Displaying items by tag: Chicago events

It is possible that Oak Park Festival Theatre’s production of Oscar Wilde’s 1895 “trivial comedy for serious people,” The Importance of Being Earnest, was suffering from some opening night jitters and that the actors will settle in and trust the verbal comedy in the script, but on this beautiful evening under the stars, there was too much mugging and nudging going on. Nevertheless, Wilde’s play, about two young men, Algernon (August Forman) and Jack (Chad Bay), who have both invented alibis - Algernon an invalid friend named Bunbury in the country and Jack a degenerate younger brother in town--to allow them to indulge their socially questionable whims, leading to the difficulty of having to explain why neither is Ernest, is still funny. And, despite the excesses on display, this staging still holds many delights for fans of Wilde, verbal comedy, and, particularly in the second act, some smartly choreographed slapstick. What is missing from much of the evening is earnestness. Many of the actors seemed to be in search of motivation and the stakes that propel them through this admittedly effervescent frolic.

Working with a talented cast of regional stage actors, director Kathryn Walsh has not created a secure world for her creative team to inhabit, resulting in an often funny but not dynamic production, with shrill delivery and broad physical comedy undermining human-scale relationships. The tone and gestures of the various characters range wildly, as do the design elements. The whimsical, vaguely Victorian costumes, while fun, support the cartoonish elements of the production, while not always clearly defining the characters. The lighting design by Devin Cameron is appropriately warm and effectively saturated but also deploys unnecessary flourishes to support the comedic business. The scenic design by Evan Frank likewise captures the locations of the play and allows the actors to find many levels - literally - as they shift allegiances and stratagems. Justin Cavazos’s sound design and compositions lend unobtrusive support, except for one hilariously developed cue that draws attention to itself in a good way. Overall, Walsh’s production would be better served by trusting the script and the audience, especially in the first act, when we are getting to know the characters and their desires. That said, both Walsh’s direction and her cast fully commit to the amorous and combative collisions at the beginning of the second act, which showcases the physical and verbal comedic gifts of all to uproarious effect.

As part of the Oak Park Festival Theatre's 51st season (left to right) August Foreman, Barbara Zahora, Aurora Pennepacker, Drew Bos, Sonia Goldberg and Chad Bay in The Importance of Being Earnest at Austin Gardens.

One of the things that makes The Importance of Being Earnest work is the moral certitude that the characters bring to their pronouncements, no matter how absurd they are or whether their actions correspond to their words. This certitude also grounds the characters in their truths and forms the foundation of their interactions, but too often the actors are checking in with the audience to see if they got the joke (especially when many of Wilde’s observations still resonate) or negotiating with the lines. By the middle of the second act, the characters begin to define themselves, but much opportunity for connection is lost in the first. August Forman as Algernon flings himself into the role with wild abandon and invites the audience along for the ride. An adept comedian, Forman’s strategy often pays off but undermines Algernon’s insecurity as he balances his needs with society’s demands. All that aside, his Algernon’s compulsion for muffins is not to be missed. As his friend Ernest, who is actually Jack, Chad Bay does a good job of playing the less self-aware of the friends and playing up the character’s completely unjustified horror at Algernon’s embrace of Bunburyism. As Jack’s romantic interest, and Algernon’s cousin, Gwendolen, Sonia Goldberg at times overplays her character’s pretensions, some of which Gwendolen is still struggling to master, making Goldberg’s characterization overwhelmingly self-possessed at times. Conversely, Barbara Zahora lacks the imperiousness of many Lady Bracknells, giving the character an interesting warmth, but making her power solely transactional, which could be an interesting choice if it were played more fully. Aurora Pennepacker as Cecily strikes the most effective balance between the verbal and physical comedy, making the most of the opportunities to show Cecily’s willingness to exploit others’ assumptions about her character and her real understanding of her powerlessness without this ability. In Jodi Gage’s performance, Ms. Prism is a refreshingly insightful tutor to Cecily, while doggedly hanging onto youthful romanticism. Gabriel Armstrong is a very youthful Reverand Chasuble, celebrating his sudden relevance in parish life. Drew Bos may be the youngest actor to play the dual roles of Lane and Merriman in a professional production and wisely focuses on the class commentary afforded by the butlers of their respective households. His droll Lane gives Algernon food for thought in Act I, while his Merriman, already suffering from the physical strain of servitude despite his youth, effectively times his long-suffering pauses at each new demand (though Bos may need a visit to a chiropractor after the run). The experienced cast expertly and clearly delivers Wilde’s witticisms, which are always worth revisiting and occasionally resonate with the current social dynamics.

As the run continues, the production will most likely settle in and allow the script to propel the pacing and action more fully, especially in the more expository first act. There is much to appreciate in Oak Park Festival Theatre’s The Importance of Being Earnest, including a smart cast who find both the verbal and physical humor inherent to the play. Director Kathryn Walsh and her cast also explore fresh takes on the characters, some more successful than others, but always welcome. For those unfamiliar with Wilde’s play, this production is a solid introduction.

The Importance of Being Earnest runs in repertory with Hamlet, through August 14, outdoors in Austin Gardens in Oak Park, Illinois. Visit Season 51 | Oak Park Festival Theatre or call (708) 300-9396 for tickets and more information. Note: a number of the actors perform in both Earnest and Hamlet, and Oak Park Festival Theatre is offering discounted tickets for audiences who want to see both.

Suffs is a musical about history, yes, but more importantly, it is a musical about momentum: who creates it, who resists it (and why), who gets left behind by it, and what it costs to keep pushing it forward.

Set during the height of the women’s suffrage movement in the 1910s, the show follows a group of young suffragists led by Alice Paul, the real-life founder of the National Woman’s Party. Together, they organize, protest, clash with political leaders, become political prisoners, and (spoiler alert) eventually help gain women the right to vote through the 19th Amendment. But Suffs is not content to frame that victory as clean or uncomplicated, or to pretend that, even a century later, the battle is anywhere near over. The musical is just as interested in the fractures within the movement itself: the younger, more aggressive activists pushing against the older, more “respectable” wing of the Suffrage movement, and the women of color forced to fight for a movement that still asks them, again and again, to wait their turn.

That is where Suffs feels most relevant. It is not only a story about the past, but about the way progress still happens now: through generational disagreement, imperfect coalitions, strategic compromises, moral failures, and the constant fear that too much change too quickly might provoke as much backlash as liberation. Shaina Taub’s book, music, and lyrics do an incredible job balancing real history with theatrical fiction, making the politics legible without flattening the people involved into saints or symbols.

Marya Grandy (Carrie Chapman Catt) and company in SUFFS.

Under director Leigh Silverman, the first national tour’s production is just as anchored by its remarkably talented cast as it is by history; the entirely female company takes on both women and men throughout the story. Maya Keleher is excellent as Alice Paul, bringing both vocal strength and exactly the right kind of young, audacious drive to the role. Her Alice has the spunky determination of a character like Newsies’ Katherine, but grown up: sharper, more self-assured, and driven by something deeper than ambition. She is unabashedly devoted to her cause and makes it clear that, no, it’s not just because she’s young.

Playing opposite her are historical figures Carrie Chapman Catt (Marya Grandy), the mature and strategically tactful leader of NAWSA, and President Woodrow Wilson (performed by u/s Merrill Peiffer). Grandy’s dynamic with Alice Paul is one of the production’s strongest relationships, the two women foiling each other beautifully as they reveal different forms of conviction, compromise, and care. Peiffer’s handling of the presidential role was especially smart: funny and pointed, but never so exaggerated that it breaks the world of the show.

A special shoutout also has to go to the trio of Ida B. Wells (Danyel Fulton), Mary Church Terrell (Trisha Jeffrey), and Phyllis Terrell (Victoria Pekel). Multiple times, the energy in the theatre seemed to shift the moment the three of them took the stage together. Their scenes carried a stillness and gravity that made the room go quiet in the best possible way.

Brandi Porter (Dudley Malone) and Jenny Ashman (President Woodrow Wilson) in the First National Touring Company of SUFFS.

Suffs, which premiered Off‑Broadway in 2022 before its award‑winning 2024 Broadway run, continues to prove its power throughout its highly anticipated national tour. The score delivers some of the musical’s most defining moments, from the sharp, scene‑setting opener “Let Mother Vote” to the driving protest energy of “The March (We Demand Equality).” The emotional weight lands beautifully in “I Was Here,” a moving tribute to Ida B. Wells and Mary Church Terrell, while “Keep Marching” rises as the show’s breakout anthem, capturing the spirit of persistence that fuels the entire production.

If I have a critique, it’s that the show leans a bit too heavily into the idea of the production’s scale growing in tandem with the movement’s momentum. Conceptually, I love that choice. In practice, however, especially within the limits of a touring production, the early restraint makes the show take a long time to feel truly sweeping. The first act is good, but it was not until the second half of the second act that I found myself thinking, “Why haven’t they been singing like that, and dancing like that, the whole time?” The choreography has similar highs and lows: effective in moments, but not always as polished as it needs to be for the more intricate sections to feel truly stunning.

Still, by the end, Suffs lands exactly where it needs to. It leaves the audience empowered without pretending that empowerment is the same as change. The show understands that history is not something we revisit for comfort, but something we return to for instruction. Its final message, “your ancestors are all the proof you need / That progress is possible, not guaranteed,” is both a warning and a call to action. Suffs reminds us that the march is not over - and that the responsibility to keep moving belongs to all of us.

Recommended.

Presented by Broadway In Chicago, Suffs is running at CIBC Theatre through July 19th. Tickets are available here.

Oil Lamp Theater, currently presenting The Last Five Years, now extended through July 19, is proud to announce the cast and creative team for its next production, I Love You Because, August 14 - September 13, book and lyrics by Ryan Cunningham, music by Joshua Salzman and orchestrations by Larry Hochman, directed by Scott Shallenbarger and music directed by Aaron Kahn, at Oil Lamp Theater, 1723 Glenview Road. The schedule includes two preview performances Friday, Aug. 14 at 7:30 p.m. and Saturday Aug. 15 at 3 p.m., with an opening performance Saturday, Aug. 15 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Aug. 19 at 11 a.m. and 3 p.m.; Wednesday Aug. 26 at 7:30 p.m. (Understudy Performance); Wednesday, Sept. 2 at 11 a.m. and 3 p.m. and Wednesday Sept. 9 at 7:30 p.m. Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org.  

Modern dating is a mess. Sometimes to find Mr. Right you need to find Mr. Wrong – even if that means seeing someone stuck on their ex, awkward encounters of the intimate kind and lots of bad coffee dates. Opposites attract in this feel-good musical that will transport you into the heart of your favorite guilty pleasure rom-com. Created by acclaimed musical team Ryan Cunningham and Joshua Salzman and inspired by Jane Austen’s gold-standard romance novel “Pride and Prejudice,” this delightful modern musical will make you fall head over heels.

The cast of I Love You Because includes Aiden McCoy (any with respect, Austin Bennet); Maxwell J DeTogne (any with respect, Jeff Bennet); Hannah Kipp  (she/her, Marcy Fitzwilliams); Kristin Brintnall (she/her, Diana Bingley); Daria Koon (she/they, NYC Woman); Tommy Rothwells (he/him, NYC Man); Freddy Mauricio (he/him, Austin Bennet U/S); Nic Eastlund (he/him, Jeff Bennet U/S); Kaitie Bonds (she/her, Marcy Fitzwilliams U/S); Dominique Ruffalo (she/her, Diana Bingley U/S); Nikki Holladay (she/her, NYC Woman U/S) and Joe Dennis (he/him, NYC Man U/S).

The production team includes Scott Shallenbarger (he/him, director); Aaron Kahn (he/him, music director/accompanist); Bob Knuth (he/him, scenic designer); Devin Meseke (he/him, properties designer); Maya Reter (she/her, sound designer); Sara Segneri (she/her, stage manager); Danielle Reinhardt (she/her, costume designer); Conner Nicoson (they/them, technical director); Connor Windle (she/her, production manager) and Rose Leisner (she/her, company manager).

ABOUT SCOTT SHALLENBARGER, DIRECTOR

Scott Shallenbarger makes his Oil Lamp debut with I Love You Because. Representative credits include Miracle on South Division Street, I And You, Baby the Musical (Citadel Theatre); Les Miserables (Uptown Music Theatre Company); The Glass Menagerie, Six Degrees of Separation, The Road to Mecca, Hot L Baltimore, The Children’s Crusade (Raven Theatre); Jeffrey and Love, Valor, Compassion (Hubris Productions) and Skyscraper (Piven Theatre). Shallenbarger is a published playwright and teaching artist who would like to thank you, dear audience, for attending live theatre. 

ABOUT AARON KAHN, MUSIC DIRECTOR

Aaron Kahn is thrilled to be returning to Oil Lamp after previously working on the productions of It’s A Wonderful Life: A Radio Play and The Marvelous Wonderettes. Kahn is also a private voice teacher at the Christopher Laughlin School of Music in Northbrook and is a staff accompanist at Carthage College. Other favorite music and assistant music direction credits include: Fugitive Songs (Stagedoor Manor); Mel Brooks’ The Producers (Music Theater Works); A Little Night Music (Theo Ubique) and Spring Awakening (4 Chairs Theatre). 

MORE FROM FROM OIL LAMP THEATER

Dial M for Murder

October 2 – November 1, 2026

Adapted by Jeffrey Hatcher from the original play by Frederick Knott

Directed by Daniel King

Preview Performances: Friday, Oct. 2 at 7:30 p.m. and Saturday, Oct. 3 at 3 p.m. 

Opening Night: Saturday, Oct. 3 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Oct. 7 at 11 a.m. and 3 p.m.; Wednesday Oct. 14 at 7:30 p.m. (Understudy Performance); Wednesday Oct. 21 at 11:00 a.m. and 3 p.m. and Wednesday, Oct. 28 at 7:30 p.m.

Alfred Hitchcock’s adored, chilling thriller gets a modern twist that no one will see coming. A murderous misstep begins a high-stakes hunt for the real criminal as time is quickly running out. This captivating, heart-racing play leaves audiences on the edge of their seats while the mystery of the year unravels before their eyes. Will the clues unlock the right person, or will an innocent victim pay the price? The suspense is to die for…

It’s A Wonderful Life: A Live Radio Play

November 20 - December 27, 2026

Adapted by Joe Landry

Directed by Becca Holloway

Preview Performances: Friday, Nov. 20 at 7:30 p.m. and Saturday, Nov. 21 at 3 p.m. 

Opening Night: Saturday, Nov. 21 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Dec. 2 at 11 a.m. and 3 p.m.; Wednesday Dec. 9 at 7:30 p.m. (Understudy Performance); Wednesday Dec. 16 at 11:00 a.m. and 3 p.m. and Wednesday, Dec. 23 at 7:30 p.m.

The holiday tradition returns for its 13th year. Audiences may experience unmatched holiday cheer with Frank Capra's beloved classic, “It's a Wonderful Life,” reimagined as a captivating live radio play, complete with foley sound effects and set in our own WBFR radio studio.

Journey to Bedford Falls, where George Bailey's troubles lead him to wish he was never born. Clarence, an angel sent to intervene, steps in to make his wishes come true and George quickly learns just how many lives he has touched and just how blessed he really is.

*All productions, dates, creatives, etc. are subject to change.

ABOUT OIL LAMP THEATER

Oil Lamp Theater is a professional nonprofit performing arts organization in Glenview, Illinois, welcoming over 10,000 patrons annually from more than 225 communities—41% from Glenview and others from across the North Shore and Chicago. Since establishing its intimate 60-seat home in downtown Glenview in 2012, Oil Lamp has grown into a cultural beacon, earning recognition as “Best Live Theatre in the North Shore” for four consecutive years.

With more than 70 productions to date, Oil Lamp is known for its dynamic Mainstage season, special events and its resilience during the pandemic, when it innovated with drive-in performances and outdoor productions. Today, the theatre continues to foster connection, broaden horizons and illuminate the human condition through professional theater and year-round programming.

In addition to its productions, Oil Lamp Theater operates Oil Lamp Academy, its education branch dedicated to “Training for Life Through the Performing Arts.” In 2025 alone, the program served more than 230 students ages three to 97 years old, offering classes that use theater as a pathway to build confidence, creativity and lifelong skills.

This past September, Oil Lamp launched  Light The Way, a transformative fundraising campaign designed to expand arts education, strengthen essential staff and establish a larger performance venue with the goal of staying in downtown Glenview. Building on its roots as a scrappy storefront, Oil Lamp is evolving into a more robust organization—without losing the intimacy and warmth that define its theater experience. Oil Lamp Theater hopes this announcement inspires excitement throughout the community. Stay tuned as additional news is shared in the near future. For information or to support the campaign go to OilLampTheater.org/Light-the-Way or reach out to Oil Lamp at This email address is being protected from spambots. You need JavaScript enabled to view it..

Oil Lamp Theater, currently presenting The Last Five Years, now extended through July 19, is proud to announce the cast and creative team for its next production, I Love You Because, August 14 - September 13, book and lyrics by Ryan Cunningham, music by Joshua Salzman and orchestrations by Larry Hochman, directed by Scott Shallenbarger and music directed by Aaron Kahn, at Oil Lamp Theater, 1723 Glenview Road. The schedule includes two preview performances Friday, Aug. 14 at 7:30 p.m. and Saturday Aug. 15 at 3 p.m., with an opening performance Saturday, Aug. 15 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Aug. 19 at 11 a.m. and 3 p.m.; Wednesday Aug. 26 at 7:30 p.m. (which is an understudy performance); Wednesday, Sept.. 2 at 11 a.m. and 3 p.m.; and Wednesday Sept. 9 at 7:30 p.m. Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org.  

Great Lakes Operetta is delighted to present its first full-length, fully-staged operetta, Jacques Offenbach’s seminal work, Orpheus in the Underworld!

Originally premiering as Orphée aux enfers, this musical spoof of the Orpheus myth was the Hadestown of 1858’s Paris and had a cultural impact comparable to Hamilton or Phantom of the Opera. It is often considered the first operetta and inspired many other composers, most notably Johann Strauss Jr. The original book was written in part by Ludovic Halévy, of Carmen fame, and the score introduced the now world-famous “can-can” (known in the show as the “Infernal Gallop”). The show is raucous, wacky, and surprisingly modern, and the score is one of Offenbach’s best, ensuring its continued popularity.

Orpheus was initially controversial: in this version, Orpheus and Eurydice can’t stand each other and there is no moral redemption for anyone (although there is a singing bug, pictured below). Offenbach actively lampoons the tropes of classicism – both the original Greek myths and the revered operatic versions of those myths, such as Gluck’s Orfeo (which is even quoted musically in a very meta moment). Critics of the day felt Offenbach was disrespecting the Arts and Culture of the past – among other things – but Parisian audiences couldn’t get enough and allegedly the show only closed after running for 2 years straight (unheard of at the time) because the cast was exhausted.

20 years later, Offenbach released what might now be called a “Special Edition” version, turning the original 2 act show into a 4 act extravaganza with multiple new ballet numbers, more characters, and special effects. Most modern productions, including Great Lakes Operetta’s version, are 2 act versions with some elements of the 1874 production retained.

Great Lakes Operetta’s production will be in a new (premiere) English translation by Francis Lynch, who has translated three other French operetta works for Evanston Chamber Opera. The production will be directed by GLO Artistic Director SarahAnn Sutter, music directed by Lindsey Baer, assistant music directed by Anna Therese George, and produced by Kristin Weed. The production will be fully staged and presented with a small chamber ensemble.  Tickets are on sale now and are available here; tickets will also be available at the door (while supply lasts).

Cast & Creative Team

Great Lakes Operetta’s Orpheus in the Underworld is presented by two outstanding casts, as follows. Whichever cast you choose to watch, you are in for a treat! (And you might enjoy it all so much that you come back to watch the other cast!)

Orpheus: Mason Montuoro  (All dates)

Eurydice: Gabrielle Goudard (July 11, 17, 19); Gabrielle Haigh (July 10, 12, 18)

Public Opinion: Jennifer Barrett (July 11, 17, 19); Isabella Daltoso (July 10, 12, 18)

John Styx: Solamada Pando Girard (All dates)

Pluto: Jonathon Joseph Larson (July 11, 17, 19); Sasha Tomasevich (July 10, 12, 18)

Jupiter: Alexander Quackenbush (All dates)

Diana: Halle Rosemond (July 11, 17, 19); Catherine Larson (July 10, 12, 18)

Cupid: Hillary Esqueda (July 11, 17, 19); Abigail Greer Arcomona (July 10, 12, 18)

Venus: Alexandra Kassouf (July 11, 17, 19); Val Beck (July 10, 12, 18)

Mercury: Kristin Weed (July 11, 17, 19); Kelly Killorin (July 10, 12, 18)

Minerva: Allison Mann (July 10, 11, 12); Eugenia Bouboudakis (July 17, 18, 19); 

Juno: Katarina Bakas (All dates)

Mars: Jonathan Rodney (All dates)

Bacchus: Lucas Gassmann (All dates)

Vesta: Solamada Pando Girard (All dates)

Location

Great Lakes Operetta is proud to present its first full-length, fully-staged production on the stage of the Beatrice Theatre at the beautiful Bramble Arts Loft in the Andersonville neighborhood of Chicago. Located on the second floor the historic Capital Garage building (with an ADA-accessible elevator!), this lovely, intimate space is one of Chicago’s newest performing arts venues.

For tickets, click here.

What’s on the minds of Chicago’s youth?

Find out when Collaboraction Theatre’s 2026 The Light Youth Ensemble brings their talent, fused with a strong passion for positive social change, for free performances at several key Chicago events this summer. 

Now in its fifth year, Collaboraction’s The Light empowers Chicago high schoolers to become professional artists and thoughtful leaders in their communities. The youth are paid to create and perform pieces for peace around the city, making the program part performing arts, and part, creative workforce development. Collaboraction’s 2026 ensemble – 19 Chicago high schoolers from all over the city, intent on becoming both skilled performers and positive social change makers – is the company’s largest ever, and they’re ready to share their youthful exuberance, artistry and calls for positive change. 

Meet Collaboractions’ 2026 Light cohort, and see the social change themes reflecting Chicago youth concerns today:

Aisling, 17, Lincoln Park, healthcare access 

Anna, 17, Mount Greenwood, education
Ari, 17, Humboldt Park, homelessness/mental health

Bella, 16, Humboldt Park, women’s rights/mental health

Cami, 15, Galewood, mental health

Christian, 16, Portage Park, queer acceptance in religion

Isabel, 17, Bucktown, gun violence and LGBTQ rights 

Jonathan, 18, Dolton, depression/poverty

Khloe, 16, Austin, drug abuse/mental health

Kristian, 16, Lincoln Park, mental health

Lucy, 17, Lincoln Square, eating disorder awareness

Marquise, 16, Englewood, gun violence
Maya, 18, Belmont Cragin, women's rights/representation

Quentin, 17, Calumet City, individuality/pride

Riley, 17, Auburn Gresham, anti-deportation

Rhylan, 15, Bucktown, women’s/queer rights
Sammy, 17, Hermosa, gun violence/classism

Sophia, 16, Brighton Park, queerness and ethnicity

Story, 16, Austin, internalized racism 

Fresh off appearing at Logan Square Arts Festival this past weekend, look for The Light performing live at festivals and events around Chicago in the coming months including:

Fresh Fest

At Navy Pier
Friday, July 10, 12 p.m.

Kidzapalooza at Lollapalooza

Grant Park
July 30 - August 2, multiple times

The Light Up

Collaboraction 

Kimball Arts Center, 1757 N. Kimball Ave. in Humboldt Park 

Saturday and Sunday, August 8 and 9, 3 p.m. 

Followed by The Luminaries’ new show at 7:30 p.m.

The Utopian Ball
Collaboraction’s annual gala fundraiser
Venue West, 221 N. Paulina St. in West Town
Saturday, October 3, 6 p.m.

For the latest information and more performances TBA this summer, visit collaboraction.org/the-light.

Step Into The Light

In addition to performing across the city, The Light is currently meeting three days a week at Collaboraction’s new House of Belonging in Humboldt Park, where they’re learning about the intersection of live performance and social change while devising original, solo and ensemble works rooted in their own, personal social justice causes. 

In keeping with Collaboraction’s Pay Equity policy, each member earns equitable pay while participating in The Light, including meetings, rehearsals and performances. After completing the program, students receive professional headshots, video documentation, and continued access to creative resources and mentorship.


Lucy DiMaio, Chicago’s New Youth Poet Laureate and a returning member of Collaboraction’s The Light,
performs “Evil Eye” at the Logan Square Arts Festival on June 27, 2026. Photo courtesy Collaboraction.

Lucy DiMaio, 17, a resident of Lincoln Square and an incoming senior at Walter Payton College Prep, is a returning member of The Light, where last summer, she devised a visceral, original spoken word piece “Evil Eye” about women’s safety on public transportation. Since then, Lucy was named the 2026 Chicago Youth Poet Laureate, a program of Young Chicago Authors, who will spend the next year presenting Lucy as Chicago's youth voice through performances and civic engagements across the city. 

“The Light members are always so supportive of each other, and that support was so necessary in creating ‘Evil Eye,’” said Lucy. “Since we all create art about difficult topics that often affect ourselves personally, there was a very important understanding that my piece was difficult for me to write and sometimes perform. All Light members were so incredibly considerate of that sensitivity and still managed to give helpful and insightful feedback. Additionally, getting help from established artists was absolutely invaluable, as they helped me consider how the piece would function as a true performance.”

Many past members of The Light have gone on to remarkable success, including two earning full college scholarships, two competing on America’s Got Talent, one starring in an Apple TV show, one self-producing and releasing an album on Apple Music, and another attending the CLI Conservatory for elite dance training. Several have also joined The Luminaries, Collaboraction’s youth continuing education program for graduates of The Light. This program, for ages 18 to 23, equips professional college-aged performers with the skills to create meaningful, socially driven work.

Antonio Mendoza, Collaboraction’s Lead Teaching Artist, directs The Light. Chicago music artist Linda Sol leads The Luminaries. Collaboraction company members, staff, and artists also bring real-world experience to youth training. Outside mentors past and present include actress and playwright Sandra Delgado, rock musician Nicholas Tremulis, actor and director Cheryl Lynn Bruce, Collaboraction leaders Darlene Jackson and Anthony Moseley, and more. 

Members of The Light pose with Chicago rock music legend and guest mentor Nicholas Tremulis (center) after he helped them write an original song in Collaboraction's new office space at the Kimball Arts Center in Humboldt Park. Credit: Collaboraction

Pre-, mid- and post-training self-assessments by last summer’s Light cohort underscore the program’s positive influence across all metrics, starting with career readiness, leadership and creativity/artistry. Surveys also point to the participants growing more comfortable applying the arts to social change and increased practicing of self-care strategies over the course of the program. Click here for the full report. 

The Light is made possible with the support of the Marc and Jeanne Malnati Family Foundation, and the Illinois Arts Council.

About Collaboraction

Now fully activated, Collaboraction Theatre Company’s new House of Belonging in the Kimball Arts Center, 1757 N. Kimball Ave in Humboldt Park, is a sleek, 4,000-square foot space featuring a new 99-seat flexible studio theater and a 50-seat cabaret with cafe and bar.

Celebrating its 30th anniversary in 2026, Collaboraction is an award-winning Chicago theater company that uses the power of art and storytelling to cultivate healing, empathy, and equity across communities. Across all platforms, Collaboraction uses its KEDA methodology - Knowledge, Empathy, Dialogue, and Action - to spark changes in behavior and attitudes that manifest social change.

Collaboraction’s past work includes NBC Chicago’s three-time Emmy Award-winning The Lost Story of Emmett Till: Trial in the Delta, the resulting live stage play film, Trial in the Delta: The Murder of Emmett Till, live productions of Crime Scene, Moonset Sunrise, A Blue Island In the Red Sea, its annual Peacebook and Sketchbook festivals, and its youth ensemble, The Light.

Collaboraction is led by Darlene Jackson, Chief Executive Officer and Executive Director; Anthony Moseley, Chief Programming Officer and Artistic Director; and a dedicated board, company members and staff. For more information, visit collaboraction.org or follow Collaboraction on Facebook, Instagram, YouTube, TikTok and Bluesky.

Babes With Blades Theatre Company's (BWBTC) 2026 season opens with a world premiere, yo ho., by playwright SMJ, directed by JD Caudill and fight choreography by Carly "CB" Cason, July 19 - August 29 at The Edge Theater Off Broadway, 1133 W. Catalpa Ave. The running time is approximately two hours (including intermission). Preview performances are Sunday, July 19 at 3 p.m., Thursday, July 23 and Friday, July 24 at 8 p.m. The performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Aug. 15 at 8 p.m. and Sunday, Aug.16 at 3 p.m. and Thursday, Aug. 20 and Friday, Aug. 21 at 8 p.m.. The sensory friendly performances are Sunday, Aug. 2 and Sunday, Aug. 9 at 3 p.m. and  with the fully masked audience performances, Sunday, Aug. 9 and Aug. 16 at 3 p.m. Streaming dates for yo ho. will be announced at a future date. Tickets are $28 for students and seniors, $35 for general admission and are on sale now at BabesWithBlades.org.

yo ho. charts the journey of Anne Bonny and Mary Read, two pirates aboard a campy, sexually charged ship facing immediate threat from the crown. Equal parts historical fantasy and introspective sexual and gender exploration, this play is a deeply emotional reimaging and reminder of queer history.

"This hilarious and saucy comedy is perfect for the summer," states Artistic Director Hayley Rice. "In many ways yo ho. is exactly the kind of show you would expect from BWBTC: swashbuckling swordfights between moments of illuminating the lost stories of marginalized identities. This script is also fresh, exciting and perhaps a little steamier than Babes' offerings of the past."

The ensemble cast of ten, in alphabetical order, features Stef Brundage (they/them, Calico Jack); Sierra Buffum (they/them, Mary Read); William Delforge (he/him, Chad/James); Schnaude Dorizan (she/her, Vanessa U/S); Stephanie Fongheiser (she/her, Anne Bonny U/S); Cris King (she/her, Calico Jack U/S); Rachel Sleek Bañuelos (she/her, Anne Bonny); Makenna Van Raalte (they/she, Mary Read U/S); Jacob Watson (he/they, Chad/James U/S) and Brittani Yawn (she/her, Vanessa).

The production team includes BWBTC ensemble members Line Bower (they/them, technical director); Jennifer Mohr (she/her, costume designer); Payton Shearn (she/they, production assistant) and Laura J. Wiley (she/her, lighting designer) as well as Carly "CB" Cason (they/she/any, fight choreographer); JD Caudill (they/them, director); Kat Coyl (they/them, assistant director); Amy C. Gilman (she/her, scenic designer); Rose Hamill (she/her, production manager); Alex Kingsley (they/them, sound designer); Meme Matteson (she/they, assistant fight choreographer); Grace Mealey (she/her, stage manager); Alyssa Vera Ramos (she/her/ella, intimacy designer) and SMJ (they/them, playwright).  

ABOUT SMJ, PLAYWRIGHT

SMJ is a mixed-Latiné, non-binary and New York City-based playwright, theatermaker and educator originally from Mount Vernon, OH. They are proud to be the executive director of Andy's Summer Playhouse, a professional children's theater in Wilton, New Hampshire, that specializes in creating world premiere work with local children and emerging professional artists. They were a 2022-2023 Dramatists Guild Foundation Fellow. As a writer, their work has been seen in various forms with Ars Nova, Lincoln Center, The Kennedy Center, Eugene O'Neill Theater Center, New York Stage and Film, Latinx Playwrights Circle, The Orchard Project, Latiné Musical Theatre Lab, Carnegie Mellon University, New York University, Otterbein University and Manhattanville University. SMJ has been a finalist for the Princess Grace Award in Playwriting at New Dramatists and a semifinalist for the 2024 Samuel French Off-Off Broadway Short Play Festival as well as the O'Neill's National Playwrights Conference (multiple times). They are a member of the Dramatists Guild and Ring of Keys. 

ABOUT JD CAUDILL, DIRECTOR

JD Caudill is a queer director, literary manager and music director. Their recent direction credits include The SpongeBob Musical (Kokandy Productions; Bowling Green State University), Sofa King Queer (Nothing Without A Company), Hedwig and the Angry Inch (Haven Theatre), I Promised Myself to Live Faster (Hell in a Handbag), After the Blast (Broken Nose Theatre) and Southern Comfort (Pride Films and Plays). They've also directed for Bechdel Fests 4-6 + 8 and Book of Shadows (Broken Nose Theatre) and other plays at The New Colony, Haven Theatre, The Runaways Lab Theatre, New American Folk Theatre, Hobo Junction, 20% Theatre, Paragon Theatre, Otherworld Theatre, Arc Theatre, 16th Street Theatre, Stage Left, The Syndicates and Red Theatre. They have been a proud ensemble member of Hell in a Handbag for ten years, and served as an ensemble member and literary manager of Broken Nose Theatre for seven years. They are driven to make theatre because of the unique sense of community it creates by bringing people together in person to experience imaginative stories of hope and catharsis. As a director, their mission is to create queer art for everyone; they want queer audiences to experience new stories of authentic representation while helping non-queer audiences cultivate empathy for the LGBTQIA+ community. 

ABOUT CARLY "CB" CASON, FIGHT CHOREOGRAPHER

Carly Belle is a founder of Counterfeit Combat, head acting coach with Model Act Studios and is thrilled to be swashbuckling with this great group of pirates! With roots deep in the heart of Texas, they have more than a decade of training and experience in combat for stage and screen. Other Chicago credits include: Bloodbound (Auriel Productions), Fencers of Panache (Fair in the Field), And They Were Shipmates (Counterfeit Combat) and Leap of Fate (Nonsense Productions).

ABOUT BABES WITH BLADES THEATRE COMPANY

Babes With Blades Theatre Company, for more than 25 years and moving into the future, strives to develop and present scripts focused on complex, dynamic (often combative) characters who continue to be underrepresented on theatre stages based on gender. Babes With Blades Theatre Company uses stage combat to tell stories that elevate the voices of underrepresented communities and dismantle the patriarchy.

In each element of its programming, BWBTC embraces two key concepts:

1)     Folks of marginalized genders and underrepresented communities are central to the story, driving the action rather than responding or submitting to it and

2)     Everyone is capable of a full emotional and physical range, up to and including violence and its consequences.

The company offers participants and patrons alike an unparalleled opportunity to experience every person as heroes and villains; rescuers and rescues; right, wrong and everywhere in between: exciting, vivid, dynamic PEOPLE. It's as simple and as subversive as that.

LAND ACKNOWLEDGEMENT STATEMENT:

Babes With Blades Theatre Company produces theatre in venues located on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa, and Potawatomi Nations. Many other tribes such as the Miami, Ho-Chunk, Menominee, Sac and Fox also called this area home. This region that we now commonly refer to as "The Chicagoland Area", has long been a center for Indigenous people to gather, trade and maintain kinship ties. Today, one of the largest urban Native American communities in the United States resides in Chicago. Members of this community continue to contribute to the life of this city and to celebrate their heritage, practice traditions and care for the land and waterways.

Babes With Blades Theatre Company's (BWBTC) 2026 season opens with a world premiere, yo ho., by playwright SMJ, directed by JD Caudill and fight choreography by Carly "CB" Cason, July 19 - August 29 at The Edge Theater Off Broadway, 1133 W. Catalpa Ave. The running time is approximately two hours (including intermission). Preview performances are Sunday, July 19 at 3 p.m., Thursday, July 23 and Friday, July 24 at 8 p.m. The performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. The open caption performances are Saturday, Aug. 15 at 8 p.m. and Sunday, Aug.16 at 3 p.m. and Thursday, Aug. 20 and Friday, Aug. 21 at 8 p.m.. The sensory friendly performances are Sunday, Aug. 2 and Sunday, Aug. 9 at 3 p.m. and  with the fully masked audience performances, Sunday, Aug. 9 and Aug. 16 at 3 p.m. Streaming dates for yo ho. will be announced at a future date. Tickets are $28 for students and seniors, $35 for general admission and are on sale now at BabesWithBlades.org.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Very highly recommended.

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

Opera Festival of Chicago continues its season with two mainstage productions - La Bohème and Adriana Lecouvreur - each featuring the Opera Festival of Chicago Orchestra and Chorus and performed at the George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie. 

I had the chance to see Giacomo Puccini’s La Bohème, directed by Festival General Director Sasha Gerritson and conducted by Sir Emanuele Adrizzi, and it proved to be an outstanding, deeply felt evening of music and drama.

Giacomo Puccini’s La Bohème unfolds in the chilly garrets and bustling cafés of 1830s Paris, where a group of young artists survive on charm, wit, and the fragile hope that beauty might be enough to sustain them. The opera begins in a drafty attic shared by the poet Rodolfo and the painter Marcello, whose playful banter masks the hunger and hardship of their bohemian life. Everything shifts when Mimì, a shy, dreamy seamstress with a failing candle and failing health, knocks on their door. Her tender connection with Rodolfo ignites instantly, carrying them into the vibrant chaos of Café Momus, where Marcello’s fiery former lover Musetta steals the spotlight with her flirtations and razor‑sharp instincts.

But as winter settles in, the opera’s warmth gives way to harsher truths. Only the rich are safe and well fed in this cold bleak landscape of artistic poverty. Mimì’s illness worsens, and Rodolfo’s fear of losing her fractures their love, even as they cling to moments of sweetness. Both Mimì and Rodolfo are swept up in the sudden, poetic rush of feeling that sparks between them during their first meeting over her extinguished candle, a moment Puccini shapes with irresistible warmth. Their ensuing duet, “O soave fanciulla,” is written as a rush of idealized, almost dreamlike love - sung here with such radiance that it feels too perfect to endure, and tragically it doesn’t, as the briefness of their time together becomes one of the opera’s most heartbreaking truths. 

By the final act, the bohemians reunite in their attic, trying to conjure laughter out of scarcity, until Musetta arrives with the gravely weakened Mimì. What follows is one of opera’s most devastating endings: a quiet, intimate vigil as Rodolfo realizes too late that the love he tried to protect has slipped beyond saving. Puccini shapes this world with music that aches, soars, and ultimately reminds us how fiercely we hold on to joy, even as life insists on its fragility. Puccini also paints a world in which artists of every stripe are routinely exploited by the comfortable classes - the dull rich, who commission work and then pay only sporadically, as if deprivation were somehow a necessary ingredient of genius. In reality, it is the indifference of these wealthy patrons that forces the bohemians into constant hardship, driving them to beg, borrow, and even steal simply to keep food on the table and have their housing bills covered.  

(L to R) Alexandra Razskazoff, “Mimi” and Nathan Granner, “Rodolfo” in LA BOHÈME. Photos by A.Deran Photography.

This La Bohème features a cast whose vocal and dramatic instincts sharpen Puccini’s world into something immediate and deeply felt. Alexandra Razskazoff’s Mimì is nothing short of luminous - her soprano glowing with warmth yet edged with delicacy, embodying a young woman whose softness hides a life lived perilously close to the margins. A rising artist with an increasingly international footprint, Razskazoff traces Mimì’s arc with such emotional transparency that her final moments land with quiet, devastating force. Opposite her, tenor Nathan Granner brings a beautifully burnished tone and an instinctive musicality to Rodolfo. Long admired for his expressive phrasing and crossover versatility, Granner sings with a poet’s sensitivity; his Rodolfo is impulsive, romantic, and heartbreakingly human, especially as love and fear begin to pull him apart.

Catherine Antonia Samartin lights up the stage as Musetta, her bright, agile soprano and irresistible charisma making every entrance feel like a spark catching fire. Musetta is also the victim of this us versus them world where her beauty and charms are commodified on the older wealthy man she is forced to keep company with in order to receive her beautiful wardrobe and warm home to live in. Her scenes with Kenneth Stavert’s Marcello are especially electric. Stavert, with his rich, grounded baritone and wonderfully lived‑in ease, brings both humor and heart to the painter whose bravado barely conceals his vulnerability. Anthony Reed’s Colline provides a beautifully resonant counterweight to the lovers’ volatility - his “Vecchia zimarra” delivered with a quiet, dignified ache that speaks volumes about loyalty and sacrifice. Jonathan Wilson brings quicksilver energy and crisp comedic timing to Schaunard, shaping the role with warmth and buoyancy, while veteran bass William Powers steals scenes with effortless charm as both Benoit and Alcindoro, reminding audiences why he remains one of American opera’s most reliable character treasures. David Greene adds a welcome burst of color as Parpignol, enriching the Act II bustle with a touch of whimsy. This ensemble shapes a Bohème that feels vividly inhabited and emotionally true, a testament to what Puccini’s world becomes when every performer contributes with such specificity, generosity, and heart.

One of the production’s most striking assets is its massive, 50‑plus‑member chorus, whose sheer presence reshapes the entire world of La Bohème. Their sound adds a thrilling sweep to Puccini’s score, amplifying the emotional stakes and giving the bustling Parisian scenes a vivid, lived‑in texture. In Act II especially, the sheer size and vocal richness of the ensemble create a sense of overwhelming festivity, making the Christmas Eve Café Momus tableau feel like a city bursting with life. But the chorus also deepens the opera’s more intimate moments, surrounding the central lovers with a sonic landscape that underscores both the joy and the fragility of their world. It’s a rare gift to hear a chorus of this scale in a production of Bohème, and here it elevates the performance into something grander, more immersive, and undeniably unforgettable.

(L to R) Kenneth Stavert, “Marcello;” Anthony Reed, “Colline;” William Powers, “Benoit;” Nathan Granner, “Rodolfo” and Jonathan Wilson, “Schaunard” in LA BOHÈME from Opera Festival of Chicago. Photos by A.Deran Photography.

The set itself is perfectly workable and the large video boards truly animate the space, supplying shifting imagery of snowfall and other atmospheric touches throughout the evening. Because the opera is sung in Italian, overhead supertitles - crisply projected and easy to follow - add a modern presentational layer that supports the storytelling without ever competing with Puccini’s world. 

This La Bohème resonates with honesty, heart, and thrilling musicality, carried by a cast and chorus performing at the height of their powers. It’s a standout achievement for Opera Festival of Chicago - and a compelling reason to experience not only this production but also their Adriana Lecouvreur, by Francesco Cilea, directed by Shifra Werch and also conducted by Sir Emanuele Andrizzi, which promises its own dramatic and musical rewards.

Recommended.

Performances are held at the North Shore Center for the Performing Arts in Skokie. 

La Bohème - Friday, June 26 at 7:30 p.m., Wednesday, July 1 at 7:30 p.m., and Sunday, July 5 at 2 p.m. 

Adriana Lecouvreur - Sunday, June 28 at 2 p.m. and Friday, July 3 at 7:30 p.m.

Tickets range from $25 to $150 and are available at  www.OperaFestivalChicago.org.

Goodman's Centennial 25/26 Season concludes on a high note, with programming for all ages, interests and neighborhoods. The theater announces its 4th annual partnership with Chicago Park District's "Night Out in the Parks" to bring The Lizard y El Sol, a Theater for the Very Young (TVY) play, into 12 public spaces citywide. At the same time, famed longtime improvisers, actors and friends TJ Jagodowski and David Pasquesi (with musical guest Ike Reilly) return for a third summer in the Owen Theatre with their comedy show TJ and Dave. Plus, Chicago playwrights William Glick and Lachrisa Grandberry, The Goodman's 25/26 New Stages Residency playwrights, offer a first look at their new plays in free readings while The Goodman welcomes 60+ high schoolers for its annual youth summer programs—Playbuild Youth Intensive and Musical Theatre Intensive.

These events complement The Goodman's previously announced summer programming, including two musicals: Iceboy! or, The Completely Untrue Story of How Eugene O'Neill Came to Write "The Iceman Cometh," starring Megan Mullally and Nick Offerman in its world premiere, and Raven Theatre's hit Octet transferring to The Goodman following a sold-out run in its north side home. In addition, Dennis Watkins welcomes internationally celebrated magician Eric Jones to The Magic Parlour for a three-week residency next month, and Theater of the Mind continues through August 30 with a new $99 "Make It a Date Night" ticket package now available. For tickets and reservations, call 312.443.3800 or visit GoodmanTheatre.org. Media members interested in covering these events should contact This email address is being protected from spambots. You need JavaScript enabled to view it. for complimentary press passes. More info appears below. 

ABOUT THE SUMMER OFFERINGS

Iceboy! or, The Completely Untrue Story of How Eugene O'Neill Came to Write "The Iceman Cometh" 
Music By Mark Hollmann 
Lyrics by Mark Hollmann and Jay Reiss 
Book by Erin Quinn Purcell and Jay Reiss 
Directed by Marc Bruni | Choreographed by JoAnn M. Hunter 
Through August 9 | The Albert Theatre 
Tickets: $49-$209, subject to change 

Broadway's brightest star of 1939, Vera Vimm, is at the top of her game—until she adopts a 40,000-year-old Neanderthal discovered frozen in the Arctic. As Iceboy thaws, he unexpectedly becomes a theatrical sensation, inspiring Eugene O'Neill and challenging Vera for center stage. The world-premiere production stars Megan Mullally and Nick Offerman and features music by Mark Hollmann, lyrics by Mark Hollmann and Jay Reiss, and book by Erin Quinn Purcell and Jay Reiss—the Tony Award-winning creators behind Urinetown (Hollmann, with Greg Kotis) and The 25th Annual Putnam County Spelling Bee (Reiss, with Rachel Sheinkin and William Finn)—with Grey Henson in the title role, Cedric Yarbrough, Sarah Stiles, Alex Goodrich and more. Directed by Marc Bruni with choreography by JoAnn M. Hunter, it's at once the capstone of The Goodman's Centennial Season and its latest in a long history premiering new large-scale American musicals. The Goodman is grateful for the support of Edgerton Foundation (New Play Award), Mayer Brown (Lead Corporate Sponsor) and Athletico Physical Therapy (The Official Physical Therapy Provider for Goodman Theatre). GoodmanTheatre.org/Iceboy

Guest Artist Eric Jones' three-week residency at The Magic Parlour 
July 10-26 | 50 W. Randolph 
Tickets: $76-$106 

A special guest star, a new block of tickets, and more magic comes to The Magic Parlour this summer. Acclaimed third-generation Magician Dennis Watkins announces a new block of tickets for performances through end of year, December 2026. In addition, "Chicago's premiere resident magician" (Chicago Tribune) welcomes Eric Jones—a fan favorite and semi-finalist on NBC's America's Got Talent who stunned the famed magicians on Penn & Teller: Fool Us—for a limited three-week residency this summer. Now in its third year, The Magic Parlour is a custom magic theater in the heart of the Loop that has welcomed more than 28,000 Chicagoans to 700+ performances and bespoke private events—including hosting some of the nation's greatest magicians as guest artists-in-residence and special performances. TheMagicParlourChicago.com

Raven Theatre's production of Dave Malloy's Octet 
Presented by The Goodman 
Directed by Kiera Fromm | Music Directed by Nick Sula | Choreographed by Laura Savage 
July 15-26 | The Owen Theatre 
Tickets: $44-94 

In an anonymous meeting room on the North Side of Chicago, a group of people—always eight—gathers to sing. Best known for the Broadway hit Natasha, Pierre, & The Great Comet Of 1812, Dave Malloy's Octet uses chamber-inspired a cappella music to explore the total impact of life online. Hailed by The New York Times as "the most original and topical musical of the year" for its 2019 Off-Broadway premiere, this inventive and acutely relevant piece reflects the perils of the digital age. GoodmanTheatre.org/Octet

The Lizard y El Sol 
Presented as part of the Chicago Park District's Night Out in the Parks Series, supported by the Mayor's Office and the Chicago Department of Cultural Affairs and Special Events (DCASE) 
Co-Directed by Jamal Howard and Raquel Torre 
July 22 – August 9 | Appearing at 12 locations citywide 
Tickets: FREE; reservations encouraged but not required 

This summer, The Lizard y El Sol springs to life in 11 parks and 1 library across the city, bringing free outdoor theater adventures for children ages 0–5 and the grown-ups who love them. When El Sol (the sun) mysteriously vanishes from the sky, it's up to one brave Lizard to embark on a quest to find and bring back the light. Audiences of all ages will enjoy this enchanting retelling of a beloved Mexican folktale featuring interactive storytelling and Mexican-inspired music and dance. The play is presented primarily in Spanish, but is designed to be enjoyed and understood by both Spanish and non-Spanish speakers. All performances are one hour long followed by a hands-on workshop for audiences. The Goodman is grateful for the support of the Laura Sachs Foundation (Major Individual Sponsor), Wintrust Commercial Bank(Community Programs Sponsor), Kirkland & Ellis (Arts in Community Sponsor). GoodmanTheatre.org/Lizard

"Through our partnership with Night Out in the Parks, we're able to bring high-quality theatre directly into neighborhoods across Chicago, creating opportunities for children to experience the wonder, the joy and the connection that live performance offers," said Clifford Director of Education and Engagement Jared Bellot, who oversees Theater for the Very Young, PlayBuild and Musical Theatre Intensive summer youth programs. "At The Goodman, we believe that our youngest audiences deserve richly intentional artistic experiences, and this production reminds us that theater can spark curiosity, build community and help young people see themselves as active participants in the world around them."

Theater for the Very Young (TVY) programming offers immersive theatrical experiences—produced and performed by professional artists—designed for children ages 0–5 years old to experience alongside the grown-ups in their lives. Created in 2023 by Goodman Walter Artistic Director Susan V. Booth in response to research demonstrating the profound impact the arts can have on early childhood development and long-term learning outcomes, TVY introduces Chicagoland's youngest audiences to live theater through storytelling, music, movement and sensory-rich play produced and performed by professional artists. Over the past three years, TVY has served thousands of children and families in Chicago parks, theaters, schools and community spaces with productions of the plays Splish Splash: A Day on the Lake (2026); Book Up! (2025); The Lizard y El Sol (2024); and Pearl Cleage's In My Granny's Garden (2023).

TJ and Dave 
With special musical guest Ike Reilly 
July 30-31, August 1 at 7:30pm | The Owen Theatre 
Tickets: $29-49 

TJ Jagodowski and David Pasquesi—"two of the world's finest practitioners of the art of long-form improv" (Time Out Chicago)—bring their unforgettable live performance back to The Goodman's Owen stage. Over the past two decades at venues across the country and overseas, TJ and Dave walk out on stage without characters, dialogue or plot. One hour later, their two-person completely improvised show leaves an audience with one of the funniest nights of their lives. Hailed as "Second City-seasoned masters of long form improv" (The New York Times) and "Zen masters of their art; improv virtuosos, blissful to watch" (The Guardian) serving up "the best improv comedy we've ever seen: brilliant, heart-breaking, mind-blowing and inspiring" (Time Out New York), Jagodowski and Pasquesi have become living legends in their field. Don't miss their limited three-night-only engagement—with special musical guest, Ike Reilly. GoodmanTheatre.org/TJandDave

Youth Intensive Education and Engagement Summer Programs 
PlayBuild Youth Intensive | June 22 – July 27 
Musical Theater Intensive | July 6 – August 10

Over sixty high schoolers join The Goodman's long-running summer youth programs—PlayBuild and Musical Theater Intensive—this summer. Both five-week programs are offered FREE and full-time, with participants attending Monday through Thursday working with teaching artists and local theater professionals. PlayBuild Youth Intensive (June 22 – July 27) immerses participants in the building blocks of live storytelling and performance, refining their skills in acting, playwriting, creative writing, improvisation, physical theater and ensemble work. Students learn a range of skills from local industry professionals and devise an original theater production created by the PlayBuild ensemble. Musical Theater Intensive (July 6 – August 10) is a pre-professional program that introduces and supplements musical theater knowledge in its participants, acquainting them with the demanding lifestyle of performance as they refine skills in acting, dancing, singing, storytelling and ensemble work, also culminating with a final performance on The Goodman stage. The Goodman is grateful for the support of the Quaker Oats Company (Corporate Support of PlayBuild Youth Intensive).

New Stages Residency Readings 
The Last Time We Saw Them by William Glick | July 20 | 7:30pm | Healy Rehearsal Hall 
Black-Eyed Peas and Collard Greens by Lachrisa Grandberry | September 17 | 7pm | Alice Center 
Tickets: FREE; reservations open three weeks prior to each reading 

Be first to experience the plays of tomorrow with staged readings of works-in-progress from this season's New Stages Residents—Chicago-based writers creating new pieces in collaboration with The Goodman. Established in 2010 as the "Playwrights Unit," the New Stages Residency supports multiple writers each season, offering tailored developmental support for works-in-progress and fostering close connections between Goodman staff and Chicago artists. Residency writers are embedded in The Goodman's artistic staff for the season and are considered artists-in-residence at the theater. The Goodman is grateful for the support of the Ruth D. And Ken M. Davee New Works Fund (Major Support of New Play Development), Pritzker Pucker Family Foundation (Major Support of New Work), and Harold and Mimi Steinberg Charitable Trust (Major Support of New Work).

Theater of the Mind 
Co-created by David Byrne and Mala Gaonkar 
Directed by Andrew Scoville 
Through August 30 | Reid Murdoch Building, 333 N. LaSalle St. 
Tickets: Starting at $69; subject to change 

Directed by Andrew Scoville and Technology Director Heidi Boisvert, PhD, Theater of the Mind is a 75-minute mind-bending sensory journey for 16 audience members at a time. Led by a Guide whose stories are inspired by the creators' lives, audiences explore how they perceive the world through sensory experiments derived from both historical and current neuroscience research that reveal the inner mysteries of the brain. A new "Make it a Date Night" package is now available: $99 for two tickets, two complimentary drinks at the Theater of the Mind bar, and a free dessert-for-two with dinner reservations at Nonnina restaurant (340 N. Clark Street), valid for performance time slots starting at 8 pm on Wednesday and Thursday evenings (subject to availability). The Goodman is grateful for the support of Northern Trust, the Chicago Department of Planning and Development, the Alfred P. Sloan Foundation, the Illinois Office of Tourism, and Friedman Properties. Theater of the Mind is produced here in special arrangement with Arbutus, a not-for-profit founded by David Byrne to celebrate, re-present, and amplify ideas found in surprising places. TheateroftheMindChicago.com

ABOUT THE GOODMAN

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

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

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

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

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

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