Displaying items by tag: live theatre

Hyde Park School of Dance, now in its 33rd year of training, performance, and community, welcomes families and dance enthusiasts to its annual, one-of-a-kind presentation of The Nutcracker. Performances are December 11–13 at Mandel Hall on the University of Chicago campus, 1131 E. 57th Street, Chicago. 

Hip hop mice face off against breakdancing soldiers in HPSD's playful reimagining of The Nutcracker's classic battle scene, where creative self-expression turns conflict into connection. The battle is one of the signature moments in a production that brings classical ballet, hip hop, breakdancing, modern, AcroDance, West African, and Chinese dance together to tell the familiar holiday story. Narration throughout helps audiences of all ages follow the adventure.

Refreshed each year, the production features a cast of more than 200, from dancers as young as 7 to members of HPSD's pre-professional Studio Company Program and adult performers from the community. The result is a celebration of dance across styles and generations, with fresh discoveries for returning audiences and a welcoming introduction for those experiencing their first Nutcracker.

This production marks the first since the retirement announcement of Founding Artistic Director August Tye following 32 years of leadership. Under Interim Artistic Director Amber Echols, the production enters its next chapter, shaped by her wide-ranging dance background while building on Tye's decades-long legacy. Echols started as a student at the Hyde Park School of Dance more than 20 years ago, performing annually in The Nutcracker herself. 
 
"I am incredibly grateful to return for my second year as Interim Artistic Director and have the opportunity to continue leading this special production," said Echols. "The Nutcracker has always held a special place in my heart. I remember being a young dancer on this very stage, dreaming about the roles I hoped to dance one day, and now I have the privilege of helping create those same moments for our dancers. It is truly a full-circle experience to watch their excitement during auditions, hear them talk about their dream roles, and see them grow throughout the process. Helping to carry on this tradition while creating new memories for the next generation of dancers holds deep meaning for me."
 
This year, HPSD welcomes community partners for Neighborhood Night on Friday, December 11, with opportunities to connect around resources and opportunities available to local residents. Audience members are welcome to bring a donation for the Hyde Park-Kenwood Food Pantry and arrive early to explore ways to engage. Community partners may sign up to participate by using this form.
 
HPSD presents its youngest performers (ages 4–6) as part of the special Young Dancers Holiday Pre-Show prior to both performances on Saturday, December 12. 
 
The production also includes surprise cameos by local VIPs in the larger-than-life role of Mother Ginger—this year including a special appearance by HPSD Founding Artistic Director August Tye on Sunday, December 13. Tye also teaches a special pre-show class for alumni on Sunday.

The Nutcracker takes place Friday, December 11 at 7 p.m.; 
Saturday, December 12 at 1 and 6 p.m.;
and Sunday, December 13 at 2 p.m. 
at Mandel Hall, 1131 E. 57th Street, in Chicago.  

General admission is $38.10 for adults, $28.10 for seniors (65+), 
$18.10 for children ages 6–18 and college students with school ID, 
and $8.10 for children 5 and younger (lap children are free).
Special $48.10 preferred section tickets are available for all ages.
All prices include service fees.

Tickets are available October 27 at 31109.danceticketing.com/.

NOTE: All performances include ASL interpretation; guests requiring seats for the interpretation should email This email address is being protected from spambots. You need JavaScript enabled to view it. prior to purchasing tickets.

Hyde Park School of Dance 

Founded in 1993 as the Hyde Park School of Ballet, Hyde Park School of Dance is a 501(c)(3) nonprofit providing opportunities for students of all ages and abilities to study, perform, and create classical and contemporary dance at the highest levels of discipline and artistry within a community dedicated to the welcoming inclusion of dancers of all races, religions, body types, genders, sexual orientations, and family income backgrounds. Under the leadership of Interim Artistic Director Amber Echols, Hyde Park School of Dance is committed to offering everyone the chance to experience the empowering rewards of self-discipline, hard work, and collaboration in a diverse and supportive environment, cultivating a love of dance and a strength of body, mind, and character that will benefit students of all ages throughout their lives.

For information, visit hydeparkdance.org.

Kokandy Productions is pleased to conclude its 2026 Season with A Clockwork Orange: A Play with Music, a live adaptation of Anthony Burgess's dystopian novel that brings the cult-classic "horrorshow" to visceral, pulsing, terrifying life. Directed by Producing Artistic Director Derek Van Barham, with music direction and original music by Sean Ellis and choreography by Breon Arzell , A Clockwork Orange will play November 5, 2026 – January 10, 2027 on The Chopin Theatre Mainstage, 1543 W. Division St. in Chicago. Tickets are on sale now at kokandyproductions.com or bit.ly/ClockworkChicago.

A Clockwork Orange will be led by Reilly Oh as the charismatic yet sadistic Alex DeLarge. Hannah Antman (Pete), Jamille Calixte (Georgie) and Ben Harmon (Dim) will portray Alex's band of Droogs, with Robert Hunter Bry, Colin Callahan, Sydney Genco, Jaiden Lindsey, Tommy Thams and Lizzie Williams creating an "ultra-violent" world of doctors, officers, government officials, inmates, milk bar patrons and more. Stone TeSelle will understudy Alex Delarge, with swings including Jenni Babisch, Jeff Menezes and Skye Steury.

"Having both the beloved book and the cult classic Kubrick film as references gives us even more opportunity to surprise our audience and subvert expectations," says Producing Artistic Director Derek Van Barham. "Immersing the audience in the dystopian decadence of Alex and his droogs resonates differently in 2026, when choice and individual expression are both under attack. At this moment, should we be willing to sacrifice any part of what makes us uniquely ourselves? What first appears to be a story about curing evil in a rebellious teen may also double as a cautionary tale about using fear to create a more socially acceptable kind of monster."

About the Production

A Clockwork Orange lures audiences into a glass-edged, testosterone-filled underworld of a dystopian future. The explosive story of little Alex and his rebellious gang of Droogs is a groundbreaking and twisted tale teeming with sexuality and "a bit of the old ultra-violence." As hauntingly relevant today as when Burgess's book first published in 1962 and when Stanley Kubrick's cult classic film caused a stir in 1971, A Clockwork Orange is an unapologetic celebration of the human condition. And Beethoven.

The production team includes Eric Luchen (Scenic Design), Rachel Sypniewski (Costume Design), G "Max" Maxin IV (Lighting Design), Matt Reich (Sound Design), Julian Weslander (Properties Design), Syd Genco (Makeup Design), Keith Ryan (Wig Design), Kirsten Baity (Intimacy Director), Lana Whittington (Fight Director), Carrie Hardin (Dialect Coach), Shane Roberie (Casting Director), Nicholas Reinhart (Production Manager), Amelia Osborn (Associate Production Manager), Corbin Paulino (Stage Manager), Michael Latiolais (Assistant Stage Manager), Scot Kokandy (Executive Producer) and Derek Van Barham (Producing Artistic Director).

PRODUCTION DETAILS:

Title: A Clockwork Orange: A Play with Music

Playwright: Anthony Burgess, adapted from his novel

Director: Derek Van Barham

Music Director and Original Music: Sean Ellis

Choreographer: Breon Arzell

Location: Chopin Theatre Mainstage, 1543 W. Division St., Chicago

Dates: Previews: Thursday, November 5 – Friday, November 20, 2026

Regular run: Sunday, November 2, 2026 – Sunday, January 10, 2027

Curtain Times: Thursdays, Fridays and Saturdays at 7 pm; Sundays at 5 pm. Please note: there will not be a performance on Thursday, November 25 (Thanksgiving); Thursday, December 24 (Christmas Eve), Friday, December 25 (Christmas Day), Thursday, December 31 (New Year's Eve) or Friday, January 1 (New Year's Day); there will be added performances on Wednesday, November 25 at 7 pm; Tuesday, December 22 at 7 pm, Wednesday, December 23 at 7 pm, Tuesday, December 29 at 7 pm and Wednesday, December 30 at 7 pm.

Tickets: Previews $28.52* general admission, $39.19* reserved seating. Regular run $55.20* general admission, $65.87* reserved seating. Students/seniors $44.52*. There will be a limited number of lower-priced tickets (with code ARTIST) available to artists for each performance. Tickets are on sale now at kokandyproductions.com or bit.ly/ClockworkChicago. *Ticket prices include processing fees

About the Artists

Derek Van Barham (Director) is the Producing Artistic Director of Kokandy Productions. Directing credits include Children of Eden in Concert (Broadway In Chicago), Jekyll & Hyde (BIC/Kokandy), Amélie, Into the Woods, Alice by Heart, Sweeney Todd, American Psycho, Head Over Heels (4 Jeff Awards and 3 Jeff nominations, Kokandy); Spring Awakening (Flint Rep); Rock of Ages (Metropolis); The View Upstairs (Circle Theatre); Miracle by Dan Savage, Poseidon (Hell in a Handbag), Natasha Pierre and the Great Comet of 1812, Carrie, Bat Boy, Merrily We Roll Along (CCPA/Roosevelt University). Choreography credits include Evil Dead (Jeff nomination), Coraline the Musical, Ghost Quartet and Shockheaded Peter (Black Button Eyes). He was previously named one of Windy City Times' 30 Under 30, and one of Newcity Magazine's 50 Players 2024 and 2026. MFA: CCPA/Roosevelt University. IG: @dvbarham

Sean Ellis (Music Director, Original Music) is a Chicago-based multimedia artist working with music, sound, dance, movement, burlesque and acrobatics, and is the second sibling in the Haus of Twirl. Their work aims to engage vulnerability, inspire introspection and generate collective action. Their work has brought them around the world, creating, performing and producing award-winning art. This includes artistic research residencies at Lund University, invitations to present work with the UN of Sweden and the Clinton Foundation Global Initiative Summit, as well as performances at Steppenwolf Theatre, The Hanna Theater, and more. Additionally, Sean's art has been recognized through numerous awards, including selected student composer at the Chicago Electro-Acoustic Music Festival, the Grammy-Award winning Cleveland Chamber Symphony's Emerging Composer Award, the 2017 OperaFEST featured composer and the 2018 Matthew Freeman Social Justice Award through the Mansfield Institute for Social Justice and Transformation. Sean holds bachelor's and master's degrees in music composition from Baldwin Wallace Conservatory of Music and Roosevelt University Chicago College of Performang Arts, respectively.

Breon Arzell (Choreographer) Kokandy: The Wiz, Head Over Heels, American Psycho. Chicago: A Strange Loop (Raven/AboutFace), How We Got On (Definition Theatre), The Color Purple (Goodman), Black Excellence Shows & Main Stage Revue (The Second City), Brothers Size, We ARE Proud... (Steppenwolf), KillMoveParadise (TimeLine Theatre) and more. Regional: Select: Signature Theatre, Cape Fear Regional Theatre, Woolly Mammoth Theatre, MUNY, The Kennedy Center, Olney Theatre Center, Oregon Shakespeare Festival. International: Italy, A.C.L.E. Theatrino; Germany, White Horse Theatre; Denmark, World Theater Festival; Singapore, LaSalle SIA. Education: DePaul University, Northwestern University, University of Illinois-Chicago. Film/TV: The 4400, SouthSide, Whole + Six Feet Apart, Blacksite. Awards: 5 Jeff Awards (Joseph Jefferson, Chicago), 2 Black Theater Alliance Awards, Helen Hayes Award for Best Choreography.  www.breonarzell.com @breonarzell

About Kokandy Productions

Founded in 2010, Kokandy Productions seeks to leverage the heightened reality of musical theatre to tell complex and challenging stories, with a focus on contributing to the development of Chicago-based musical theatre artists, and raising the profile of Chicago's non-Equity musical theatre community.

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot Kokandy (Executive Producer) and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot Kokandy, Danielle Sparklin and Katie Svaicer. 

For additional information, visit kokandyproductions.com. 

It’s back by popular demand! Broadway In Chicago is excited to announce that THE BOOK OF MORMON is now playing at Broadway In Chicago’s Cadillac Palace Theatre (151 W. Randolph St.) for a limited engagement through November 1 only.

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 six-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 March 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 2012 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.com

For 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 October 23, based on availability and subject to change)
Individual tickets for THE BOOK OF MORMON are on sale now and range from $49.00 to $169.00 with a select number of premium tickets available. The listed ticket prices apply to purchases made in person at the box office. Additional fees apply for online purchases. Patrons can also participate in a digital lottery for a chance to purchase $30.00 tickets for each performance, which is inclusive of all mandatory taxes, restoration, handling, and third-party fees. In addition to the lottery, a limited number of day-of-show, in-person Rush tickets will be available for $49.00 for all performances. Click here for more info on Digital Lottery and In-Person Rush. 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.
Follow @BroadwayInChicago on
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#broadwayinchicago

The Artistic Home's 2026-27 season will include works by new writers, along with less performed works by two of the greatest playwrights of the past 140 years. After opening their season on November 5 with CUT TO THE CHASE at the Lookingglass Studio Theatre, the company will return to The Den Theatre for the remainder of the season. There, The Artistic Home  will present Arthur Miller's later career drama, THE PRICE, from January 21 to February 28 and conclude their season with Anton Chekhov's first produced play, IVANOV, which will play from May 1 to June 6.
 
A staple of Chicago theater for over two decades, CUT TO THE CHASE presents as one fun night of theater a number of new plays chosen from hundreds of submissions by writers from across the country. The plays are performed back-to-back, with the complete program running approximately 80 minutes. CUT TO THE CHASE is a perfect taste of dynamic theater in an intimate space. Ensemble member Annie Hogan will curate the festival, which will be directed and performed by ensemble members and other theatre artists. CUT TO THE CHASE will be performed for two weekends, from November 5 -15, at the Lookingglass Studio Theater, 163 E. Pearson at Michigan Avenue, on Chicago's Magnificent Mile. Tickets are $25.00 plus fees and are available at https://www.theartistichome.org/cut-to-the-chase-2026-2027.
 
The lineup of plays for this edition of CUT TO THE CHASE includes "Bone Fire" by Nina Dellaria, directed by Eve Pahoresky and performed by Caitlin Jemison and Chris Clowers; "Devoted and Other Adjectives" by Brian S. Brijbag, directed by Devon Carson and performed by Mary Mikva and Michael Baylor; "Gouting" by Dan Caffrey, directed by Jacob Watson and performed by Delia Ford and Lee Kanne; "Posthumy!" by Siah Berlatsky, directed by Savaun Stokes and performed by Janice Rumschlag and Jared Goudsmit; "Rot" by S.A. Ellis, directed by Julian Hester and performed by Charlie Irving and Trevor Hendrix; and "Break" by Margaret Richard, directed by Christian Helem and performed by Taylor Talhame, Nick Buzzi, and Elizabeth Sacha.
 
CUT TO THE CHASE will be followed in January by THE PRICE, Arthur Miller's play first produced in 1968. Two estranged middle-aged brothers reunite in the attic of their family's Manhattan brownstone to sell off a lifetime of estate furniture. The cluttered attic filled with family furniture acts as a physical repository of the past, where characters project their unresolved grief, bitterness, and relational attachments onto physical things. THE PRICE was Miller's last major Broadway hit, and while less frequently performed than his DEATH OF A SALESMAN, ALL MY SONS, THE CRUCIBLE, or A VIEW FROM THE BRIDGE, THE NEW YORK TIMES called it "one of the most engrossing and entertaining plays that Miller has ever written." It will be performed and directed by a cast of The Artistic Home ensemble members, with Scott Westerman directing Kristin Collins, John Mossman, Frank Nall, and Todd Wojcik. THE PRICE will open to the press on Thursday, January 28, following previews on January 24, 25, and 27; and play through February 28, in the Bookspan space of The Den Theatre.
 
Closing the company's season will be Anton Chekhov's first produced full-length play, IVANOV. Like Chekhov's later plays – CHERRY ORCHARD, SEAGULL, and THREE SISTERS, it explores themes of loss amidst a changing society. The title character, once a highly successful member of the County Counsel, is deeply in debt, in danger of losing his estate, and most troubling, is severely depressed. Ensemble member Ted James will direct. IVANOV will open to the press on Thursday, May 6, following previews on May 1, 2, and 5; and will play in the Bookspan space at The Den through June 6.

The Artistic Home's 2026-27 is sponsored by the Michael and Mona Heath Fund.
 
Tickets for CUT TO THE CHASE are $25.00 plus fees and are available at https://www.theartistichome.org/cut-to-the-chase-2026-2027. Ticketing information for THE PRICE and IVANOV will be announced later.

Need something better than old reruns of Hallmark Movies this holiday season? Want to see some real nut-crackers?

Then dash on through the snow to catch The Second City’s Nut-Cracking Holiday Revue, November 20-December 23 at Paramount’s Copley Theatre, 8 E. Galena Blvd. in downtown Aurora.

Classic holiday family gatherings, office parties, movies, and Mariah Carey on infinite repeat will be severely lampooned in this fast-paced, interactive comedy revue stuffed with seasonal songs, sketches, and, of course, a heaping slice of Second City’s world famous improv comedy. 

See the revue that will have you Ho Ho Ho’ing and Ha Ha Ha’ing all through this un-silent night. Performances are November 20-December 23: Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 3 and 8 p.m., and Sunday at 3 p.m. No show on Thanksgiving, Thursday, November 26. Added holiday week performances are Monday, Tuesday and Wednesday, December 21- 23 at 7:30 p.m.

Tickets are $45*. For tickets, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount box office Monday through Saturday, 10 a.m. to 6 p.m., or until show time on show days. For group discounts, contact Melissa Striedl, This email address is being protected from spambots. You need JavaScript enabled to view it. or (630) 723-2461. *Prices are for in-person purchases. Additional fees apply for phone and online orders.

Black Girls Dance^®, which centers Black and Brown girls in joyful community, presents its sixth annual production of Mary, A Holiday Dansical, choreographed, written, and directed by Founder Erin Barnett. This fundraiser returns for one night only Sunday, December 13 at 4 p.m. at the Reva and David Logan Center for the Arts, 915 E. 60th Street, Chicago.
 
Mary, A Holiday Dansical is a modern twist on the traditional Black Nativity told through ballet, hip hop, tap, and contemporary dance. The first act focuses on the struggles of a typical teenage girl searching for her purpose in life. She is visited by an angel (ballerina) and learns she will conceive and bring forth a child who will be the Savior. Mary turns to her mother and close circle of friends for support, similar to today's teenagers. The second half includes Christmas songs such as "Mary, Did You Know'" and holiday favorites like "Joy to the World."

The cast of 33 dancer-actors includes Abigail Baker, a junior at St. Ignatius College Prep, in the lead role of Mary. Joining the cast this year are Lori Wiggins as the Angel and Myles Harris as Joseph, both appearing courtesy of Deeply Rooted Dance Theater.

Mary continues to raise funds for BGD's capital campaign, supporting the creation of its new home, the Full Circle Performing Arts Center, 9350 S. South Chicago Ave. The center is on track to open in fall 2027. BGD was recently awarded a $150,000 predevelopment grant from the City of Chicago to support the project. "When audiences support Mary, they help create more opportunities for our girls onstage and bring us closer to a permanent home," said Barnett. "Full Circle will give us room to grow and welcome South Side families into a space where the arts and wellness are part of everyday life."

Mary, A Holiday Dansical takes place
Sunday, December 13 at 4 p.m.
at the Reva and David Logan Center for the Arts,
915 E. 60th Street, Chicago.
 
Tickets are $24 for reserved seating, $66 for VIP reserved seating,
available at ticketfalcon.com/e/mary2026/.

 
All programming is subject to change. For information, visit blackgirlsdance.org.
 
Black Girls Dance^®, founded by Erin Barnett in 2015, is a Chicago-based nonprofit organization dedicated to empowering young dancers of color through high-quality dance education, artistic development, and performance opportunities. More than a dance studio, Black Girls Dance creates a community where young people experience a sense of belonging, build confidence, develop their artistry, and discover their potential both on and off the stage. Founded on the belief that dance is a powerful vehicle for empowerment, the organization became a 501(c)(3) nonprofit in 2021.Barnett, a Chicago native, was the first African-American dancer to portray Clara in the Chicago Tribune Charities production of The Nutcracker at McCormick Place. Her professional career includes international tours with Garth Fagan Dance and Philadanco!, a three-year run as Sarafina in The Lion King in Las Vegas, and a performance with Beyoncé at the Billboard Awards. She is also the author of two children's books, Get Outta Here Stage Fright! and Do You Speak Ballet?, inspired by her passion for dance education and empowering young people.

There are funerals where grief brings a family together, and then there are funerals where grief opens the door to everything a family has spent years trying to keep buried. In Hayward, playwright Netta Walker turns a father’s funeral into a reckoning with family secrets, unresolved pain, and the ghosts that refuse to stay in the past.

Given a bold world-premiere production by The Gift Theatre, presented at Steppenwolf’s 1700 Theater, Hayward, directed by AmBer Montgomery, reimagines elements of Hamlet and Electra through the eyes of Luna, the youngest daughter in a deeply complicated family. On the day of her father’s funeral, Luna announces that his ghost has come to visit her. What follows is part family drama, part dark comedy, and part haunting exploration of the emotional inheritance passed from one generation to the next.

The play opens with a funeral, and from the moment the family enters, it is clear that this will be no ordinary farewell.

Luna (Ireon Roach), her father’s favorite child, is overwhelmed by grief as she stands at the podium to deliver his eulogy. Her siblings seem considerably less interested in mourning. Eric (Victor Musoni), dressed in a white memorial T-shirt and sagging pants, and Leila (Sydney Charles), wearing a white dress that seems decidedly inappropriate for the occasion, give the impression they would rather be anywhere else. Their oldest brother, AJ (Gregory Fenner), a military man, stands rigidly at attention, as though guarding the proceedings at a state funeral.

Seated apart from the chaos is Maria (Shanesia Davis), the family matriarch, dressed in white, her face veiled and a white handkerchief close at hand. She carries herself with the solemnity of a woman accustomed to holding a family together, even when its members threaten to tear one another apart.

(from left) Alfred Wilson, Gregory Fenner, Shanesia Davis and Ireon Roach in The Gift Theatre's presentation of Hayward at Steppenwolf’s 1700 Theater. Photo by Joe Mazza / Brave Lux.

During the service, Luna sees her deceased father, Tony (Watson Swift). Her vision is quickly dismissed, but the encounter signals that something deeper is happening within this family. At the gravesite, the arrival of Uncle Johnson (Alfred Wilson), who is also a pastor, adds another layer of tension. There is little pastoral comfort in Johnson’s approach. He berates the family, directing particular hostility toward Luna because of who she is.

Religion, family expectations, and personal identity collide, and the resulting arguments reveal a household where love and resentment have become inseparable. The siblings fight, challenge one another, and expose old wounds, yet beneath their dysfunction is a recognizable bond. They may not know how to care for one another gracefully, but the connection remains.

At the center is Luna, whose grief is both the most visible and the most unsettling. Her father’s visits are not simply a supernatural manifestation of mourning; he has a request for her that reaches beyond the grave. As the family’s history unfolds, we learn that Tony served in the military during the Gulf War and returned carrying psychological wounds. The play suggests that the trauma he experienced did not end with him. His children, particularly Luna, may have inherited some of the emotional consequences without fully understanding their origins.

Walker’s most compelling achievement is her creation of characters who feel genuinely complicated. These are not tidy theatrical portraits of a dysfunctional family. They are people whose behavior can be outrageous, infuriating, and unexpectedly tender, sometimes within the same scene. The comedy emerges naturally from their interactions, offering relief without entirely diminishing the pain beneath the laughter.

Montgomery has assembled a strong ensemble and directs the actors with a clear sense of purpose. One of the production’s funniest moments comes when Maria sits center stage and her children gradually gather around her, one by one, as if seeking the comfort of the family’s center. When the last child arrives, Maria simply gets up and leaves them together. The gesture is hilarious, revealing, and familiar to anyone who has watched a family matriarch reach the limits of her patience. It is a moment best experienced rather than explained.

The scenic design is another notable achievement. The stage transforms from a church to a gravesite and eventually into the family’s living room. The final home setting is impressively detailed, providing a convincing domestic space in which the family’s conflicts can continue to unfold. My reservation is the time required to complete the transformation. Although the finished environment is effective, the process of getting there interrupts the production’s momentum.

Ultimately, Hayward is an entertaining and ambitious work that uses humor, supernatural elements, and family conflict to examine the lasting effects of trauma. Walker’s play is interested in the emotional territory families occupy: the memories they avoid, the wounds they pass along, and the love that survives even when they struggle to express it.

Still, the play would benefit from sharpening its central argument about mental health. Tony’s military service and the suggestion of inherited trauma offer fertile ground, but the relationship between psychological injury, family behavior, and Luna’s experiences could be developed with greater clarity. The subject deserves more than implication, particularly when the play so effectively demonstrates how one person’s unresolved pain can shape an entire household.

With its memorable characters, dark humor, and committed performances, Hayward offers a lively and often moving portrait of a family trying to find its way through grief. Like a Floridian-style shiva, the gathering is noisy, irreverent, and emotionally unpredictable. The dead may have been laid to rest, but in this family, the past is very much alive.

RECOMMENDED

When: Through Nov. 15

Where: Steppenwolf’s 1700 Theatre 1700 N. Halsted St. Chicago

Tickets: $45 - $50

Steppenwolf.org/hayward

JK Entertainment has released first look rehearsal photos for WHEN WE WERE YOUNG AND UNAFRAID, the first production of the company's second season. JK Entertainment's production brings this story to Chicago audiences November 12–29, inviting audiences to consider how far the fight for women's autonomy has come—and how much remains unresolved.

In a time before Roe v. Wade and the Violence Against Women Act, Agnes has transformed her quiet bed and breakfast into a refuge for women escaping domestic violence. But when Mary Anne, a new arrival, begins to influence Agnes's college-bound daughter, Penny, the carefully maintained boundaries of Agnes's world begin to shift. As ideas of freedom and independence take hold beyond the walls of her home, Agnes must confront her own assumptions about the women she has dedicated her life to helping.

Through intimate relationships and generational tensions, WHEN WE WERE YOUNG AND UNAFRAID examines the complexities of protection, independence, and what it means to determine one's own future. Though set more than five decades ago, the play raises questions that continue to resonate today.

JK Entertainment will donate $1 of every ticket sold to Connections for Abused Women and their Children, a Chicago organization that provides aid and resources for survivors of domestic violence.

Performances begin November 12, 2026, with tickets available now at jkentertainment.org/theatre/when-we-were-young-and-unafraid.

WHEN WE WERE YOUNG AND UNAFRAID is presented by arrangement with Concord Theatricals on behalf of Dramatists Play Service. www.concordtheatricals.com

TICKET INFORMATION
Individual tickets priced from $36 - $41 and group sales for 5 or more are available now. This production is a part of the full season subscription starting at $70. For additional information and to purchase tickets, visit jkentertainment.org/theatre/when-we-were-young-and-unafraid. 

Greenhouse Theater Center 2257 N Lincoln Ave. Chicago, IL 60614 November 12 – 29, 2026

ABOUT JK ENTERTAINMENT
JK Entertainment is a Chicago-based nonprofit producing theatre, film, music, and other media for audiences who think differently. Founded by Jonathan James, Kyle Reid Hass, and Olivia Kaye Da Silva, in the wake of a sold-out Chicago run of The Outsiders, the company champions bold, boundary-pushing work at the intersection of art and activism.

To learn more about JK Entertainment and keep up with future projects visit jkentertainment.orgFollow JK Entertainment on Instagram, TikTok, and  Facebook  #jkentertainment

Buffalo Theatre Ensemble (BTE), the professional Equity theater company
in residence at the McAninch Arts Center (MAC), opens its 2026-27 three-play season with "Louisa May Alcott's Little Women," by Lauren Gunderson, directed by BTE Managing Artistic Director Daniel Millhouse+*. Performances run Nov. 12-Dec. 13. There will be a preview performance at 7:30 p.m., Thursday, Nov. 12.

In Gunderson's fresh and heartfelt adaptation of Alcott's classic novel "Little Women," the four March sisters step onto the stage with new vitality and emotional clarity. As Jo, Meg, Beth and Amy navigate growing up during the Civil War, they chase dreams, confront loss and discover the fierce power of family. Splash Magazine calls it, "an absolute delight from start to finish." "Ideal for a multigenerational theatrical outing," says Pioneer Press. Chicago Stage and Screen hails it as, "a heartwarming experience perfect for the holiday season."

In this play, Gunderson uses novelist Alcott as the narrator who melds into the character Jo, illustrating how the author's own life shaped the story. She incorporates prose and non-dialogue narration from the classic novel, an approach sure to resonate with fans of the book. Yet, those not familiar with the book will easily savor this heartwarming tale.

Gunderson has been recognized by TCG's American Theatre Magazine as America's most produced living playwright (2025-26). She is also the co-writer of the popular Austen-esque "Christmas at Pemberley" trilogy that ran sequentially over the course of BTE's past three holiday seasons. "Louisa May Alcott's Little Women" was originally co-commissioned by Northlight Theatre (Skokie, Ill.), City Theatre Company (Pittsburgh Pa.), People's Light (Malvern, Pa.) and TheatreWorks Silicon Valley (Palo Alto, Calif.) and premiered at, Northlight on Nov. 29, 2024.

"There's always something special about opening a new season, and "Little Women" is the perfect story to begin with: a celebration of family, resilience and the dreams that carry us forward," says Millhouse. "BTE has a proud tradition of bringing together exceptional established artists, and this production is no exception, with costumes by 2026 Jeff Award winner and BTE Ensemble member Aly Greaves Amidei and original music and sound design by Ensemble member Christopher Kriz. BTE is equally committed to supporting new talent, and I'm thrilled that this cast features a new generation of gifted young performers, most of whom are making their MAC debut."

The cast for "Louisa May Alcott's Little Women," features Valerie Martire (Louisa/Jo), Carol Kelleher (Meg), Marina Jokanovic (Beth), Adrianne Cury* (Marmee/Aunt March), Alexander Wisniewski (Laurie) and Ari Ford Golin (John, Mr. Laurence, Mr. March, Friedrich).

Director is Daniel Millhouse+*. The rest of the design team includes Caitlyn Girten (scenic design), Aly Greaves Amidei+^ (costume design), Garrett Bell (lighting design), Christopher Kriz+^ (composer and sound design), Paloma Locsin (properties design) and Amber Wuttke (fight and intimacy director/coordinator). Caitlin I. Quinn* is stage manager. Nicholas Washington is Assistant Stage Manager. Harry Smith is Student Assistant Stage Manager.

Tickets

Buffalo Theatre Ensemble presents "Louisa May Alcott's Little Women" at the McAninch Arts Center, 425 Fawell Blvd. on the campus of College of DuPage ,Nov. 12-Dec. 13. Performances are 7:30 p.m. Thursdays, Fridays and Saturdays; 3 p.m. Saturday, Nov. 28 and Sundays. The is no performance Thursday, Nov. 26. Tickets are $46. For tickets or more information, visit AtTheMAC.org.

There is an ASL performance at 7:30 p.m., Thursday, Dec. 3

Related Events:  
• Pre-show Discussion: 6:45 - 7:15 p.m. Thursday, Nov. 12
• Post-show Discussion Friday, Nov. 20

About Buffalo Theatre Ensemble

The mission of Buffalo Theatre Ensemble is to provide a forum in which artists, scholars, writers, students and community members explore new ideas and provocative issues through the production of quality theater for the enjoyment of its audiences. Celebrating their 40th anniversary, BTE has staged more than 125 productions. The Artistic Staff for BTE includes Daniel Millhouse+* (Managing Artistic Director), Stephen Schellhardt*~ (Associate Artistic Director) and Bryan Burke+* (Business Manager).

BTE Ensemble members are Aly Greaves Amidei^, Robert Jordan Bailey*, Amelia Barrett*, Bryan Burke*, Connie Canaday Howard*, Rebecca Cox, Lisa Dawn, Nick DuFloth, Jon Gantt, Christopher Kriz^, Daniel Millhouse*, Laura Leonardo Ownby, Michael W. Moon, Kurt Naebig*, Galen G. Ramsey*, William "Sandy" Smillie* and Kelli Walker. For more information about BTE, visit btechicago.com.

+ Denotes BTE member. *Denotes member of Actors' Equity; ^Denotes member of United Scenic Artists .

~Associated Actors and Artistes of America

Buffalo Theatre Ensemble is partially supported and funded by generous grants from Choose DuPage, College of DuPage Foundation, The Norm Woodel Inspiration Fund, Arts DuPage – a DuPage Foundation Initiative, Benevity and the Illinois Arts Council Agency. 

About The MAC  

McAninch Arts Center at College of DuPage is located 25 miles west of Chicago near I-88 and I-355. It houses three indoor performance spaces (the 780-seat proscenium Belushi Performance Hall; the 186-seat soft-thrust Playhouse Theatre; and the versatile black box Studio Theatre), the outdoor Lakeside Pavilion, plus the Cleve Carney Museum of Art and classrooms for the college's academic programming. The MAC has presented theater, music, dance and visual art to more than 1.5 million people since its opening in 1986 and typically welcomes more than 1117,000 patrons from the greater Chicago area to more than 388 performances each season. For more information visit AtTheMAC.org.

Share the Spirit of the Holiday

From Nov. 13 - Dec. 20, the MAC Giving Tree (located in the MAC lobby) is accepting food donations for COD Student Fuel Pantry and People's Resource Center.  

Steppenwolf Theatre Company and Mark Cortale are pleased to announce the return of Tony Award-winning Broadway star Jessie Mueller (Beautiful: The Carole King Musical, Carousel, Waitress) playing three performances only December 18 & 19, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. The evening promises a seamless mix of intimate, behind-the-scenes stories prompted by funny, insightful and revealing questions from SiriusXM Radio star Seth Rudetsky (on piano) with music from Mueller's stellar career, plus a sprinkling of holiday favorites. 

Tickets cost $89* – $149*. A special Steppenwolf member pre-sale begins Tuesday, October 20, 2026 at 12 pm. Tickets go on sale to the general public Thursday, October 22, 2026 at 12 pm at steppenwolf.org/jessiemueller or by calling the Box Office at (312) 335-1650. *Pricing includes $10 handling fee

Performance schedule:

Friday, December 18, 2026 at 7:30 pm
Saturday, December 19, 2026 at 3 pm & 7:30 pm

About the Artists:

Jessie Mueller was most recently seen on Broadway in Tracy Letts' The Minutes. Previously, Jessie starred on Broadway in the revival of Carousel (Drama Desk Award, Tony, Grammy nominations). She originated the roles of Jenna in Waitress (Tony, Drama Desk, Grammy nominations) and Carole King in Beautiful: The Carole King Musical (Tony, Drama Desk, Grammy Awards). Other Broadway credits include Nice Work If You Can Get It and On a Clear Day You Can See Forever.  She will be returning to the Kennedy Center this Fall in Guys and Dolls. TV/film: Patsy & Loretta, Madam Secretary, Blue Bloods, Evil, Candy, Chicago Voices (Chicago Emmy nomination), Steven Spielberg's The Post, A Good Person and Secret Headquarters.

Seth Rudetsky spent many years on Broadway as a pianist and/or conductor on shows like Les Misérables, Ragtime and Phantom of the Opera, as well as two years as a comedy writer on The Rosie O Donnell Show (three Emmy nominations with his co-writers) which led to him writing two opening numbers for the Tony Awards. He is now the afternoon deejay on the SiriusXM Broadway channel, as well as the host of his own talk show, Seth Speaks. He has performed his show, Deconstructing Broadway in London, Boston (Irne award) and L.A. (with Barbra Streisand in the audience!). He co-wrote and co-starred in Disaster!! (a New York Times Critic's Pick) on Broadway, which was licensed by Music Theater International and is being performed all over the country. After the Pulse Nightclub shooting, James Wesley Jackson told Seth an idea he had of doing an all-star "What The World Needs Now Is Love" and they recorded it with around 50 stars including Carole King, Idina Menzel, Gloria Estefan, Bernadette Peters, Jessie Mueller ('natch!) and more. The single went to number one on iTunes, has raised over $100,000 for the Pulse nightclub victims and families, as well as the Trevor Project and they performed it at the 2016 Democratic National Convention. When the COVID lockdown began, Seth and James started the twice-a-day livestream Stars In The House with reunions of original casts of Broadway shows like Ragtime, A Chorus Line and Cats, as well as TV shows like Grey's Anatomy, Taxi and Frasier. The livestream raised over $1,000,000 for the Actors Fund and over $100,000 for other charities like NAACP LDF and "You Gotta Believe" for foster youth. Seth has published numerous books including "The Rise And Fall Of A Theatre Geek" (Random House) and the recent "Musical Theatre For Dummies". After October 7,  2023, Seth founded The Jewish Broadway Alliance which is now a 501(c)3. He also runs Seth's Broadway Cruise and will soon be sailing with some of his favorite stars to the Caribbean, Bermuda, The Greek Isles and the ABC Islands. You can get more info on his cruises and see tons of his videos at SethRudetsky.com.

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices 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. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

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 Angell 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, 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, Lloyd A. Fry Foundation, Jessica and Dominic Green Family Fund, John D. and Catherine T. MacArthur Foundation, The Orlebeke 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 National Endowment for the Arts, 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.