Displaying items by tag: Musical theatre

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

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

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

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

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

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

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

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

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

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

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

Highly Recommended.

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

One hour and forty‑five minutes with no intermission.

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

Vape! The Grease Parody, currently running at Chicago’s Apollo Theater through January, takes a satirical swing at the iconic 1978 film. The production leans heavily into campy, low‑brow humor, poking fun at the original and the characters who appeared in it - Danny Zuko and Sandy Olsson, made famous by John Travolta and Olivia Newton‑John, their respective groups, the T‑Birds and the Pink Ladies, and a parade of other colorful personalities. Vape! attempts to capture the same irreverent energy that made recent parody hits like Titanique and Schmigadoon! work, but it struggles to carve out its own distinct identity.

For those unfamiliar with the source material, Grease follows the summer‑fling romance between Danny Zuko, the swaggering leader of the T‑Birds, and Sandy Olsson, the wholesome new girl who unexpectedly lands at his high school. Their reunion at Rydell High kicks off a swirl of teen drama, pep‑rally posturing, and 1950s hot‑rod bravado, all set against the antics of their respective cliques. The story ultimately tracks whether Danny and Sandy can bridge the gap between their carefully curated images and who they actually are - all wrapped in a soundtrack that has produced some of the most memorable songs from a stage and screen musical.

The narrative of Vape! modernizes the classic tale by tossing an assortment of pop-culture tropes and theatrical nods at the audience. Some of these updates land, such as transforming Sandy into a washed-up mermaid or reimagining "Beauty School Dropout" as an "Influencer Dropout" sequence featuring the ensemble performing with ring lights affixed to their heads. Theater lovers will also spot references to Wicked, The Phantom of the Opera, A Chorus Line, and others. However, some of the updates – like turning Rizzo into a Scream-esque murderer – don’t.

At times, the structural additions feel somewhat disjointed. The modernizations do not always mesh smoothly with the source material, creating an odd juxtaposition where 1950s greasers and TikTok culture clash rather than complement one another.

While the original Grease carried a certain tongue-in-cheek approach beneath its mature content, Vape! leans fully into explicit and crude farce. For instance, Grease’s "Hand Jive" gets a lyrical update to become the "Handjob.”

Despite the material, the cast delivers energetic and capable performances, keeping the energy high. Will Leonard offers an enjoyable Travolta impersonation, capturing his signature vocal whine with precision – though it’s a bit disappointing he didn’t have the iconic black hair. Jenna Smith makes Sandy fun to watch, especially in the way she pokes fun at Olivia Newton‑John’s accent. Among the ensemble, Suzanne Sole and Sophia Brazada turn in standout moments, each showing off impressive vocal chops.

The creative team behind Vape! brings together a mix of comedy writers and seasoned parody specialists. Sketchworks Comedy and Catie Hogan supply the show’s core concept, while Billy Recce - of A Musical About Star Wars fame - contributes additional lyrics and book alongside Danny Salles. Jack Plotnick, known for directing Broadway’s Disaster!, steers the production, with Ashley Marinelli shaping the choreography and Lena Gabrielle overseeing music supervision and arrangements. Sketchworks also produces the show, with Seth Rudetsky and James Wesley Jackson offering input as creative consultants.

It’s clear from the theater’s decorative environment that great care has been taken with the overall experience. It’s immersive and outfitted with goofy parody posters, themed photo ops, cutouts, and even Grease‑themed cornhole. So, for devoted Grease fans looking for a lighthearted mockery of the classic, or perhaps theatergoers simply seeking silly, inconsequential escapism, Vape! offers a breezy night out.

Vape! The Grease Parody is being performed at the Apollo Theater Chicago through January 3rd, 2027. Tickets and information are available at vapethemusical.com.

BrightSide Theatre has announced cast and crew for THE ADDAMS FAMILY MUSICAL - the kickoff production of BrightSide's 15^th Anniversary season. The gloriously ghoulish characters created by Charles Addams for THE NEW YORKER Magazine - Gomez, Morticia, Wednesday, Pugsley, Uncle Fester, and Grandma; along with their servants Lurch and Thing - will take the stage of the Theater at Meiley-Swallow Hall from October 2 – 18. BrightSide's De Haddad will direct, with music direction by Phil Videckis and choreography by Shane Brown. The musical, which ran for 22 months on Broadway in. 2010 and 2011 after a 2009 tryout in Chicago, has remained an audience favorite ever since. 
 
This wickedly funny musical with book by Rick Elice and Marshall Brickman (JERSEY BOYS), and songs by Andrew Lippa (THE WILD PARTY, BIG FISH), follows Wednesday Addams as she falls in love with a perfectly respectable young man from a very normal family. When the two families meet for dinner, secrets are revealed, expectations are challenged, and hilarity ensues. Filled with unforgettable characters, catchy songs, and laugh-out-loud comedy, this Broadway hit celebrates what makes every family unique.

Haddad's cast will be led by Scott Kelley of Schaumburg as Gomez and Samantha Keret of Naperville as Morticia. Kelley's most recent appearance among his many leading roles with BrightSide was as Max Bialystock in this past summer's THE PRODUCERS. Keret is making her BrightSide debut. The Addams Family children will be played by Lauren Mathews of Chicago as Wednesday and Jake Keller of Bristol as Pugsley. Mathews appeared in BrightSide's THE PRODUCERS and Keller is a recent graduate of North Central College, where he majored in musical theater and acted, designed, and directed several musicals. Colin Borisenko of Chicago, a veteran of the city's renowned improv comedy scene, will be Uncle Fester. Dona Mullen, who hosts a jazz radio show in WDCB-FM and has played such iconic stage roles as Ouiser in STEEL MAGNOLIAS, will be Grandma. The family's taciturn butler, Lurch, will be played by Nahuel Redoba, who has performed at the venerable Fireside Theatre in Wisconsin.
 
Appearing as Wednesday's boyfriend Lucas Beineke will be Matthew Andresen of Kenosha, Wisconsin (BrightSide's PIPPIN and PHANTOM IN CONCERT). John McNally of Itasca (Frank-n-Furter in BrightSide's THE ROCKY HORROR SHOW) and Jeff Award winning actress Amy Arbizanni of Naperville have been cast as Lucas' parents Mal and Alice.
 
The ensemble of Addams ancestors will be Michelle Bolliger of Roselle, Hannah Decker of North Aurora, Ashley Chavez of Downers Grove, Chris Frewen-Peña of Bolingbrook, Sydnee Howes of New Lenox, Peter Kattner III of Chicago, Katelynn Pitzafero of Barrington, and Emily Sherman of Chicago. Understudies are Michelle Bolliger (u/s Morticia, Alice), Hannah Decker (u/s Wednesday), Chris Frewen-Peña (u/s Gomez, Mal), and Peter Kattner III (u/s Lucas). 

The production team will include Cheryl Newman (Costume Designer), Kurt Ottinger (Lighting Designer), Ariel Mozes (Scenic Designer), and Evan C. Summers-Oslund (Stage Manager).

Tickets for individual shows are $37.00 for adults and $32.00 for students and seniors. Season subscriptions and individual show tickets are sale at www.BrightSidetheatre.com or by phone at 630-447-TIXS (8497).  

THE ADDAMS FAMILY MUSICAL
Book by Marshall Brickman and Rick Elice
Music and Lyrics by Andrew Lippa
Orchestrations by Larry Hochman
Based on Characters Created by Charles Addams
Director: De Haddad
Music Director: Phil Videckis
Choreographer: Shane Brown
October 2 - 18, 2026
Fri & Sat @ 7:30pm | Sun @2pm
The Theatre at Meiley-Swallow Hall, 31 S. Ellsworth, Naperville
 
THE ADDAMS FAMILY is a comical feast that embraces the wackiness in every family. Wednesday Addams, the ultimate princess of darkness, has grown up and fallen in love with a sweet, smart young man from a respectable family—a man her parents have never met. And if that wasn't upsetting enough, Wednesday confides in her father and begs him not to tell her mother. Now, Gomez Addams must do something he's never done before—keep a secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday's "normal" boyfriend and his parents.

Some musicals carry such cultural weight that every new production feels like a referendum on how well a company can honor the original while making it feel alive again. West Side Story is one of those titles - a towering achievement in American musical theatre, a work whose emotional force and artistic innovation have endured for generations. Music Theater Works has now taken on this iconic musical at the North Shore Center for the Performing Arts in Skokie, and the result is a vibrant, beautifully staged production that captures both the drive and the aching humanity at the heart of the piece.

West Side Story is a modern retelling of Shakespeare’s Romeo and Juliet, but instead of two feuding families, it confronts the racial and cultural fault lines running through 1950s New York City. The Jets, a group of white American teenagers clinging to their sense of territory, clash with the Sharks, a Puerto Rican gang fighting for dignity, safety, and the right to belong in a city that continually pushes them to the margins. Their conflict is not just about turf; it is fueled by fear, resentment, and the prejudice that shapes how each group sees the other. When Tony, a former Jet trying to build a life beyond the violence, meets Maria, the sister of Sharks leader Bernardo, their connection is immediate and transformative. What begins as a spark of hope quickly becomes a dangerous love story unfolding against a backdrop of cultural tension, territorial pride, and escalating hostility.

As the feud intensifies, the young couple’s attempts to carve out a future together collide with the realities of their world. The rumble between the Jets and Sharks sets off a tragic chain of events, leaving Tony and Maria grasping for peace in a city determined to deny it. The musical’s final moments - heartbreaking, inevitable, and deeply human - underscore the cost of hatred and the fragile possibility of reconciliation.

The production also underscores one of the musical’s most enduring truths: that the idealism Tony and Maria cling to is constantly at war with the harsher realities shaping their world.

The creative pedigree behind West Side Story remains one of the most extraordinary collaborations in theatre history. Leonard Bernstein’s sweeping, genre‑blending score, Stephen Sondheim’s razor‑sharp lyrics, Arthur Laurents’ emotionally charged book, and Jerome Robbins’ groundbreaking choreography combine to create a work that is as musically thrilling as it is dramatically devastating. Bernstein’s score - among the most challenging he ever composed and one he found deeply artistically satisfying - remains one of his most defining artistic accomplishments. It is a piece that demands precision, passion, and a deep understanding of its themes, and Music Theater Works rises to that challenge with clarity and heart.

The company’s production is superbly realized, delivering crisp choreography, rich orchestral color, and performances that honor the emotional stakes of the story. It is a staging that respects the legacy of West Side Story while making the experience feel immediate and alive for today’s audiences.

(L to R) Pauleth Jauregui as Anita and Isabella Ruano as Maria in WEST SIDE STORY from Music Theater Works.

The cast is terrific, but it is Isabella Ruano as Maria and Pauleth Jauregui as Anita who anchor the production, grounding it with performances that feel both lived‑in and emotionally urgent. Ruano’s Maria is luminous from her first entrance, her voice soaring through “Tonight” with a clearness and warmth that make the character’s hope feel newly electric. Jauregui matches her beat for beat, delivering an Anita rich with fire, humor, and heartbreak; her vibrant, sharply etched “America” is one of the evening’s defining moments. Together, they anchor the musical’s emotional arc with a confidence that elevates every scene they touch.

Offering a warm, earnest Tony is Luke Nowakowski, his ringing tenor in “Maria” and sincerity in “Something’s Coming” providing a steady, heartfelt counterpoint to the show’s rising tensions. Emmanuel Ramirez’s Bernardo contributes a controlled intensity, shaping the Sharks’ dynamic with quiet authority, while Kameron Rojas Schueneman’s Chino adds thoughtful, understated work that lands effectively in the final scenes.

Connor Ripperger brings a commanding presence as Riff, sharpening the Jets’ energy with restless physicality and crisp musical attack. His leadership in “Cool” gives the number a taut, combustible edge that sets the tone for the gang’s world.

If there’s one aspect that doesn’t land quite as strongly in this otherwise beautifully executed production, it’s the chemistry between Tony and Maria. While both Nowakowski and Ruano act with sincerity and sing with impressive range, clarity, and confidence, their scenes together occasionally feel more musically aligned than emotionally connected. The relationship lands, but at times you want a deeper spark between them - a stronger sense of shared urgency to match the vocal strength they each bring individually. And because this performance comes so early in the run, it’s easy to imagine that their connection will deepen as the actors settle further into each other’s rhythms.

That note aside, the principal cast delivers a production driven by strong voices and sharply drawn character work, with Ruano and Jauregui leading the charge.

The wider ensemble gives the production its pulse, moving with a clarity and drive that continually pushes the story forward, and Eric Desnoyers brings a welcome touch of humor as Officer Krupke, landing sharp comedic beats that lighten the show’s more chaotic moments. But above all, it is the wide-ranging, contemporary ballet-infused dance sequences that catch fire - those large, kinetic passages where movement becomes the show’s primary language. Much of the choreography folds fighting into dance, turning confrontation into something almost balletic: graceful, sculpted, and charged with tension. The company navigates these moments with remarkable control, letting the beauty of the movement coexist with the danger underneath.

In these sequences, the ensemble moves with a shared purpose, letting the choreography shape the conflict and momentum without overstating it. Their control and cohesion give the dance its impact, turning each major passage into a clear highlight that quietly but confidently lifts the production.

(L to R) Luke Nowakowski and Isabella Ruano in WEST SIDE STORY from Music Theater Works at North Shore Center for the Performing Arts.

Though the stage musical has always kept its original song order - and I understand the desire to preserve that structure - I’ve long hoped to see a production take a cue from the film in one particular moment. In the movie, “America” becomes a spirited debate between the Shark men and women, with Bernardo and Anita sparring over their hopes and frustrations about life in the United States. That dynamic not only brings Bernardo further into focus and deepens his relationship with Anita, it also gives the number a fuller, more energized sweep by letting a larger group of dancers drive its rhythm. The stage version’s women‑only arrangement works, but the film’s version has always struck me as the more dramatically rich and character‑revealing choice.

Beyond the choreography, the production’s artistic leadership is equally strong. The creative team brings seamless cohesion to this production. Director Sasha Gerritson guides the story with clarity and emotional focus, while co-choreographers Clayton Cross and Isa Ramirez deliver movement that honors the show’s iconic style with a fresh, contemporary lift. Linda Madonia’s musical direction keeps Bernstein’s score warm, tight, and expressive, supported by Justin Kono’s precise, sensitive conducting. The orchestra plays Bernstein’s score with crisp articulation and a full, glowing sound, letting the music’s rhythmic bite and lyrical sweep land with real impact. David Serrano’s Spanish translation adds welcome authenticity, with Spanish subtitles projected overhead during musical numbers that make the language accessible to both native speakers and those following along. The production’s most charged moments are shaped with care and impact through intimacy and violence choreography crafted by Nick Sandys.Director Sasha Gerritson guides the story with clarity and emotional focus, while co-choreographers Clayton Cross and Isa Ramirez deliver movement that honors the show’s iconic style with a fresh, contemporary lift. Linda Madonia’s musical direction keeps Bernstein’s score warm, tight, and expressive, supported by Justin Kono’s precise, sensitive conducting. The orchestra plays Bernstein’s score with crisp articulation and a full, glowing sound, letting the music’s rhythmic bite and lyrical sweep land with real impact. David Serrano’s Spanish translation adds welcome authenticity, with Spanish subtitles projected overhead during musical numbers that make the language accessible to both native speakers and those following along. The production’s most charged moments are shaped with care and impact through intimacy and violence choreography crafted by Nick Sandys.

Visually, the production is exceptionally well crafted. Bob Knuth’s scenic design and Cecilia Chan’s props work ground the story firmly in its era, giving the stage a lived-in authenticity that supports the drama without overwhelming it. The printed scenic drops hanging above and along the sides and rear of the stage - with their black windows, fire escapes, and bold red backgrounds - add a distinctive graphic layer, subtly echoing the stark lines and verticality of the 1961 movie poster designed by Joe Caroff. It is a smart visual nod that connects the production to its cinematic legacy without feeling derivative, instead offering a familiar, poster-like clarity that frames the action with understated style.

Bob Kuhn’s costumes and Kristen Brinati’s wardrobe leadership capture the period with clean, thoughtful detail, while Alice Salazar and Melanie Saso’s hair, wig, and makeup design add the finishing touches that make the Jets and Sharks feel fully appreciated. Andrew Meyers’ lighting brings sharp contrast and emotional texture to the stage, and Stephanie Farina’s sound design keeps the vocals and orchestra balanced and clear. This talented team builds an environment that feels true to the time, the place, and the heartbeat of West Side Story.

Taken together, these elements give the production a unity that extends well beyond its individual performances. The design work, staging choices, and musical precision all reinforce one another, creating a West Side Story that feels both faithful to its roots and freshly energized for a new audience. Taken together, these elements give the production a unity that extends well beyond its individual performances. The design work, staging choices, and musical precision all reinforce one another, creating a West Side Story that feels both faithful to its roots and freshly energized for a new audience. It’s a staging that understands the show’s emotional architecture and honors it with care. A staging this confident proves just how alive West Side Story can still feel.

Music Theater Works brings all of this together in a final product that feels both classic and newly urgent. Their West Side Story is a richly performed, thoughtfully designed, and confidently led production that honors the legacy of this landmark musical while giving it the vitality it deserves. Audiences can experience this outstanding staging August 13–30, 2026, and full details - including tickets - are available at www.musictheaterworks.com.

Recommended.

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

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

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

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

For more information and tickets, visit www.BroadwayInChicago.com.
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Broadway In Chicago is excited to announce tickets for t he original Tony® & Olivier Award-winning musical sensation, JERSEY BOYS, are now on sale. The highly anticipated engagement will play Broadway In Chicago’s CIBC Theatre for a limited two-week engagement, November 10 - 22. This engagement of JERSEY BOYS is part of a multi-city North American Tour beginning September 2026 in celebration of its 20^th Anniversary year.

JERSEY BOYS is the behind-the-music true story of Frankie Valli and The Four Seasons.  They were just four guys from Jersey, until they sang their very first note. They had a sound nobody had ever heard… and the radio just couldn’t get enough of. But while their harmonies were perfect on stage, off stage it was a very different story – a story that has made them an international sensation all over again. The show features all their hits including “Sherry,” “Big Girls Don’t Cry,” “December 1963 (Oh, What a Night),” “Walk Like A Man,” “Can’t Take My Eyes Off You,” “Beggin’” and “Working My Way Back To You.”

JERSEY BOYS is written by Academy Award-winner Marshall Brickman and Rick Elice, with music by Grammy Award-winner Bob Gaudio, lyrics by Bob Crewe.

The recipient of Broadway’s Tony, London’s Olivier and Australia’s Helpmann Awards for Best New Musical, JERSEY BOYS is the winner of 65 major awards and has been seen by over 30 million people worldwide.

The Broadway production originally opened on November 6, 2005, and, by the time it closed on January 15, 2017, it was the 12^th longest running show in Broadway history.  It returned to New York with a new production from November 2017 to May 2022. JERSEY BOYS has also had multiple record-breaking US National Tours from 2006 through 2022 as well as productions in Las Vegas, Chicago and Toronto.

JERSEY BOYS ran in London’s West End from March 18, 2008 to March 26, 2017 and, at the time, was the 6^th longest musical running in the West End. The musical returned to the West End as the first show to play the reinstated Trafalgar Theatre from April 14, 2021 to January 4, 2024. JERSEY BOYS previously played three record-breaking UK and Ireland tours from 2014 to 2016, 2017 to 2019 and 2021 to 2022.

A JERSEY BOYS 20^th Anniversary UK and Ireland tour also opened on June 15, 2026, at the New Wimbledon Theatre, currently booking dates through 2027.

The JERSEY BOYS 20^th Anniversary North American tour will be staged by the entire original Broadway creative team, led by the Tony Award-winning team of director Des McAnuff and choreographer Sergio Trujillo, with scenic design by Klara Zieglerova, costume design by Jess Goldstein, lighting design by Howell Binkley, sound design by Steve Canyon Kennedy, projections design by Michael Clark and production supervision by Danny Austin. The orchestrations are by Steve Orich and the music supervision and vocal arrangements by Ron Melrose.

The Original Broadway Cast Recording of JERSEY BOYS, produced by Bob Gaudio, was certified Platinum by the Recording Industry Association of America. The cast recording is available on Rhino Records. JERSEY BOYS: The Story of Frankie Valli & The Four Seasons (Broadway Books) is the official handbook to the smash Broadway hit.  Season’s Greetings: A JERSEY BOYS Christmas, a holiday CD featuring international cast members of JERSEY BOYS, produced by Bob Gaudio, is available on Rhino Records.

For more information, please visit www.JerseyBoysInfo.com
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PERFORMANCE SCHEDULE
Tuesday, November 10 – 7:00 p.m.
Wednesday, November 11 – 7:00 p.m.
Thursday, November 12 – 7:00 p.m.
Friday, November 13 – 7:00 p.m.
Saturday, November 14 – 2:00 p.m. & 7:30 p.m.
Sunday, November 15 – 1:00 p.m. & 6:30 p.m.

Tuesday, November 17 – 7:00 p.m.
Wednesday, November 18 – 1:00 p.m. & 7:00 p.m.
Thursday, November 19 – 7:00 p.m.
Friday, November 20 – 7:00 p.m.
Saturday, November 21 – 2:00 p.m. & 7:30 p.m.
Sunday, November 22 – 1:00 p.m.

TICKET INFORMATION (As of August 14, based on availability and subject to change)
Individual tickets for JERSEY BOYS are on sale now and range from $40.00 - $140.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

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

For more information and tickets, visit www.BroadwayInChicago.com.
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