifts. The high degree of that talent and its proliferation marked the entire program that opened with a focus on youth. 

Each individual work or dance suite performed honored a key individual who is making or has made significant contributions to Black dance or some other aspect of the city’s cultural art forms that reflect the Black experience.  Through The Stillness celebrated Homer Bryant, founder of the Chicago Multi-Cultural Dance Center.  A work that Mr. Bryant choreographed and performed here by members of his company, it used Albinoni’s Adagio for Organ and Strings to pay homage to concentrated sensuousness. A dance for two performed by Sasha Levy and Davion Bellinger, it was an accomplished composition of strength, control and technical mastery executed with extreme beauty by two young dancers.

Dancing the Archive:  Embodied Histories, Collective Power 

The first chapter’s companion piece, Touch U, was a world premiere and an adaptation of Gerald Arpino’s Touch Me.  In it, choreographers Bradlee Lathon and Pierre Lockett collaborated with a phalanx of their very youthful and talent-laden dancers at Forward Momentum Chicago to present a dance sparkling with infectious positivity.  Bursting with innovative and highly sophisticated contemporary dance design, Touch U felt as if you were watching the next generation of dance on a maiden voyage. One that couldn’t have been more stimulating or aesthetically refreshing.

That sense of captivating vibrancy defined Dancing the Archives.  In addition to the absorbing heritage-centered components of the program, dance was used to provide visual markers to history and highlight the place Black dance held during its march.  Najwa Dance Corps’ Ancestral Steps looked back to dance crazes 100 years ago in the mid 1920s when the Charleston electrified a generation and the music of Count Basie ruled the airwaves.  Later, in another world premiere, M.A.D.D. Rhythms with their Oscar Plays Gershwin Suite (They All Laughed, Summertime, Nice Work If You Can Get It), deftly exalted the “fire, finesse and swing” of tap with cool bravado.

The span of time and of dance expressions that paralleled it was vast.  Muntu Dance Theatre of Chicago in Woven jubilantly recalled another time and place when “living archives” were embodied in a central griot-like figure.

Lines in Motion danced by The Era Footwork Collective was all about the kind of suavity that happens when you fuse mellow chill to dazzling footwork; creating repeated flashes of dance lightning in the process. 

With Chance the Rapper as honoree, Chicago Multicultural Dance Center and Hiplet Ballerinas placed an impish toe in the future with its playfully eerie Speed of Light; attaching culturally specific overtones to our tech laden times.

Dancing the Archive:  Embodied Histories, Collective Power 

Superlatives in either concept, execution or; most commonly, both ran thick in many of the other dances performed.  Most of which have never been seen by audiences until now. Dorianne Thomas’s solo in Who Will Comfort Me, a world premier for the record books by the Joel Hall Dancers, was flawless in her display of dance fluency and emotional projection through movement.  Attributes found in other performances were just as noteworthy.   Praize Productions Inc.’s Leader of the Pack and Deeply Rooted Dance Theater’s excerpt from Crowns instantly come to mind.  As does that churning and jubilant tribute to Curtis Mayfield and Lupe Fiasco by Move Me Soul.  Curtis Suite and Sour, masterminded by Diana Muhammed, brought back to life the musical catalog of a genius and created a dance piece that complemented it gorgeously.

Because remembrance played such a significant role in the program, the In Memoriam segment commemorating leaders and standard bearers who died in 2025 was particularly notable and memorable.  Before presenting the names and images of the fallen, a solo rendition of Precious Lord was sung by Cholé Johnson.  Distinguished by its spare simplicity and for Ms. Johnson’s captivating interpretation, the artistic merits of the performance were astonishingly high.   The song’s inclusion fittingly reveals the thread of the divine that lies within so much Black creative enterprise.  An indispensable component often found in the bedrock of creative inspiration.

Dancing the Archive:  Embodied Histories, Collective Power

Chicago Black Dance Legacy Project

August 28, 2026

The Harris Theater for Music and Dance

205 E. Randolph Street

Chicago, IL  60601

For more information:  https://www.chicagoblackdancelegacy.org/

Giordano Dance Chicago (GDC) hosts its highly anticipated 19th Anniversary "Dancing With The Giordano Stars" ballroom dance competition 7-11 p.m. Thursday, Oct. 8 at Park West, 322 W. Armitage Ave. This popular annual event, patterned after the hit ABC series "Dancing With The Stars," benefits GDC's transformative initiatives through the GDC Youth Arts Education Fund. Event Co-Chairs are Dina Gallay and Sandy Golub. Emcee for the evening is former FOX News and sports anchor Corey McPherrin.

On Oct. 8, a group of Chicago A-listers, each with their Giordano professional dancer partner, will compete for a shot at winning the coveted Disco Ball and the title of Best Male Dancer or Best Female Dancer. The stakes are high with each couple performing only one dance for one chance to impress the guest judges including Emmy Award-winning director, choreographer and GDC Resident Choreographer Al Blackstone, Associate Publisher Chicago Star Media and author of the Candid Candace Blog, Candace Jordan and Emmy Award-winning Anchor/Reporter and Host at Fox 32 Chicago, Tia Ewing. Contestants also vie for special awards for Top Fundraiser and Audience Favorite.

The slate of male contestants (and their GDC dance partners) includes. Andy Anisfeld, Vice President Medical Affairs and Health Impact, Immunology, AbbVie (Erina Ueda), Adam Cummis, Restaurateur, Blaze Pizza (Analysse Vance), Ted Grady, Partner, J&L Catering ,(Sasha Lazarus), Erik Kessler, Managing Director, Alvarez & Marsal (Amanda Hickey-Newcom) and Peter Q. Thompson, Managing Director, Blue Marlin Partners (Talia Luzzo).

The slate of female contestants (and their GDC dance partners) includes Jordan C. Carqueville, MD, Founder of Derm Institute of Chicago (Joshua Brumm), Allana Emery, Finance Director , Publicis Groupe (Eduardo Zambrana), Annie Laughton, Stay at Home Mom (Simon Schuh),  Bonnie Micheli, CO-CEO, Shred415 (Aidan Aloma) and Elena Moore, Physician, Gynecologic Oncology, Endeavor Health (Adam Houston).

Individual tickets begin at $150. Tickets include a 4-hour open bar and light fare provided by J&L Catering. For tickets or more information, visit giordanodance.org/dwtgs or call 312.922.1332.

"Dancing With The Giordano Stars" fundraising supports GDC's transformative initiatives. Through the Youth Arts Education Fund, the company illuminates the path for the next generation with innovative programs such as the CPS Jazz Dance/Science & Health, GDC's Free Ticket Program, dynamic dance workshops, enriching mentorship partnerships, immersive school residencies and the esteemed NGCP® certification.

"Dancing With The Giordano Stars 2026" precedes GDC's "untamed passion" fall engagement
at the North Shore Center for the Performing Arts in Skokie, located at 9501 Skokie Blvd.,
at 7:30 p.m. Friday, Nov. 6 and Saturday, Nov. 7. For tickets, visit northshorecenter.org.

America's original jazz dance company electrifies into their 64th season with radiance and infinite horizons. Giordano Dance Chicago (GDC) is an iconic cultural institution with deep roots in Chicago and around the globe (28 countries, 47 states, and more than 1,300 cities). From founder Gus Giordano's vision, the company continues to honor the past while pushing the art form forward. Nan Giordano celebrates 42 years as an artistic leader responsible for commissioning innovative choreographic works and mentoring thousands of dancers. Alongside Nan, Associate Artistic Director, Cesar G. Salinas and the magnificent dancers are an integral part of the GDC legacy. Al Blackstone serves as Resident Choreographer, truly a testament that the art form of jazz dance is thriving. The company is one of the few in the world that has a foundational technique, Nan Giordano Certification Program®, with certified teachers in 9 countries and 36 states. GDC is committed to Youth Arts Education at home and on tour through mentorships, scholarships, and our free Chicago Public Schools and park programs. GDC is proud to be one of the longest running dance companies in the world, continuing to enrich lives through dance. For more information visit giordanodance.org.