Displaying items by tag: Chicago events

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), Syd Genco (Makeup Design), Keith Ryan (Wig Design), Kirsten Baity (Intimacy Director), Shane Roberie (Casting Director), Nicholas Reinhart (Production Manager), Amelia Osborn (Associate Production Manager), Corbin Paulino (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. 

Birds of North America, written by Anna Ouyang Moench, is a story of a father daughter relationship spanning a decade and weathering personal and worldwide conflicts while sharing their love of birdwatching.  Admittedly family relationships can be tricky at best.  Especially as children age into adulthood and make their own life choices and important decisions.  It is difficult for a parent to see them in a new light or role and the default of overly attempting to manage and advise them is not the best fit. 

In this scenario we find ourselves in a backyard of Baltimore, Maryland in a beautifully imagined set design by Morgan Laszlo.  We watch the relationship of John, the father (John Judd) and Caitlyn (Cassidy Slaughter Mason) ebb and flow throughout autumnal days and evenings on a backyard deck.  We can see that John is in the autumn of his years and struggling with an internal conflict if his life’s work has mattered, is significant or made a difference in the world.  Like many men of his generation, he prefers to keep the conflict internal.  And, Caitlyn wants to discuss deeper and more adult topics with her Dad…as long as they are not about her or his opinion of her.  Caitlyn goes through it, as they say, in the ten years of autumns of this piece.  Young love, marriage and many things that follow.  Ups, downs, disappointments, career crisis, what does it all mean?  

In the meantime, she and her Dad continue to communicate through spotting birds, hearing them, listening to their calls and determining what is a significant sighting.  All events we can march through relationships with.  There are scenes when they are hearing each other but not really listening as intently as they do for the elusive birds.  Does that mean they care about the birds more than each other? Or is it easier to tiptoe around landmines of emotion. Our two actors, Judd and Mason forge a believable poignant relationship on stage.  The pain each of them go through is palpable but not overt.  The most beautiful sort of acting that draws in an audience, especially in an intimate space that Red Orchid Theatre has to offer.

The sound design by Ethan Korvne also helps to set the scene and enhance the birding aspect of the show.  If you close your eyes for a second and listen to the bird calls it almost seems as if a fall breeze might pass by.  The pacing of the show and transitions are smooth and make the decade pass by in a credible page-turning manner giving you just enough time for thoughts of where they are headed next. It’s easy to see how this garnered seven Jeff Award nominations.

Whether or not you are a birding enthusiast (and my show companion is and loved it!) this is a piece about families, relationships, communication and remembering to listen without distraction, a tool we can all use in our lives.

BIRDS OF NORTH AMERICA, now playing at A Red Orchid Theatre in Chicago through October 4, 2026.

https://www.aredorchidtheatre.org for ticket and performance time information.

Mary Beth Euker is a founding director of Cricket Theatre Company in Lake Zurich, Illinois, has appeared in shows at Devonshire Theatre in Skokie and Woodstock Opera House and directs in Lake Zurich at various schools and for Cricket.

Want to go behind-the-scenes of Chicago’s one and only puppet haunted house?

Rough House Puppet Arts’ House of the Exquisite Corpse returns October 8-November 1 at The Merle at Steppenwolf Theatre. New this year, the company is introducing an All-Inclusive Experience that includes ALL the perks: the show, a drink ticket, a giveaway at entry and a coveted backstage tour. 

First, you’ll join a small group of puppet horror voyeurs on visits to six rooms where you’ll peer through keyholes, cracks, and hidden doors to witness the carnage and gallows humor inside. Then, after the final entry, All-Inclusive VIPs will be welcomed back into the House and invited to step inside each room for a behind-the-scenes encounter with this year’s frightful puppets.

Rough House is offering All-Inclusive Experiences Thursdays and Sundays, October 8 - October 25, last entry time only. So treat yourself to something up close and spooky and help the arts thrive. The All-Inclusive Experience, $75 plus a $3 booking fee, is ideal for hardcore puppet horror fans and anyone looking for an all-new, immersive Halloween adventure. Limited spots available, so don’t sleep on this offer. Sign up now at  roughhousetheater.com/tickets.

Back for its sixth Halloween season, House of the Exquisite Corpse is a singularly immersive puppet horror experience with a new theme for 2026 - LULLABIES - that’s sure to keep you up at night. 

Fans of immersive experiences, haunted houses, literature, puppetry and live theater are the ideal audience for Chicago’s most unique Halloween destination. As the Chicago Reader put it, “if you want to move beyond schlock and shock into an elevated horror experience this October, look no further than House of the Exquisite Corpse.”

House of the Exquisite Corpse VI: LULLABIES runs October 8 - November 1: Thursdays through Saturdays, with timed entries starting at 6:50 p.m., continuing every 15 minutes until the last entry at 9:30 p.m. New this year! Sunday matinees, starting at 1:50 p.m.

Tickets are on sale now at roughhousetheater.com/tickets. Sliding scale, Pay What You Can suggested prices are $22 to $47. Note: This production is recommended for ages 13 and over. 

Steppenwolf Theatre’s The Merle is located at 1624 N. Halsted in Chicago’s Lincoln Park Neighborhood, just steps away from the CTA Red Line stop at North and Clybourn.

For more information, visit RoughHousePuppets.org and follow the company on Instagram and Facebook, YouTube and LinkedIn.

Giordano Dance Chicago (GDC), America's original jazz dance company, returns to the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd. at 7:30 p.m. Friday, Nov. 6 and Saturday Nov. 7. The engagement, part of GDC's 64th season, features the world premiere of "Caravan" by GDC Resident Choreographer Al Blackstone, a rework of his swing style full company work "Dumb Luck!" plus a mix of popular repertoire radiating GDC's signature energy and boundless spirit that has been showcased at North Shore Center since the Center's opening in 1996.

GDC is excited to present a world premiere, "Caravan" a solo work featuring GDC dancer Sasha Lazarus. This is Blackstone's fourth new work created for the company. "I'm so grateful for the push that Nan and Cesar give me to keep on asking how to continue elevating our beautiful art form that is jazz dance," says Blackstone.

The additional works program for the Nov. 6 & 7 engagement are scheduled to be as follows:

• "EXit 4" choreographed by Ronen Koresh (2013). Israeli Koresh's critically acclaimed, edgy, intense and dramatic full company work described by Stage and Cinema as "a fierce-to-ferocious, pile-driving set of four dances."

• "Gravity" choreographed by former GDC company member Lindsey Leduc (2009).This pas de deux provides a fresh look at young love and is described by Dance Magazine as "the portrait of a relationship based on release and submission."

• "Sabroso" (excerpts) choreographed by Del Dominguez & Laura Flores (2011). This sizzling full company ballroom work embraces elements of Cha-cha, Latin Swing and Mambo, and has been hailed as "A fiesta of swirling samba and equally hot social struts, flawlessly performed by the impeccable ensemble" (Stage and Cinema).

• "namuH" choreographed by Jon Rua (2026). This full-company piece fuses jazz and street styles for an urban funk sensibility. The Chicago Tribune says, "there's a rawness and refreshing degree of abstraction I wasn't expecting and, frankly, can't get enough of."

• "commonthread" choreographed by former GDC resident choreographer Autumn Eckman (2009). This work will be performed to an eclectic original music composition and live accompaniment by musician Dan Myers. Dance Magazine calls it "an undulating, lateral world of space and sound."

• "Dumb Luck!" a rework by Al Blackstone. Blackstone's jubilant full company work "Dumb Luck!" which originally debuted in GDC's April 2026 Harris Theater engagement, is in swing style and is infused with a contemporary flair.

Tickets

Tickets for the North Shore Center engagement are $35-$70. Fees apply over the phone and online. No additional fees in person at the box office. For tickets and more information visit northshorecenter.org or call 847.673.6300.

About Giordano Dance Chicago

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.

Music Theater Works is proud to announce the cast and creative team for the third production of its 2026 season, Jimmy Buffett’s Escape to Margaritaville, in the North Theatre, at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie, October 8 - November 1. Escape to Margaritaville has a book by Greg Garcia and Mike O’Malley, with music and lyrics by Jimmy Buffett. Music Theater Works’ production is directed and choreographed by Brenda Didier with co-director Sarafina Vecchio and co-choreographer Clayton Cross and music directed by Linda Madonia. Escape to Margaritaville includes a preview performance Thursday, Oct. 8 at 7:30 p.m. The performance schedule is Saturday, Oct. 10 at 7:30 p.m., Sunday, Oct. 11 at 2 p.m. (Post-show discussion), Wednesday, Oct. 14 at 2 p.m., Friday, Oct. 16 at 7:30 p.m., Saturday, Oct. 17 at 2 p.m. and 7:30 p.m., Sunday, Oct. 18 at 2 p.m. (Post-show discussion), Wednesday, Oct. 21 at 2 p.m., Friday, Oct. 23 at 7:30 p.m., Saturday, Oct. 24 at 2 p.m. and 7:30 p.m. (ASL interpreted performance), Sunday, Oct. 25 at 2 p.m., Wednesday, Oct. 28 at 2 p.m., Friday, Oct. 30 at 7:30 p.m., Saturday, Oct 31 at 2 p.m. and 7:30 p.m. and Sunday, Nov. 1 at 2 p.m. Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300. Memberships for the 2026 season are also available at MusicTheaterWorks.com and group discounts for 10 or more people are available by contacting This email address is being protected from spambots. You need JavaScript enabled to view it..

Music Theater Works presents the first professional production of Jimmy Buffett’s Escape to Margaritaville in Chicago since its pre-Broadway run. Set sail for a tropical getaway with this feel-good musical packed with island vibes and beloved Buffett classics. This lighthearted romantic comedy follows Tully, a laid-back island singer, and Rachel, a career-focused tourist, as their worlds collide at a beachfront resort. With a story about adventure, self-discovery and living life to the fullest, Escape to Margaritaville is the ultimate musical vacation for Parrot Heads and newcomers alike.

The cast of Jimmy Buffett’s Escape to Margaritaville includes Brian Acker (he/him, Tully); Kate McQuillan (she/her, Rachel); Khaki Pixley (she/her, Tammy); Chase Grabowski (he/him, Brick); Dee Kimpel (she/her, Marley); Brian James (he/him, J.D.); Matt Frye (he/him, Chadd/ensemble/U/S Brick); Rachel Thomas (she/her, ensemble/U/S Rachel); Mackenzie Furlett (she/her, ensemble/U/S Tammy/dance captain); Andrew Faggion (he/him, Ted/ensemble/U/S Tully); Mikala Curless (she/her, ensemble); Ivan James (he/him, ensemble/U/S J.D./non-equity deputy); Jacob Merschel (he/they, Jamal/ensemble); Kelcy Taylor (she/her, ensemble); Kenny Miller (any with respect, ensemble/swing) and Juliet Lopez-Gutierrez (she/her, ensemble/swing).

Jimmy Buffett’s Escape to Margaritaville’s creative team includes Brenda Didier (she/her, director/choreographer); Sarafina Vecchio (she/her, co-director); Clayton Cross (he/him, co-choreographer); Linda Madonia (she/her, music director); Amber Wuttke (she/her, intimacy and violence choreographer); Kathy Logelin (she/her, dialect coach); Mack Finklea (she/they, stage manager); Ryker Blankenship (he/they, assistant stage manager); Bob Knuth (he/him, scenic designer); Ab Rieve (they/them, props designer); kClare McKellaston (she/her, costume designer); Kristen Brinati (she/her, wardrobe head); Melanie Saso (she/her, hair, wig and makeup designer); Carl Wahlstrom (he/him, sound designer); Kalyssa Montoya (she/her, assistant sound designer); Forrest Gregor (he/him, production sound engineer); Ben Lipinski (any, technical director); Liz Brachman (she/her, assistant technical director); Keely Vasquez (she/her, casting director); Chris Chase (he/him, production manager); Katie Meine (she/her, company manager) and Kyle Dougan-LeBlanc (any with respect, producing artistic director).

Jimmy Buffett’s Escape to Margaritaville’s orchestra includes Linda Madonia (she/her, keyboard/conductor); Cara Strauss (she/her, reed); Greg Strauss (he/him, trumpet); Eric von Holst (he/him, bass); Kyle Paul (he/him, guitar 1); Mike Lockler (he/him, guitar 2); Tina Laughlin (she/her, percussion) and Lindsay Williams (he/him, drums).

Jimmy Buffett’s Escape to Margaritaville Special Events

Post Show Discussions

Behind the Curtain with Thomas M. Shea

Audiences are invited to stay after the 2 p.m. performances on Sunday, Oct. 11 and Sunday, Oct. 18 to join musical theater historian Thomas M. Shea, author of “Broadway’s Most Wanted,” for a post-show talk exploring the behind-the-scenes history of Escape to Margaritaville. Free with ticket, this engaging discussion is perfect for audiences to learn about the production, its history and more.

ASL Interpreted Performance

The Saturday, Oct. 24 at 7:30 p.m. performance will be ASL interpreted.

Escape to Margaritaville Partnerships

TicketREACH

Music Theater Works supports more than 25 local nonprofits and community organizations and 18 area public libraries through distribution of a minimum of 600 free tickets for every production. TicketREACH is sponsored by Wintrust Financial and Northbrook Bank and Trust.

Jimmy Buffett’s Foundations

Music Theater Works is pleased to be promoting two of Jimmy Buffett's foundations, Singing for Change and Save The Manatee, through informational exhibits in the inner lobby of the theater during Escape to Margaritaville. Singing for Change "turns good vibes into good deeds" by honoring Jimmy Buffett’s spirit of giving, helping others and having fun along the way by offering grant support to thousands of nonprofits across the United States, including five organizations in Chicagoland. The mission of Save The Manatee is to protect manatees and their aquatic habitats for today and for future generations.

ABOUT BRENDA DIDIER, DIRECTOR and CHOREOGRAPHER

Brenda Didier is thrilled to make her Music Theater Works debut with this fun show! Didier is a freelance director and choreographer based in Chicago. Credits: Chicago Shakespeare Theatre, The Goodman, Marriott, Paramount, Royal George Theatre, Theatre at the Center, Chicago Theatre, Theatre Wit, Porchlight Music Theatre, Mercury Theater Chicago, Second City, Theo Ubique, City Lit, Six Flags and Busch Gardens theme parks and many others. Tours: The Kenny Rogers Christmas Tour and Cirque Shanghai-Navy Pier’s Skyline Stage with engagements at the Tropicana Resort in Atlantic City, Harrah’s in Las Vegas and The New Victory Theatre in New York’s Broadway District. Didier made her TV choreography debut with T-Mobile’s national commercial “Home for the Holidays”. She is a multiple Jeff Award recipient in both direction and choreography (Equity and Non-Equity wing), Guy Adkins Award recipient and artistic director/founder of the Lincolnshire Academy of Dance, now in its 29th Season. Upcoming: Jekyll and Hyde (Kokandy Productions/Broadway Playhouse), Christmas Carol at Paramount Theatre and Dead Outlaw with Porchlight Music Theater/Theater Wit. 

ABOUT SARAFINA VECCHIO, CO-DIRECTOR

Sarafina Vecchio is thrilled to be making her Music Theater Works debut! She is a director and actor in Chicago, as well as an educator at Chicago College of Performing Arts at Roosevelt University and Acting Studio Chicago. Chicago performing and directing credits include: Chicago Shakespeare, Lakeside Shakespeare, Oak Park Festival Theatre, Metropolis, Remy Bumppo Theatre Company, Timeline, Shattered Globe, Drury Lane, Invictus, Janus Theatre, The Other Theatre Company, North Central College, Elgin Community College and CCPA. Film: “Let's Start a Cult,” “Flatchested,” “North of the 10,” “Once Upon A Christmas Wish,” “Finding Hope” and “Coyote.” TV: “Chicago Fire,” “Chicago Justice” and “Toon In With Me.” She is proud to be a member of SAG-AFTRA and is represented by Paonessa Talent. 

ABOUT CLAYTON CROSS, CO-CHOREOGRAPHER

Clayton Cross works nationwide as a choreographer, performer and dance instructor. Cross appeared in the ensemble of White Christmas at Paramount Theatre, as well as ensemble and dance captain of Rock of Ages with Mercury Theater Chicago and with Drury Lane in the ensemble and dance captain in Grease and ensemble in Evita. Cross choreographed West Side Story, Guys and Dolls and Brigadoon at Music Theater Works (MTW) and was last seen on the MTW stage as “Scuttle” in Disney’s The Little Mermaid and in the ensemble of Mamma Mia, and as choreographer for Irving Berlin’s White Christmas and Billy Elliot the Musical. He was choreographer in residence with Music Theater Works under the direction of Rudy Hogenmiller for seven seasons where he choreographed and/or performed in Joseph and the Amazing Technicolor Dreamcoat as “Benjamin;” Hunchback of Notre Dame; How to Succeed in Business Without Really Trying; Into the Woods; Anything Goes as ensemble; Pirates of Penzance as ensemble; Peter Pan as“Nana/Croc;” Gypsy as “Tulsa,” Mame as ensemble; Candide; Guys and Dolls; My Fair Lady; Die Fladermaus; The Fantastiks as “Mute” and Damn Yankees as “Eddie;” and was also in A Chorus Line as “Greg” with Porchlight Music Theatre. Cross also performed at Marriott Theatre in La Cage as “Mercedes.” Cross is an instructor and choreographer for M.A. Dance Nation, a Texas based traveling convention circuit, where he has been choreographing, teaching and judging since 1999. Cross has five times been a consultant and contributed choreography for the Capital One Bowl’s All American Halftime Show. Throughout his 25 year career as a dancer he has worked with Robert Battle, Fernando Bujones, Sherry Zunker, Paul Taylor and Anne Reinking. Cross’s television credits include “Every Dancer Has a Story,” a PBS special on the River North Chicago Dance Company, where he was a company member for 10 seasons and toured nationally and internationally. Cross is originally from Midland, TX where he received his early training from La Petite Dance Co., Coleman Academy and the Midland Community Theatre as a member of the Pickwick Players. Cross holds a double B.F.A. in ballet and modern dance from Texas Christian University.

ABOUT LINDA MADONIA, MUSIC DIRECTOR

Linda Madonia is thrilled to be back at Music Theater Works for Margaritaville where she has previously music directed West Side Story, CATS, Guys and Dolls, Shrek, Mamma Mia and Camelot. Other recent projects include Jersey Boys, Rock of Ages and Sister Act at Mercury Theater Chicago. Anything Goes, Cabaret and A Chorus Line at Porchlight Music Theatre. Madonia also serves as the contractor for the Chicago Federation of Musicians for Porchlight Music Theatre and Music Theater Works. She is the vocal coach for the master’s degree program in Music Theatre Pedagogy at Carthage College and owns American Eagle Productions, which has been at the forefront of Theatre Education in the Chicago area for the past 35 years.

ABOUT MUSIC THEATER WORKS

Music Theater Works is a resident professional not-for-profit music theater founded in

1980. During its 45-year history it has presented more than 150 productions and intimate presentations. Music Theater Works is a professional theater company whose mission is to present works for the musical stage including historic repertoire, revitalizing the Golden Age of Broadway and earlier works, celebrating the Great American Songbook and introducing modern classics. 

Steep Theatre will open its new theater this coming January with the U.S. Premiere of playwright Simon Stephens' A Slow Fire. The production, which opens January 22, 2027, will be directed by Steep Ensemble Member Robin Witt and continues the company's long-running relationship with its Tony and Olivier Award-winning Artistic Associate, Stephens. A Slow Fire will mark the company's much-anticipated return in its new home and a full-production calendar. Season tickets are now available online at Steeptheatre.com 

In A Slow Fire, Ashton and Reece shelter in a converted storage unit in a post-apocalyptic wasteland. They sustain themselves by reenacting moments of hope from their past until forces from the outside world challenge how best to carry hope forward. 

A Slow Fire premiered in January 2026 at Glass Mask Theatre in Dublin and made its London premiere August 2026 at the Jermyn Street Theatre in the West End. Simon Stephens is a Tony and Olivier Award-winning playwright whose plays have been widely produced in the UK, Europe, Australia, and the US. Stephens is an artistic associate at the Lyric Hammersmith and has been an associate playwright of Steep Theatre since 2013. Director Robin Witt has directed six of Steep's Simon Stephens productions, including Light Falls and Harper Regan.

"Steep's new home will be a testament to the extraordinary faith and generosity of so many in our community," said Steep's Artistic Director, Peter Moore. "I can think of no better way to mark our homecoming than with a new work from our dear friend Simon that celebrates storytelling, community, and hope - albeit in a very Steep way."

Steep's new theater, located at 1044 W. Berwyn, will be a dynamic theatrical venue that reflects the company's commitment to fearless storytelling, inclusive collaboration, and community building. The company has partnered with Civic Projects Architecture, which has been recognized for its experience with community-oriented space, prioritizing universal design and physical accessibility. Steep also worked with Norcon, Inc. to manage the construction of the new space and CharcoalBlue as theater and venue consultants. 

The acquisition and renovation of Steep's new home were made possible by the extraordinary generosity of Steep patrons and community, a grant from the Paul Angell Foundation, a capital funding grant from the Illinois Department of Commerce & Economic Opportunity (DCEO) and the City of Chicago, which awarded Steep more than $3.8 million in grant funds to support the project.

Called 'the most fearless theater in town' by the Chicago Tribune, Steep has produced over 80 plays with remarkable critical and commercial success, earning 63 Jeff Award nominations, 12 Jeff Awards, and recognition on numerous "Best of" lists, including the Tribune's Top Ten Shows of the Year and WBEZ's Top Ten Shows of the Decade.

WHAT:

The U.S. Premiere of

A Slow Fire

by Simon Stephens

Directed by Robin Witt

Sheltered in a converted storage unit in a post-apocalyptic wasteland, Ashton and Reece sustain themselves by reenacting moments of hope from their past, until forces from the outside world challenge how best to carry hope forward. 

WHERE:

Steep Theatre

1044 West Berwyn Avenue

Chicago, IL 60640

WHEN:

January 22 – February 28, 2027

Previews: January 16, 17, and 21, 2027

Press Opening: Friday, January 22, 2027 at 7:30pm

Schedule: Thursday, Friday, and Saturday nights at 7:30 pm | Sunday matinees at 3 pm

Accessible Performances: To be announced

Contact us at This email address is being protected from spambots. You need JavaScript enabled to view it. or 773-649-3186 for more information.

CONTACT INFORMATION:

Web: www.steeptheatre.com

Phone: 773-649-3186

Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

Steep Theatre Company

1044 W Berwyn Ave.

Chicago, Illinois 60640

Social:

Facebook: SteepTheatre

Instagram: @steeptheatre

LinkedIn: @SteepTheatreCompany

CAST

Nate Faust*

Peter Moore*

Melissa Riemer*

Omer Abbas Salem*

CREATIVE TEAM:

Director: Robin Witt*

Stage Manager: Lauren Lassus*

Production Manager: Jennifer Aparicio

Scenic Design: Sotirios Livaditis

Lighting Design: Brandon Wardell*

Costume Design: Sally Dolembo

Sound Design: Thomas Dixon*

Props Design: Spencer Diaz Tootle

Dramaturg: Jean Marie Higgins

Intimacy and Violence Consultant: Christina Gorman

Assistant Director: Spencer Diedrick

* denotes Steep Ensemble Member 

Production Sponsors: Ken Burlington, James T. O'Neill, Timothy Sherck, Barbara & Randy Thomas, Lisa & Randy White, and Martha Anne & Stephen Yandle 

Steep Theatre is supported in part through generous grants from the Paul Angell Foundation, the Bayless Family Foundation, the Gaylord & Dorothy Donnelley Foundation, and the Illinois Arts Council Agency.

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to announce full casting for its world premiere of Chicago playwright Stephanie Alison Walker's biting satire Adirondack Chair Circle, directed by Tony Award winner Pam MacKinnon (Downstate, Edward Albee's Who's Afraid of Virginia Woolf?).

The Adirondack Chair Circle cast features a stellar lineup of talent including ensemble member Caroline Neff, who returns to the Steppenwolf stage, adding to her extensive Steppenwolf credits including Mr. Wolf, Fool for Love, POTUS and Another Marriage. She is joined by David Darrow, who dazzled Steppenwolf audiences as Mozart in last season's record-breaking Amadeus. Broadway favorite Katrina Lenk, who received Tony and Grammy Awards for her turn in The Band's Visit, returns to Steppenwolf for the first time since 2005's Lost Land. Making her Steppenwolf debut is Chicago actor Wendy Mateo, while Sadieh Rifai returns to Steppenwolf after captivating audiences in last year's You Will Get Sick.

Launching Steppenwolf's 51^st Season, Adirondack Chair Circle will play October 22 — December 6, 2026 in Steppenwolf's Ensemble Theater, 1646 N. Halsted St. in Chicago. Single tickets are now on sale at steppenwolf.org or the Box Office at (312) 335-1650. 

About the Production:

A gaggle of suburban moms, armed with pickleball paddles and hard kombucha, are ready to take on the school board in the fight of their lives: attempting to ban the controversial books available to their kids in the school library. But is this trusted inner circle all on the same page? A piercing world premiere from a Chicago playwright, Stephanie Alison Walker's Adirondack Chair Circle exposes the hilarious hypocrisy of the causes we claim and the company we keep. And has a damn good time doing it.

The creative team includes Todd Rosenthal (Scenic Design), Izumi Inaba (Costume Design), Barbara Samuels (Lighting Design), Mikhail Fiksel (Sound Design), Nicholas Hussong (Projection Design), Steph Paul (Choreographer), Kate DeVore (Vocal Coach), Bryar Barborka (Dramaturg), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), Michelle Medvin (Production Stage Manager) and Kathleen Barrett (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Adirondack Chair Circle
Playwright: Stephanie Alison Walker
Director: Pam MacKinnon
Cast: ensemble member Caroline Neff (Evelyn Grace) with David Darrow (Crow), Katrina Lenk (Banna), Wendy Mateo (Winona) and Sadieh Rifai (Libby).
Understudies: Tiffany Bedwell (Banna), Brittany Burch (Evelyn Grace), Alex Casillas (Winona), Warren Keith Duncan (Crow) and Erinn Fredin (Libby).

Location: Steppenwolf's Ensemble Theater, 1646 N. Halsted St., Chicago

Dates: Previews: Thursday, October 22 – Saturday, October 31, 2026
Opening: Sunday, November 1, 2026 at 6 pm
Regular run: Tuesday, November 3 – Sunday, December 6, 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, October 27, Thursday, November 5, Tuesday, November 10, Wednesday, November 18, Wednesday, November 25, Thursday, November 26 and Tuesday, December 1; there will be an added 2 pm matinees on Wednesday, November 25 and Wednesday, December 2.

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 Adirondack Chair Circle ($20 – $149*) 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 Main 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, November 22 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Saturday, November 7 at 3 pm, Thursday, November 19 at 7:30 pm and Saturday, November 28 at 3 pm
ASL-Interpreted: Friday, December 4 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 Main 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.

The award-winning Porchlight Music Theatre is proud to announce the cast and creative team of the first mainstage production of its 32nd season, Little Shop of Horrors, directed by Porchlight's Elaine Cohen and Arlen Ruben Artistic Director, Michael Weber with choreography by Nataki Rennie and music direction by David Fiorello. The first fully staged production presented in Porchlight's new home, the historic Biograph Theater, 2433 N. Lincoln Ave, runs November 4 - December 13, 2026. 

For more than four decades, this Tony Award-winning musical has delighted millions of fans around the world with the funny and frightening story of the shy shop assistant, his coworker crush and a mysterious, carnivorous plant. Written by the powerhouse team of Howard Ashman and Alan Menken (Disney's The Little Mermaid, Beauty and The Beast and Aladdin), Little Shop of Horrors takes audiences on a wild trip where love and world domination meet at a Skid Row floral shop.

The cast of Little Shop of Horrors features (in order of appearance) Kiana Beverly  (Chiffon), Donnalesly Fondjo  (Crystal), Aneesah Jemei  (Ronnette), Andrew Linden  (Seymour Krelborn), Steve McDonagh  (Mr. Mushnik), Alina Taber*  (Audrey), Juwon Tyrel Perry* (Audrey II - Voice), Josh Bernaski  (Audrey II - Puppeteer) and Adam Fane*  (Orin Scrivello, DDS, and Everybody Else).

Stand-by understudies are (in alphabetical order) Daryn Alexus (Stand-by Understudy Chiffon, Ronnette and Crystal), Erline Dorcy (Stand-by Understudy Chiffon, Ronnette and Crystal), Tyler Ehrenberg  (Stand-by Understudy Audrey II - Puppeteer), Niki-Charisse Franco (Stand-by Understudy Audrey II - Voice) Sam Hook (Stand-by Understudy Seymour Krelborn) and Grace Reidenauer (Stand-by Understudy Audrey).

The creative team includes Rachel West (production manager), Jonathan Berg-Einhorn  (scenic and properties designer), Gregory Graham  (costume designer), Max Maxin IV+  (lighting designer) and Matthew Chase (sound designer/sound supervisor), Kevin Barthel  (wig designer), Bill Walters*  (stage manager), Katie Nowak  (assistant stage manager) Nick Peebles  (scenic supervisor), Kristi Martens  (costume supervisor), Riley Woods (lighting supervisor), Cecelia Chan  (Assistant Properties Designer), Tristin Hall  (intimacy / violence designer) and Linda Madonia  (company manager).

*Member of Actor's Equity Association, the union of professional actors and stage managers

+United Scenic Artists (Local USA 829), the union of professional designers, artists and craftspeople in the entertainment industry.

"Bringing Little Shop of Horrors to the Biograph Theater is an extraordinary moment in the history of Porchlight Music Theatre," said Weber. "This historic space has such a rich and fascinating connection to Chicago, and we're thrilled to begin a new chapter for Porchlight by making the Biograph our home for this season. Little Shop of Horrors is the perfect show to launch this adventure: it's wildly entertaining, deliciously dark and filled with unforgettable music, while the Biograph also offers the theatrical intimacy our audiences have come to love. We're especially excited to welcome two terrifically talented leading actors making their Porchlight debuts as "Seymour" and "Audrey". We can't wait to introduce them to our audiences, welcome everyone into the Biograph and experience this beloved musical together in this comfortable and gracious new setting."

The Little Shop of Horrors performance schedule is Wednesday, Thursday and Fridays at 7:30 p.m., Saturdays at 3 and 7:30 p.m. and Sundays at 3 p.m. Little Shop of Horrors is included in Porchlight's 2026-2027 subscription series, available at PorchlightMusicTheatre.org. Single tickets are reserved seating and are on sale for $28 - $98 at PorchlightMusicTheatre.org or by calling the Porchlight box office at 773-777-9884.

ABOUT ANDREW LINDEN, "Seymour Krelborn"

Andrew Linden is thrilled to be making his Porchlight Music Theatre debut, as well as his first show in Chicago! Before moving from Madison, Wisconsin, he appeared in shows with Forward Theater, Children's Theater of Madison and Capital City Theatre. He is so excited to be in the city and wants to thank his friends, family, partner Tess, and cat Gilda.

ABOUT ALINA TABER, "Audrey"

Alina Taber is thrilled to be making her Porchlight Music Theatre debut. Recent credits include: Brokeback Mountain (Chicago Shakespeare Theater), Anthony Rapp: Home for the Holidays (Lookingglass Theatre), Picnic, Winter's Tale (American Players Theatre),  The Lord of the Rings – A Musical Tale  (International tour and original American cast; Te Civic, Auckland NZ and Chicago Shakespeare Theater), A Streetcar Named Desire (Paramount Theatre), Beautiful: The Carole King Musical (Marriott Theatre), Grease (Drury Lane Theatre), and Once (Writer's Theatre). In TV and Film, Alina was a recurring character on the One Chicago shows (Lexi Olinsky). As a cabaret singer and print model, she can be seen throughout Illinois performing or pretending to be a gambling addict on bus stop ads, billboards, and casino pamphlets. IG: @alinajeninetaber

ABOUT JUWON TYREL PERRY, "Audrey II" - voice

Juwon has always been drawn to stories that sing, surprise, and leave a mark. For more than twenty years, Little Shop of Horrors has done exactly that. Porchlight Music Theatre audiences may recognize Juwon from Spring Awakening, Broadway in Your Backyard (Seasons 1 & 2), and the Chicago Sings series. His work has also been seen at Goodman Theatre, Lyric Opera of Chicago, Chicago Shakespeare Theater, The Arkansas Repertory Theatre, Geva Theatre, and the Tony Award-winning Court Theatre, among others. Beyond the stage, Juwon's cinematic reinterpretations of beloved songs have built an audience of more than 100,000 followers across social media, with performances reaching millions of viewers worldwide. Connect with him on Instagram and TikTok @juwontyrelperry.

ABOUT ADAM FANE, "Orin Scrivello, and everyone else"

Adam is thrilled to return to Porchlight Music Theatre with this seminal classic. Porchlight credits: "Jack Dawson" in Titanique! and "Tony Elliot" in Billy Elliot. Other credits include: Disney's The Little Mermaid (MUNY); Rock of Ages (National Tour); Salome & Medea (Lyric Opera); Frozen, The Full Monty, Into The Woods and The Producers (Paramount Theatre) Jim Henson's Emmet Otter (Studebaker); Ms. Blakk for President (Steppenwolf); Shrek the Musical, Gypsy, and Ride the Cyclone (Chicago Shakes); First Date (Royal George); Sex Tips (Chicago & Edinburgh Fringe); Jersey Boys, Spamalot, Pippin, and Avenue Q (Mercury Theater). Film: Canal Street. TV: Chicago PD. IG: @almostfanemous

ABOUT MICHAEL WEBER, director

Michael Weber is a nationally recognized, award-winning director, producer, actor and educator. Previous Porchlight productions include Follies, Sunday in the Park with George, Anything Goes, Cabaret, Sunset Boulevard, Gypsy and Merrily We Roll Along. He recently directed the London premiere of Call Me Elizabeth and the Off-Broadway and European premieres of Shake it Away: The Ann Miller Story, both written by and starring Kayla Boye. Under his artistic leadership, Porchlight Music Theatre was awarded Chicago's Jeff Award for "Best Production" six times. He previously served as artistic director for the inaugural season of Chicago's Drury Lane Theatre Water Tower Place (now Broadway in Chicago's Broadway Playhouse) and at Theatre at the Center in Munster, Indiana. The recipient of two Joseph Jefferson Awards, he has been nominated for nine awards and he wrote and directed 14 Joseph Jefferson Awards ceremonies (2006-2018). Weber's regional acting credits include The Merry Widow (starring Renée Fleming) at Lyric Opera, Annie Get Your Gun and Gypsy (both starring Patti LuPone) at Ravinia Festival, The Winter's Tale and Henry V at Chicago Shakespeare Theatre and more. A board member of The League of Chicago Theatres, he is author of the play WAR of the WELLeS (about Orson Welles' infamous radio broadcast) and he is a longtime pledge host for PBS station WTTW Channel 11.

ABOUT NATAKI RENNIE, choreographer

Nataki Rennie is beyond excited to be back at Porchlight Music Theatre! Originally from Brooklyn, NY, Nataki is a graduate of the musical theatre dance concentration program at the Chicago College of Performing Arts. Recent Chicagoland theatre credits include Beautiful the Carole King Musical at Drury Lane Theater, and White Christmas at the Marriott Theatre. She was previously seen on the Porchlight stage in Anything Goes, and in previous Chicago Sings productions. In her free time, she enjoys thrift shopping, creative writing and laughing with loved ones. Nataki would like to thank all of her family, friends and teachers for their love and support. IG: @nataki__

ABOUT DAVID FIORELLO, music director

David Fiorello is an Equity Jeff Award-winning Music Director, Director, Playwright and Performer who is no stranger to Porchlight Music Theatre. His work at PMT has spanned multiple seasons of Chicago Sings, New Faces Sing Broadway, Porchlight Revisits series, ICONS galas and special events, as well as MDing the Mainstage productions of Gypsy, Blues in the Night, and most recently, The Irish...And How They Got That Way. Chicago & Regional credits include work at The Goodman, Steppenwolf, Chicago Shakes, Drury Lane, The Fulton Theatre, and Maine State Music Theatre. David is the Founder & Artistic Director of The Beautiful City Project, using the tool of musical theatre to raise funds for charity. He also heads up Fiorello Studios, a premier vocal coaching studio in Chicago, as well as the Music Theatre program with the International Lyric Academy in Vicenza, Italy. David sends continual and undying love to his warrior wife Sarah. https://www.fiorellostudios.com/

ABOUT PORCHLIGHT MUSIC THEATRE

Porchlight Music Theatre, now in its 31st season, is the award-winning center for music theatre in Chicago. Through live performance, youth education and community outreach, we impact thousands of lives each season, bringing the magic of musicals to our theatre home at the Ruth Page Center for the Arts in the Gold Coast and to neighborhoods across the city. Porchlight has built a national reputation for boldly reimagining classic musicals, supporting new works and young performers, and showcasing Chicago's most notable music theatre artists, all through the intimate and powerful theatrical lens of the "Chicago Style."

Porchlight's history over nearly three decades includes more than 70 mainstage works with 15 Chicago premieres and five world premieres.

Porchlight's education and outreach programs serve schools, youth of all ages and skill levels and community organizations. Porchlight annually awards dozens of full scholarships and hundreds of free tickets to ensure accessibility and real engagement with this uniquely American art form.

The company's many honors include 178 Joseph Jefferson Award (Jeff) nominations and 49 Jeff awards, as well as 44 Black Theatre Alliance (BTA) nominations and 15 BTA awards. In 2019, Porchlight graduated to the Large Theatre tier of the Equity Jeff Awards and has been honored with seven awards in this tier to date including Best Ensemble for Duke Ellington's Sophisticated Ladies (2019) and Best Production-Revue for Blues in the Night (2022).

Through the global pandemic, Porchlight emerged as one of Chicago's leaders in virtual programming, quickly launching a host of free offerings like Sondheim @ 90 Roundtables, Movie Musical Mondays, Porchlight by Request: Command Performances and WPMT: Classic Musicals from the Golden Age of Radio. In 2021, Porchlight launched its annual summer series, Broadway in your Backyard, performing at parks and venues throughout the city which continues this summer.

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/