Displaying items by tag: Musical theatre

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

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

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

About the Production

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

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

PRODUCTION DETAILS:

Title: A Clockwork Orange: A Play with Music

Playwright: Anthony Burgess, adapted from his novel

Director: Derek Van Barham

Music Director and Original Music: Sean Ellis

Choreographer: Breon Arzell

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

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

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

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

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

About the Artists

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

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

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

About Kokandy Productions

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

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

For additional information, visit kokandyproductions.com. 

They're creepy and they're kooky, Mysterious and spooky, They're altogether ooky, The Addams Family.

Yes, ooky.

BrightSide Theatre’s production of The Addams Family Musical at the Theater at Meiley Swallow Hall feels like stepping back into the wonderfully odd world of a family we’ve all grown up with. There’s an immediate charm in seeing Gomez and Morticia - the passionately devoted, darkly elegant heads of the Addams clan - presiding over their spooky, loving household with the same theatrical flair that made them iconic. With a book by Marshall Brickman and Rick Elice and music and lyrics by Andrew Lippa, the show’s blend of gothic quirk, musical comedy warmth, and big-hearted family chaos lands with a personal, familiar joy that makes this staging especially inviting. And right at the center is Wednesday Addams, their sharp tongued, deadpan daughter whose unexpected leap into romance sets everything spiraling.

In this musical comedy, Wednesday has fallen in love with Lucas Beineke, a sweet, decidedly “normal” young man from Ohio. Determined to prove she’s ready for something real, she asks her parents to host a dinner so the two families can meet - but she also begs Gomez to keep her engagement a secret from Morticia. That single request throws Gomez into a hilarious moral crisis, while Morticia senses something is off and the rest of the Addams household prepares for an evening guaranteed to go sideways. When the straight-laced Beinekes arrive, their collision with the gloriously eccentric Addamses sparks a night of confessions, misunderstandings, unexpected alliances, and more than a few supernatural surprises. What unfolds is a heartfelt, funny, and delightfully macabre exploration of love, loyalty, and the beautifully strange ways families learn to accept one another - quirks and all.

BrightSide’s production thrives on the strength of its performers, and this cast brings the Addams world to life with personality, precision, and a magnificently off-center spirit.

Scott Kelley and Samatha Keret (rear) as Gomez and Morticia and Ancestors in Brightside Theatre’s The Addams Family Musical. Photos by CM Stage Photography.

At the center of the production are Scott Kelley’s Gomez Addams and Samantha Keret’s Morticia Addams, who anchor the show with an easy chemistry that makes their partnership feel lived in and genuinely affectionate. Their banter and romantic interactions are fantastic - playful, sharp, and full of the kind of idiosyncratic mutual understanding that makes their marriage the emotional core of the evening. Kelley gives Gomez a warm, slightly frantic presence, the kind of theatrical bravado that feels both funny and sincere. Keret, with her beautiful voice and cool, elegant presence, matches him beat for beat, creating a dynamic that feels both grounded and pleasantly heightened. Together, they knock their roles out of the ballpark.

The ensemble - from the Addams clan to the buttoned-up Beinekes, along with the ghostly Ancestors who linger in the house until Wednesday’s journey toward love sets them free - brings strong energy and cohesion to the production, giving the show a vibrant foundation for some standout performances.

Lauren Mathews’ Wednesday Addams is terrific, offering a Wednesday who is smart, guarded, and brimming with the dry, deadpan wit audiences expect - but also carrying the emotional uncertainty of someone stepping into adulthood faster than she planned. Her performance captures a teenager caught between loyalty to her wonderfully strange family and the terrifying possibility of real change. Because the story ultimately revolves around love - romantic, familial, and everything in between - Mathews becomes the hinge of the entire narrative, and she handles that responsibility with clarity and confidence.

Collin Borisenko’s Uncle Fester adds a welcome dose of sweetness and eccentricity, leaning into Fester’s gentle oddball nature without tipping into caricature, while Amy Arbizzani’s Alice Beineke provides some of the evening’s biggest laughs as a tightly wound suburban mom whose unraveling becomes a comedic highlight. Arbizzani’s timing - and her ability to really belt when the moment calls for it - turns her musical outbursts into genuine showstoppers.

BrightSide’s creative team shapes this production with care and a clear affection for the material. Under De Haddad’s direction, the musical moves with clear, unfussy ease, balancing the story’s humor and heart while keeping the unconventional Addams world feeling cohesive and inviting. Shane Brown’s choreography adds light, well placed movement that supports the storytelling without crowding the stage, giving each number a clear, character focused lift. Phil Videckis leads the music with steady assurance, keeping the score’s personality and emotional beats aligned with the action. Cheryl Newman’s costumes offer a thoughtful blend of familiar Addams silhouettes and clean, stage ready designs, while Kurt Ottinger’s lighting brings subtle shifts in mood and color with just enough theatrical shadow to frame the world effectively. The production’s scenic design, crafted by Ariel Mozes, provides a space that feels both spooky and welcoming - a home that fits the Addams tribe and the story unfolding within it. One of the production’s most engaging details is the way the Ancestors drift in and out of the family portraits, turning the walls of the Addams home into a living gallery that observes the action as it unfolds.

Pugsley and Wednesday Addams (Carson Kelley and Lauren Mathews) in Brightside Theatre’s The Addams Family Musical. 

This is a funny show that is all about love, and BrightSide delivers that humor with a light, playful touch that keeps the audience laughing. And even when some of the jokes are predictable, they still land, because the delivery, timing, and sheer Addams‑style absurdity make the familiar feel fun rather than tired. I did wonder whether comedy born sixty years ago would still resonate with today’s crowd, but the production blends the classic Addams deadpan with a few modern winks - including some sly innuendo and contemporary asides - that make the jokes feel fresh without betraying the spirit of the original. The crowd was a mix of longtime Addams fans and newer generations, something made instantly clear when the familiar theme kicked in - a handful snapped right on cue while others clapped along. It was a fun blend of reactions, and the overall effect showed that the humor lands for everyone.

Big musical moments like When You’re an Addams burst with playful choreography and gothic silliness, setting the tone right from the start. Later, Full Disclosure turns a family dinner into a brilliantly chaotic spectacle, layering jokes, reveals, and ensemble energy in a way that feels both sharp and amusingly messy. Morticia’s Just Around the Corner is another highlight - a charming bit of dark humor built around her cheerful pun that “death is just around the coroner… get it?” delivered with exactly the kind of melodramatic glint the character thrives on.

For so many of us, The Addams Family began in grainy black and white reruns on TV - the kind you’d stumble upon on a quiet afternoon, or watch curled up on the couch, instantly pulled into that wonderfully odd little world. Those episodes became part of childhood in a way that sticks, shaping our sense of humor and giving us characters who felt strange, sweet, and strangely familiar all at once. Seeing the Addamses still make people smile today - onstage, in full color, with all their offbeat charm intact - is a reminder of how enduring they are. Decades later, they’re still beautifully weird, still welcoming, and still capable of bringing out that same simple, shared joy.

BrightSide Theatre’s The Addams Family Musical is recommended, offering a spirited, nostalgic, and thoroughly enjoyable night out for audiences of all ages. The production runs October 2–18, 2026 at the Theater at Meiley Swallow Hall at North Central College, located at 31 S. Ellsworth St. in Naperville. With an estimated running time of 2 hours and 30 minutes, including intermission, it’s an evening that delivers plenty of laughs, charm, and quirky family fun - a welcome return to the wonderfully weird world of the Addams clan.

https://brightsidetheatre.com/the-addams-family/

Mud Life, a world premiere drama by Chicago writing duo G. Riley Mills and Willie Round, drawn from Round’s life experiences as an emerging writer, rapper and producer, opens Collaboraction Theatre’s 2026-27 season, October 21 - November 15.

Round and Mills are the Emmy Award-winning writing team behind Collaboraction’s acclaimed immersive docudrama, Trial in the Delta: The Murder of Emmett Till. Set in North Lawndale, Mud Life is a powerful new play exploring  the bonds that hold us together, the forces that keep us stuck, and what we’re willing to risk for the chance at a better life.

Mud Life follows Roc and his cousin Tae, two aspiring hip-hop artists from Chicago’s West Side, struggling to build a future while under the thumb of a manipulative strip-club owner named Littles. When a mysterious outsider offers Roc and Tae a rare opportunity to break free, loyalties fracture, ambitions collide, and they are forced to make choices that will alter the course of their lives forever. 

“For our 31st season, Collaboraction is eager to open our new House of Belonging to Chicagoans to cultivate new knowledge, empathy, dialogue, and action by writing partners and Collaboraction Company Members, G. Riley Mills and Willie Round,” said Collaboraction Artistic Director Anthony Moseley. “Set in a worn down recording studio on Chicago’s West side and drawn from  Willie's actual life, audiences can expect a raw, revealing look at the hopes and dreams of escaping poverty and scarcity through music.” 

In addition to co-writing the play, Willie Round leads the cast as Anthony “Roc” Harris, and Round’s new hip-hop single “Bottom to the Top” is featured in Mud Life (listen to an excerpt on Tidal.) The cast also features DeMorris Burrows as Devontae “Tae” Shields, Simeon Henderson as Malcolm “Littles” Gardner and Carina Lastimosa as Casey Reyes. 

The full production team includes G. Riley Mills and Willie Round, playwrights; Anthony Moseley, director; Martine Kei-Green Rogers, Dean, The Theatre School at DePaul University, dramaturg; Isabella Bradley, assistant director; John Wilson, set design; Crystal Bryant, costume design; Destiny Garner, lighting design; Harper Justus, sound design; Liviu Pasare, projection design; Sam Lancaster, props design; Alivia Arizaga, associate producer and production manager; and, Sam Burkett, stage manager. 

Mud Life runs October 21-November 15 at Collaboraction’s new House of Belonging in the Kimball Arts Center, 1757 N. Kimball Ave. in Humboldt Park. Previews are Wednesday through Saturday, October 21-24 at 7:30 p.m. Performances run through November 15: Thursday, Friday and Saturday at 7:30 pm; Sunday at
3 p.m. No show Saturday, October 31. Industry Night is Monday, November 2 at 7:30 p.m. Tickets are $15-$50 and on sale at collaboraction.org. Each show includes a pre-show lounge, performances and an open mic. Mud Life is recommended for ages 13 and up.

Note: The Luminaries, featuring alums of Collaboraction’s The Light youth ensemble, invites young audiences to a special version of their Radiate open mic series every Friday during the run starting at 6 p.m. Participants will be given comp tickets to attend the show, if available. This special Friday night Radiate open mic series is led by Linda Sol, Earl Hester and Bigg Ceno.

Free and nearby street parking is available near the Kimball Arts Center. For CTA riders, the 82 Kimball-Homan bus stops right in front of the building. The theater is also a short walk from the Kimball stop on the 72 North and 73 Armitage bus lines. For bikers and pedestrians, the Kimball trailhead on The 606 leads directly to the Kimball Arts Center. 

Mud Life first entered Collaboraction’s orbit in 2019 as the seven-minute short play Broke Down Drone in Collaboraction’s Peacebook Festival. That experience spawned an award-winning short film in 2022 of the same name. Round and Riley continued developing the script, which received workshops earlier this year at both Bramble Theatre and Definition Theatre in Chicago.

Playwright biographies

G. Riley Mills is an Emmy Award-winning producer and writer based in Chicago. His musical, The Hundred Dresses, (co- written with Grammy-nominee Ralph Covert), premiered Off-Broadway at The Atlantic Theatre Company, starring Academy Award-nominee Stephanie Hsu. He and his frequent writing partner, Willie Round, co-adapted Collaboraction’s award-winning hit docudrama Trial in the Delta: The Murder of Emmett Till. Their play, Lift Every Voice, also co-written with Round, was published by Dramatic Publishing and won the 2022 “Distinguished Play Award” from the American Alliance for Theatre and Education. He has twice won the Jeff Citation for Best New Work (Sawdust and Spangles in 1997 and Streeterville in 2001). His plays have been produced at such theatres as TimeLine, Mixed Blood, The Children’s Theatre Company, Prop Thtr, Orlando Rep, Birmingham Children’s Theatre, Royal George Theatre, Apollo Theatre, and many more. His new book, “Synergy and Sparks” was published by John Wiley & Sons and won a 2026 International Impact Book Award. grileymills.com

Willie Round is a Chicago-born playwright, actor, filmmaker, songwriter, and community- centered storyteller from North Lawndale. A graduate of Central State University with a B.A. in Mass Communication, Round creates work rooted in the history, culture, resilience, and lived experiences of Chicago’s West Side. His works include Mud Life, a stage play inspired by his life and experiences growing up in North Lawndale; Lawndale King, which explores Dr. Martin Luther King Jr.’s 1966 campaign in Chicago; and the published work Lift Every Voice. Round is also a co-writer of Trial in the Delta, a three-time regional Emmy Award-winning production centered on the Emmett Till murder trial. His artistry extends across theater, film, music, acting, and videography. As hip-hop artist MudLife Roc, he has opened for artists including Gucci Mane and Lil Wayne. He is also the founder of Mud Life Entertainment LLC. Round’s mission is to authentically represent Chicago’s West Side, preserve its stories and history, and inspire the next generation through art. Round’s music is available on all platforms under MudLife Roc.

In December 2022, Round and Mills won an Emmy for co-creating and co-producing The Lost Story of Emmett Till: Trial in the Delta for Collaboraction and NBC5 Chicago. The subsequent immersive live stage adaptation, Trial in the Delta: The Murder of Emmett Till, has since gone on to two critically acclaimed runs at The DuSable Museum, was the inaugural production at Collaboraction’s new House of Belonging in February, 2026, and will be remounted by Collaboraction February 3-March 14, 2027. Tickets are already on sale at collaboraction.org.

About Collaboraction

Celebrating its 30th anniversary in 2026, Collaboraction is an award-winning Chicago theater company that uses immersive, socially conscious performance to spark change and build equity. 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 ensembles, The Light and The Luminaries.

Collaboraction receives generous operating support and program funding from the Joseph and Bessie Feinberg Foundation, the Paul M. Angell Family Foundation, Marc and Jeanne Malnati Family Foundation, Gary Grube, the Lester and Hope Abelson Fund for the Performing Arts at the Chicago Community Trust, Naperville Rotary Club, Field Foundation, Chicago Department of Cultural Affairs and Special Events, the Illinois Arts Council, a state agency.

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 or TikTok.

Teatro Vista Productions, the Midwest's only Latine-led Equity theatre company, led by Executive Director Lorena Diaz and Artistic Director Wendy Mateo in collaboration with Associate Artistic Director Cruz Gonzalez-Cadel, announces its 2026-27 Season. The season opens with the groundbreaking live looping hip-hop musical Mexodus, November 7-21, 2026, presented by Studebaker Theater, P3 Productions and Audible, in collaboration with Teatro Vista Productions. The musical, making its Chicago Premiere, is written and performed by Brian Quijada and Nygel D. Robinson, choreographed by Tony Thomas, and directed by David Mendizábal. The season continues with Luis Alfaro's Mojada, March 12 - April 11, 2027, directed by Wendy Mateo and Denise Yvette Serna, presented in partnership with Court Theatre. Concluding the season is the Chicago Premiere of Reggie Hoops by Kristoffer Diaz, directed by Khanisha Foster, and presented as part of Teatro Vista Productions' multi-year partnership with Steppenwolf Theatre Company.

As part of its commitment to community engagement, supporting its artists and creating new digital projects, the TVP Season 36 includes the launch of a new In Process: Podcast starting in October featuring in-depth Artist on Artist conversations. The first episode will feature TVP Artistic Collective members Max Arciniega and Paloma Nozicka. Live Mexodus Listening Parties, on October 11, 18, 25 and November 1, will be held in locations throughout the city and strategically en route - from Teatro Vista Productions' homebase at The Exchange in Jefferson Park to where Mexodus is playing at the Studebaker Theater downtown - with each stop mirroring a chapter in the play's journey. TVP will also continue workshopping plays to live audiences with In Process Live; presenting La Lupe: My Life, My Destiny, by Carmen Rivera  and directed by Cándido Tirado, on January 23, 2027.

The 2026-2027 season includes:

Studebaker Theater, P3 Productions and Audible,

in collaboration with Teatro Vista Productions present

Mexodus

Written and performed by Brian Quijada and Nygel D. Robinson

Choreographed by Tony Thomas

Directed by David Mendizábal

Studebaker Theater, 410 S Michigan Avenue, Chicago

November 7-21, 2026

Press Opening: Saturday, November 7, 2026 at 7:30pm

Creators Brian Quijada and Nygel D. Robinson perform this groundbreaking hip-hop musical, using live instruments to build a soundscape live each night incorporating looping to layer rhythms, melodies, and harmonies to create full arrangements on the spot at each performance.

Told through bold storytelling and sick beats, Mexodus reimagines the Underground Railroad heading south to Mexico—unearthing a powerful, untold chapter of American history. Called "thrilling" by The Washington Post and "genius in motion" by the San Francisco Chronicle, this is theatre you feel in your body and your bones.

Tickets available at: https://www.fineartsbuilding.com/events/mexodus/.

Mojada

By Luis Alfaro 

Directed by Wendy Mateo and Denise Yvette Serna 

Presented In partnership with Court Theatre

Court Theatre, 5535 S Ellis Ave, Chicago

March 12 - April 11, 2027  

Press Opening: Saturday, March 20, 2027 at 7:30pm

An adaptation of an ancient classic tale of revenge, sacrifice, and the high price of pursuing freedom, Mojada renders Euripides's Medea myth urgently and achingly alive in the city of Chicago.

Medea survived a treacherous journey from Mexico to the United States in search of a better life, but the promise of the American Dream is quickly unravelling. She sews exquisite garments in her backyard, suffocated by fear. Her son sheds tradition as fast as he can, trading huaraches for Vans. And her husband grows distant, seduced by ambition and proximity to power. Trapped between who she was and who America demands she become, Medea finds herself in a standoff with the very dream she risked everything to reach. 

Co-directed by Teatro Vista Productions' Artistic Director Wendy Mateo and Artistic Collective member Denise Yvette Serna, Mojada confronts the contradictions at the center of American identity: opportunity and erasure, belonging and betrayal. Both a love letter and a searing indictment, this electrifying production asks: What are we willing to sacrifice in the pursuit of liberty?

Tickets are available at https://www.courttheatre.org/season-tickets/2026-2027-season/mojada/ .

The Chicago Premiere of

Reggie Hoops

By Kristoffer Diaz

Directed by Khanisha Foster

Co-Presented with Steppenwolf Theatre Company

Steppenwolf's 1700 Theater, 1700 N Halsted, Chicago

May 2027

Reggie was one of the NBA's most promising young executives and one of its most compelling characters: a queer Afro-Latina with a gift for structure and a keen appreciation of the art of on-court sacrifice. After an abrupt firing, she finds herself back at home navigating suburbia, parenthood, and her parents' anything but revolutionary past. An unexpected visit from a one-time fling forces her to reconsider what really matters and how far she's willing to go to succeed at the only things she's ever loved.

Reggie Hoops is a sharp, funny, and modern story about parenthood, generational pressures, and the pain that comes with chasing your passion, from the Tony-nominated writer of Hell's Kitchen and The Elaborate Entrance of Chad Deity.

Reggie Hoops is the second production presented as part of the multi-year partnership between Teatro Vista Productions and Steppenwolf. With Teatro Vista Productions in residency at Steppenwolf, both companies are modeling a relationship that they hope will inspire further collaboration in Chicago's iconic theater community among organizations of all sizes.

Tickets will be available soon at steppenwolf.org/.

Community Engagement and Special Events

In Process Podcast

Episode 1 featuring Max Arciniega and Paloma Nozicka
October 2026

Mexodus Listening Parties

Cafecito and Loops: A Mexodus Listening Tour headed South

October 11, 18 and 25, November 1, 2026

Mexodus will host four listening parties featuring excerpts from the Audible Original, each stop acting as a chapter in the experience. This series of events turns a night at the theater into a greater story. These listening parties will be scattered throughout the city, strategically en route from Teatro Vista Productions' homebase to the Studebaker Theater.

Sunday, October 11: The Exchange, home of TVP - Jefferson Park

Sunday, October 18: Magnifico Coffee Roasters & Coffee Shop - Avondale

Sunday, October 25:  Caña - West Town

Sunday, November 1: Groundswell Coffee Roasters - Fine Arts Building - Chicago Loop 

In Process Live: La Lupe: My Life, My Destiny

By Carmen Rivera

Directed by Cándido Tirado

Starring Melissa DuPrey as La Lupe

January 19-23, 2027 - Workshop

January 23, 2027 - Presentation with invited guests

Teatro Vista Productions will revisit this groundbreaking script 25 years after its world premiere with fresh talent and an evolved understanding of Afro-Latinidad in American pop culture.

Before there was Janis Joplin, Patti La Belle, and Madonna – there was LA LUPE.  Best known for her powerful voice, electrifying performances, and controversial life, La Lupe gained fame as one of the first Latin cross-over musical superstars. She was born Guadalupe Yoli Raymond in Santiago de Cuba in 1936, and became one of the most influential Latin performers of the 20th century.

After a fall from grace, La Lupe - now far from the spotlight and living in the Bronx - receives an "F" on an essay about her own life from a skeptical professor, igniting a struggle to reclaim the truth of her extraordinary musical legacy in a powerful story of defiance, passion, and redemption.

About Teatro Vista

Teatro Vista is a non-profit theatre and production company dedicated to multidisciplinary artists of color whose artistic expression on stage and beyond is rooted in the transformative power of owning and telling our own stories.

When the Chicago theater world wasn't ready for us, Teatro Vista Productions made space. For 36 years, we've told true stories that reflect our community. We're not just building on this amazing legacy; we're strengthening and expanding it for the future. Today we continue to actively engage in advocacy that seeks to increase the authentic representations of us on stage and screen.

Teatro Vista Productions believes we are stronger together — across disciplines, across experiences, across mediums, across diasporas. We center our collective of artists at the heart of everything we do. We empower our artists to create with their own authentic voice by providing the tools and resources they need to thrive in the industry. Our work is timely, relevant and authentically reflects our community. Now, as always, We Are Theater With A View.

The company is led by Executive Director Lorena Diaz, Artistic Director Wendy Mateo, and Associate Artistic Director Cruz Gonzalez-Cadel.

Follow TVP on social media & YouTube to experience the multidisciplinary talents of our Artistic Collective and stay connected. @teatrovista

There are some productions you watch, and then there are productions that make your heart swoon and your toe tap. Sheldon Epps’ Play On! is definitely the latter. Now playing at Chicago Shakespeare Theater, this exuberant musical takes Shakespeare’s Twelfth Night, moves it to 1930s Harlem, adds the extraordinary music of Duke Ellington, and transforms the story into a celebration of love, ambition, identity and music.

The magical kingdom of Illyria becomes Harlem, where aspiring songwriter Vy (Hailee Kaleem Wright) arrives with dreams of making it in show business. To get close to the legendary bandleader known as The Duke (Edred Utomi), Vy disguises herself as a man. Complications quickly follow when Lady Liv (Krystal Joy Brown) becomes attracted to Vy's alter ego. Shakespeare's mistaken identities remain at the heart of the story, but Cheryl L. West's book gives the familiar comedy a distinctly African American cultural identity.

West's script is hot and popping, filled with rhythm, humor and personality. She understands that the language of Shakespeare can be transformed without losing the comic machinery that makes Twelfth Night work. The characters may come from Shakespeare, but they walk, talk and move to the syncopated Harlem beat of the 1930s.

And that Harlem beat is everywhere.

The company of Chicago Shakespeare’s production of Play On! Photo by Kyle Flubacker.

The production's exciting choreography by Edgar Godineaux captures the elegance, sophistication and exuberance of the big-band era. The ensemble - Marquez Linder, Selena Robinson, Dylan C. Smith, Joey Stone, Shelbi Voss and Danny Dwaine Wells II - keeps the stage alive with movement and energy. The choreography doesn't simply accompany the music; it becomes part of the storytelling.

The Duke Ellington score is the production's heartbeat. Under the musical direction of Theodis Rodgers Jr., with beautiful orchestrations by Luther Henderson Jr., the music has both sophistication and swing. Ellington's compositions give the characters another way to express what they sometimes cannot say in words.

For me, the Harlem setting brought back a very personal theatrical memory. Play On! reminded me of the very first show I ever worked on, Bubbling Brown Sugar by Loften Mitchell, from a concept by Rosetta LeNoire (my theatre Godmother), in New York City. That experience introduced me to the power of Black theatre, music and storytelling existing together onstage. Watching Play On! brought some of that same feeling back—the excitement of seeing Black history, Black music and Black theatrical expression become one living theatrical experience.

That connection makes Play On! particularly meaningful. This isn't simply Shakespeare with jazz added to it. It is a conversation between William Shakespeare and Duke Ellington, two artists separated by centuries but connected through their understanding of human behavior, love, comedy and the power of performance.

The cast embraces that world beautifully. James Earl Jones II brings comic energy and warmth to Sweets, while Alanna Lovely gives Miss Mary a strong and engaging presence. James Harkness brings charm and theatricality to Jester. Alan H. Green gives Rev authority and comic flair.

At the center, Wright's Vy captures the vulnerability and determination of a young artist trying to discover who she is and where she belongs. Brown's Lady Liv brings glamour and emotional power, while Utomi's Duke possesses the commanding presence of a bandleader who has created his own musical kingdom.

Epps understands that the success of Play On! depends upon allowing Shakespeare's story and Ellington's music to breathe together. The result is a production that feels celebratory without becoming superficial, and contemporary without abandoning its literary foundation.

Play On! is Shakespeare filtered through the cultural richness of 1930s Harlem, propelled by Duke Ellington's music and driven by a syncopated Harlem beat.

It is a joyous reminder that great stories can travel across centuries - and sometimes, when the right music is added, they can still make us want to dance.

Highly Recommended

When: Through Oct. 18

Where: The Yard at Chicago Shakespeare Theater on Navy Pier, 800 E. Grand Ave.

Running time: 2 hours, 20 mins.

Tickets: $55-150

312-595-5600

chicagoshakes.com

If anyone has ever told you to buckle up and enjoy the ride, they were talking about life—and even if they didn’t know it, they were talking about Ride the Cyclone, the musical.

When six teenagers die in a rollercoaster accident and end up in purgatory, each arguing their case to be reborn (in song form) to a fortune-telling machine, the audience is given the gift of seeing six individuals as they really are—no pretense, but maybe with some well-earned bells and whistles—as they unapologetically define themselves and fight to extend their too-short earthly lives.

Canadian composers and lyricists Jacob Richmond and Brooke Maxwell bring a carnival disaster and its afterlife to life in their 2009 Ride the Cyclone the musical, which first premiered at the Chicago Shakespeare Theatre in 2015. This Arlington Heights Metropolis Performing Arts Center production is directed by Lillian Castillo, one of the original Ride the Cyclone cast members from the 2015 Chicago Shakespeare Theatre production and on the world premier cast recording, bringing her unique insight to this long overdue 2026 production in the Chicago suburbs, with musical direction by Carolyn Brady.

Front Row: Rylee Michelle as Constance Blackwood, Eldon Warner-Soriano as Ricky Potts, and Alex Merkel as Ocean O’Connell Rosenberg Back Row: Peyton Owen as Noel Gruber and Eric Amundson as Mischa Bachinski. Photography by Jennifer Heim.

Set in the remote town of Uranium City, Saskatchewan, Cyclone follows six members of the St. Cassian High School chamber choir as they ride the Cyclone rollercoaster (not to be confused with New York City’s Coney Island Cyclone built in 1927) and meet their demise when its sends them all plummeting to their deaths before they’d ever really gotten to experience life—or had they?

As the six choir kids wake in a purgatory ruled by the fortune-telling machine Karnak (played impressively by Dave Honigman, who looks and moves like an actual animatronic) they are told that one of them may be reborn to begin again the life that ended for them so swiftly—if, and only if, their fellow choir members unanimously vote for them to be reborn.

Thus begins the real ride, the wild, colorful journeys each teenager takes the audience on as they show us who they are, what they want, and what they each make of their life. And in doing so, they challenge the notion that a short life, or a quiet life, or a purely imaginative life, is not a life well lived.

Dave Honigman as The Amazing Karnak. Photography by Jennifer Heim.

The overachieving Ocean (played delightfully annoyingly and with nuance by Alex Merkel, who straddles the line between a try-hard class president and an unlucky teenage girl struggling to make sense of her fate) sings about her accomplishments, intellect, and drive, brutally putting down her choirmates in the process. 

Others live out the inner life they always wished for on earth, like the only gay kid in town Noel dreaming to be a disease-riddled French prostitute in the 1930s (played with fabulous conviction by Peyton Owen), or the disabled boy Ricky (played charmingly by Eldon Warner-Soriano) sharing his inner reality where he rules a planet of hot humanoid cats.

Eldon Warner-Soriano as Ricky Potts, Alex Merkel as Ocean O’Connell Rosenberg, Peyton Owen as Noel GruberPhotography by Jennifer Heim.

Misha, the Ukrainian transplant, played with the perfect of blend of teenage-boy posturing and vulnerability by Eric Amundson, first raps in hilariously obnoxious autotune before laying his heart bare expressing his love for his online girlfriend Talia. 

Constance, the naive pushover of the group, played with authenticity and sweetness by Rylee Michelle (stepping in for Diana Marilyn Alvarez), sings about the liberation she felt flying through the air to her death and reveals she may have actually been the most worldly and experienced of them all.

Like the Cyclone itself, it’s quite a ride.

Amelia Tam as Jane Doe. Photography by Jennifer Heim.

It even has a spooky factor beyond its dark subject matter: the headless girl, Jane Doe. Losing her head in the accident, Jane’s body was unclaimed at the coroner, she has no memories of who she was, and she’s replaced her head with her doll’s head, giving her a vacant, black-eyed stiffness that makes her creepy but also pitiful.

Played hauntingly and heartbreakingly by Amelia Tam, Jane Doe’s movements and presence are hypnotizing, scary, and sad all at once. The only character who sings in an operatic soprano, Jane steals the show every time she’s featured, her “Ballad of Jane Doe” possibly being the strongest song in the musical, where she first laments then rages about her death and the tragedy of being anonymous even to herself.

As director Lillian Castillo describes in her director’s note, composer Jacob Richmond wrote this show in response to his sister’s tragic and unexpected death. When she passed and became an anonymous statistic in a news story, “her wholly singular and marvelous existence boiled down to a number—that was the jumping off point, restoring individuality to a group of people who died suddenly.”

Center: Eldon Warner-Soriano as Ricky Potts, Back Left to Right: Peyton Owen as Noel Gruber, Rylee Michelle as Constance Blackwood, Amelia Tam as Jane Doe, Alex Merkel as Ocean O’Connell Rosenberg, and Eric Amundson as Mischa Bachinski. Photography by Jennifer Heim.

And while the subject matter is dark, the theme and message aren’t. There’s so much humor—both irreverent and whacky—love, and authenticity weaved into every line and note of this show. Ride the Cyclone encourages you to live your life to the fullest, whatever your wildly individual definition of that is.

Because life isn’t about how it ends—it’s about the ride.

Ride the Cyclone is playing at the Metropolis Performing Arts Center Main Stage through October 25, 2026. Tickets can be purchased at MetropolisMetropolis or by calling the box office at 847-577-2121.

Studebaker Theater, P3 Productions and Audible, in collaboration with Teatro Vista Productions, present the Chicago premiere of the groundbreaking, award-winning new hip-hop musical Mexodus, written and performed by Brian Quijada and Nygel D. Robinson, choreographed by Tony Thomas, and directed by David Mendizábal. Mexodus plays a limited three-week run at Chicago's historic Studebaker Theater at the Fine Arts Building, 410 S. Michigan Avenue, from November 7 to November 21, 2026.

Tickets for the Chicago premiere of Mexodus, November 7–21, 2026, are now on sale starting at $36, with discounted student tickets for $20, at FineArtsBuilding.com/Mexodus.

Told through live looping, bold storytelling and sick beats, Mexodus reimagines the Underground Railroad heading south to Mexico—unearthing a powerful, untold chapter of American history. Called an "electrifying theatrical experience" by The New York Times, "thrilling" by The Washington Post and "genius in motion" by the San Francisco Chronicle, this is theater you feel in your body and your bones. Created and performed by Brian Quijada and Nygel D. Robinson, this groundbreaking musical follows a freedom seeker and an unlikely ally as they forge a remarkable bond that transcends borders.

This year Mexodus won four Lucille Lortel Awards including Outstanding Musical, four Outer Critics Circle Awards including Outstanding New Off-Broadway Musical, three Drama Desk Awards including Outstanding Music, one Off Broadway Alliance Award for Best Musical, and one Drama League Award for Outstanding Production of a Musical—the first Off-Broadway musical to win the award in 30 years.

The Chicago premiere follows the musical's critically acclaimed twice-extended run at Audible's Minetta Lane Theatre in New York in 2025 and return Off-Broadway engagement at the Daryl Roth Theatre earlier this year. Mexodus is now available as an Audible Original, featuring the entire musical recorded in immersive Dolby Atmos sound design and extending its reach to millions of listeners around the world.

The Studebaker Theater engagement of Mexodus represents a homecoming for Brian Quijada and Nygel D. Robinson. Quijada is from the Chicago area, and Robinson previously called the city home. An early workshop and developmental performances of the musical were held in Chicago in 2021 and 2023.

"We couldn't be more excited to bring Mexodus to Chicago," said Brian Quijada and Nygel D. Robinson. "Not only do we both have connections to the city, but much of the development of Mexodus happened there. Chicago, pull up!"

Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin of P3 Productions added, "After building such a strong community around the show in New York City, we're thrilled to now bring this bold, original musical to Chicago audiences, especially at the historic Studebaker Theater. It's an honor to continue sharing the show's joy, energy, and message of solidarity with a city that feels so deeply connected to the spirit of Mexodus."

Kate Navin, Audible Head of Creative Development for North America, said: "It has been an honor to share Mexodus with the world, through the Audible Original release and on stage in New York, where it once again took the city by storm. We can't wait to present Brian and Nygel's groundbreaking musical in Chicago, where this work was nurtured during its development. As the production reaches more cities across the United States and listeners globally through Audible, we're continuing to broaden and honor this important story for audiences both in the theater and beyond."

Fine Arts Building and Studebaker Theater Proprietor Erica Berger said, "We are beyond proud to be a Co-Producer on Mexodus, one of the most exciting new musicals in recent memory. Brian Quijada and Nygel D. Robinson are two exceptional artists with strong ties to Chicago. The Studebaker Theater has been a creative home to innovative theater artists for more than 125 years, and bringing Mexodus home to Chicago further emphasizes our commitment to that legacy." Managing Artistic Director Jacob Harvey added, "We're actively building new pathways for how commercial productions can find a home in Chicago. Mexodus is our first co-producer credit on an Off-Broadway production, but it won't be the last. This is a new era for the Studebaker, cementing us as the premier Chicago venue for developmental and acclaimed productions alike."

Artistic Director Wendy Mateo of Teatro Vista Productions said, "Teatro Vista Productions cultivates the telling of stories that accurately reflect our community and increase the authentic representations of us on stage and screen. We are extremely honored to have been a part of the world premieres of Brian's Where Did We Sit on the Bus? and Somewhere Over the Border. So this is a full circle moment for us to help bring Brian and Nygel back to Chicago and to share the story of Mexodus with our audiences."

Mexodus was developed in previous productions at New York Stage and Film (2021), Baltimore Center Stage & Mosaic Theater Company of DC (Spring 2024), and Berkeley Repertory Theatre (Fall 2024).

The creative team for Mexodus includes Riw Rakkulchon (Scenic Design), David Mendizábal (Costume Design), Mextly Couzin (Lighting Design), Mikhail Fiksel (Looping Systems Architecture and Sound Design), Johnny Moreno (Video/Projections Design), Tony Thomas (Choreographer), and Claire Yenson, C.S.A. (Casting). Hope Villanueva is the Production Stage Manager, and theatrical supervision is by Cath Bates with general management by Pemberley Productions.

TICKETS

Tickets for the Studebaker Theater performances of Mexodus are now on sale starting at $36, with discounted student tickets for $20, at FineArtsBuilding.com/Mexodus.

PERFORMANCE SCHEDULE

Saturday, November 7 at 3 p.m. and 7:30 p.m. (press opening)

Sunday, November 8 at 1:30 p.m. and 6:30 p.m.

Tuesday, November 10 at 7:30 p.m.

Wednesday, November 11 at 7:30 p.m.

Thursday, November 12 at 2 p.m. and 7:30 p.m.

Friday, November 13 at 7:30 p.m.

Saturday, November 14 at 3 p.m. and 7:30 p.m.

Sunday, November 15 at 1:30 p.m. and 6:30 p.m.

Tuesday, November 17 at 2 p.m. and 7:30 p.m.

Wednesday, November 18 at 2 p.m. and 7:30 p.m.

Thursday, November 19 at 11 a.m. (student matinee)

Friday, November 20 at 2 p.m. and 7:30 p.m.

Saturday, November 21 at 3 p.m. and 7:30 p.m.

ABOUT P3 PRODUCTIONS

P3 Productions is an award-winning producing team led by Ben Holtzman, Sammy Lopez, and Fiona Howe Rudin, dedicated to uplifting new voices and communities. Broadway productions include CALL ME IZZY, HOW TO DANCE IN OHIO, and JOB. In addition to MEXODUS, upcoming productions include WANTED, INTER ALIA, and THE NINTH WOMAN. Recent co-producing credits include EVERY BRILLIANT THING, ART, SUNSET BLVD., JUST FOR US, and A STRANGE LOOP on Broadway, as well as INTER ALIA, KINKY BOOTS, 1536, SUGAR DADDY, THE IMPORTANCE OF BEING EARNEST, NEXT TO NORMAL, and ORLANDO in London's West End. Learn more at www.p3.productions.

ABOUT AUDIBLE THEATER

Audible Theater makes outstanding performances and powerful storytelling available to live audiences in New York City and millions of people all over the world. Since founding in 2018, Audible Theater's dynamic mix of live and audio theater productions have been praised as "trailblazing" (Variety), "illuminating" (Forbes), and "an exemplary use of the medium" (The Observer).

Audible Theater productions have garnered more than 60 nominations and 14 wins across the theater awards landscape. More than 120 audio theater titles have released on Audible. Audible Theater has produced the multi-award-winning and seven-time Tony Award-nominated musical Dead Outlaw, with music and lyrics by David Yazbek and Erik Della Penna, book by Itamar Moses, conceived by David Yazbek, and directed by David Cromer; Hannah Moscovitch's play Sexual Misconduct of the Middle Classes starring Ella Beatty and Hugh Jackman; Sorry for Your Loss written by and starring Michael Cruz Kayne;  Laura Benanti: Nobody Cares written by and starring Laura Benanti; Alex Newell and the Gospel of a Diva written by and starring Alex Newell; Nostalgia: A Love Letter to NYC written by and starring Eva Noblezada; Girls & Boys starring Carey Mulligan; Harry Clarke starring Billy Crudup; and many others at Audible's Minetta Lane Theatre in New York City. Audible Theater has also produced audio adaptions of acclaimed plays including Colman Domingo's Wild with Happy starring Domingo, Oprah Winfrey, Sharon Washington, Alex Newell, and Tyler James Williams; David Henry Hwang's Yellow Face starring Daniel Dae Kim and Jason Biggs; David Auburn's Summer, 1976 starring Laura Linney and Jessica Hecht; and many more.

In May 2018, Audible announced that the Minetta Lane Theatre in Greenwich Village would serve as its creative home for live performances in New York, with Audible members receiving exclusive access to discounted tickets and related audio content. Since then, Audible has hosted and produced a wide variety of live performances at the Minetta Lane including dramatic plays, comedic shows, original musical performances, and more.

Since June 2017, Audible has commissioned 50 playwrights to receive support from its $5 million Emerging Playwrights Fund dedicated to developing innovative English-language works from around the globe. The initiative enables the creation of original plays driven by language and voice, keeping with Audible's core commitment to elevate listening experiences through powerful performances and extraordinary vocal storytelling. Emerging Playwrights commissions have included Evil Eye by Madhuri Shekar, The Half-Life of Marie Curie by Lauren Gunderson, Good Enemy by Yilong Liu, and more.

ABOUT AUDIBLE, INC.

Audible, Inc., an Amazon.com, Inc. subsidiary (NASDAQ:AMZN), is the leading creator and provider of premium audio storytelling, offering global audiences a powerful way to enhance and enrich their lives through extraordinary content. Audible's catalog includes more than 1,000,000 audio titles, including Audible Originals as well as audiobooks and podcasts from leading studios, print, audio and magazine publishers and world-renowned entertainers.

ABOUT THE STUDEBAKER THEATER

Located inside Chicago's landmarked Fine Arts Building, the Studebaker Theater is one of the city's most historic performance venues, led by Erica Berger and Jacob Harvey. Since its curtain first rose in 1898, the Studebaker stage has been graced by luminaries including Bob Hope, Peter O'Toole, Mae West, Ethel Barrymore, Geraldine Page, Vincent Price and many more. Following a major multi-million-dollar renovation led by Berger Realty Group and completed in 2022, the Studebaker has been home to NPR's popular news quiz show "Wait Wait... Don't Tell Me!" and has hosted performances from new musicals including 44: The Obama Musical, Roald Dahl's The Enormous Crocodile, and Jim Henson's Emmet Otter's Jug-Band Christmas. Other recent productions include Ava: The Secret Conversations starring Elizabeth McGovern and Manual Cinema's Christmas Carol. Learn more at fineartsbuilding.com.

ABOUT TEATRO VISTA PRODUCTIONS

When the Chicago theater world wasn't ready for us, Teatro Vista Productions made space. For 35 years, we've told true stories that reflect our community. We're not just building on this amazing legacy; we are strengthening and expanding it for the future. Today we continue to actively engage in advocacy that seeks to increase the authentic representations of us on stage and screen. Teatro Vista Productions is led by Lorena Diaz (Executive Director), Wendy Mateo (Artistic Director) Cruz Gonzalez-Cadel (Associate Artistic Director) and Carina E. Sanchez (Board President).

Teatro Vista Productions believes artists of color are inherently genius across disciplines, experiences, media and diaspora. We center our collective of artists at the heart of everything we do. We empower them to create with their own voice by providing the tools and resources they need to thrive in the industry. Our work is timely, relevant and reflects our community. Now, as always, We Are Theater With A View. Join us across online channels at @teatrovista to experience the multidisciplinary talents of our Artistic Collective and visit teatrovista.org to stay connected to all things TVP. Pa'lante Juntos. Forward Together.

“Great Balls of Fire!” Chicago audiences have just one last chance to catch Paramount Theatre’s immersive musical Million Dollar Quartet, returning more than two years after its smash hit debut for a final run and holiday season comeback, October 7, 2026 - January 3, 2027.

Four legends. One night. Music history made. Don’t miss this last chance to experience one of the most popular jukebox musicals of all time. Four incredibly talented actor/musicians bring Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley back to life as they navigate the intricacies of fame, while delivering incredible, up-close performances of some of the best songs in rock ‘n’ roll history, including “Blue Suede Shoes,” “Folsom Prison Blues,” “I Walk the Line,” “Hound Dog” and “Great Balls of Fire.”  

Paramount’s radically intimate restaging of Million Dollar Quartet was custom built for Paramount’s new 99-seat Stolp Island Theatre so audiences can say “I was there!” Starting October 7, performances are Wednesday at 1:30 p.m. and 7 p.m., Thursday and Friday at 7 p.m., Saturday at 2 p.m. and 7 p.m., and Sunday at 1 p.m. and 5:30 p.m. Exceptions: No show Thursday, November 26 (Thanksgiving). Added matinee Friday, November 27 at 2 p.m. No shows December 24 or 25 (Christmas Eve and Christmas). Show time Thursday, December 31 (New Year’s Eve) is at 2 p.m.

Paramount’s Stolp Island Theatre is located at 5 E. Downer Place, Suite G, in downtown Aurora, with restaurants and easy, affordable parking just a short walk away.

All seats are $87 when purchased in person. Additional fees apply for phone and online orders. For tickets and information, visitParamountAurora.com, call (630) 896-6666, or stop by the Paramount Theatre box office, 23 E. Galena Blvd., Monday–Saturday, 10 a.m. to 6 p.m., and until show time on show days. Note: Tickets and group outings make excellent holiday gifts.