Displaying items by tag: Theatre Chicago

From the Tony Award-winning author of The Band's Visit comes a provocative new play about identity, loyalty, and the complexities of unity.

A finalist for the 2025 Pulitzer Prize, The Ally, written by Itamar Moses (Completeness, Dead Outlaw), directed by Jeremy Wechsler (Prayer for the French Republic), will receive its Midwest Premiere at Chicago’s Theater Wit in March. Moses’ newest play is a darkly funny and deeply human new play that asks: just whose side are you on?

Previews are March 20-29: Thursday, Friday and Saturday at 7 p.m.; Sunday at 2 p.m.  Performances run through May 2: Thursday, Friday and Saturday at 7 p.m.; Sunday at 2 p.m. Exception: No show Thursday, April 2. Tickets are $18-$44. Run time is two hours with intermission. Purchase tickets at theaterwit.org, by calling (773) 975-8150, or in person at the Theater Wit box office. 

A student manifesto forces questions about identity and faith in The Ally

When Asaf’s student asks him to sign a petition condemning police brutality, he wants to do the right thing — until he realizes the manifesto turns out to be broader than he imagined, and every choice feels like betrayal. As the debate roars through his Midwestern campus and his ex-girlfriend takes the lead, Asaf is pulled into a political storm that tests his convictions and his sense of self. Will his fumbling entrée into activism help or hurt the cause? Who’s side is Asaf – and the audience – really on?

The Ally premiered off-Broadway at the Public Theater in February 2024. The New York Times called it “Important…Itamar Moses’ play offers eloquent arguments on all sides of the Israeli-Palestinian conflict.” New York Stage Review wrote “The Ally will most certainly give you the tools to wage a cogent, forceful argument, no matter what side you’re on.”

"I recognized myself in Asaf the moment I read this play," said Jeremy Wechsler, Theater Wit Artistic Director and director of The Ally. " Before October 7th, I — like a lot of American Jews on the left — held two ideas at once: that Israel was a haven and that the occupation was wrong. Itamar Moses saw, honestly before I did, that those two ideas were becoming impossible to hold simultaneously. But there are always two ways to answer the question ‘What do I believe?': what do I think, and what do I feel? Where we land on that spectrum is a constant negotiation between ourselves and the world around us. What The Ally asks — what it really demands — is that we face that negotiation honestly. Can we be good people when our hearts and our heads aren't aligned?”

The cast for Theater Wit’s Midwest Premiere of The Ally features Sharyon Culberson as Nakia, Eliyah Arman Ghaeini as Farid, Mira Kessler as Rachel, DeVaughn Asante Loman as Baron, Evan Ozer as Reuven, Jordan Lane Shappell as Asaf, and K Chinthana Sotakoun as Gwen.

Designers are Joe Schermoly (set), Matthew Eggers (costumes), Piper Kirchhofer (lights), Jonathan Berg-Einhorn (props), Joe Cerqua (composer and sound designer), Sarah Luse (stage manager), Matthew R. Chase (production manager) and Claire Simon (casting director).

Theater Wit is located at 1229 W. Belmont Ave., in the Belmont Theatre District in Chicago’s Lakeview neighborhood. Convenient parking is available for $10 across the street from the theater in the lot behind Kubo restaurant (pay at the Theater Wit box office.) Neighborhood street parking is available, as are private paid lots (tip: book ahead and at a discount with Spothero). Theater Wit is also accessible via the CTA 77 Belmont bus, and is three blocks west of the CTA Belmont Red/Brown/Purple line stop.

To learn more, visit theaterwit.org or follow the company onFacebook or Instagram. 

Created in 1904, Giacomo Puccini’s Madama Butterfly has become one of the world’s greatest and most popular operas.  New York’s Metropolitan Opera alone had performed it 902 times prior to the beginning of its 2023-24 season.  Renowned for his gifts for melody, Puccini’s musical component is ravishingly beautiful.  His manner of intermixing cultural references into his orchestration also makes it exquisitely complex.  Enhanced with a gripping story about the power of trust and the fragility of love, Madama Butterfly qualifies as an irrefutable masterpiece. Throughout its existence though, the opera has also been an artistic triumph with issues.

An adaptation of a one-act play written in 1900, which itself was based on a short story by an American author, John Luther Long two years earlier, it’s been criticized as being a flawed fantasy.  One created by white men about the essence of another culture.  In this case, Japan.  In Madama Butterfly, an American, Lt. B. F. Pinkerton, arrives in the island country and soon begins a quest for love.  A love that he never plans to be lasting.  Once he returns state side, he’ll re-enter the mainstream and marry traditionally.

Since its origin, issues of perception and portrayal have always haunted Puccini’s Madama Butterfly.  He composed it in partnership with Giuseppe Giacosa and Luigi Illica who wrote the text or libretto.  For most of the opera’s existence, the way Japanese culture and its people were projected robbed them of dimension and ultimately diminished their humanity.  In both early productions of the opera and in virtually all that followed, Japanese men saw their virility erased while Japanese women watched their deference be reduced to an exaggerated docility.  As intrinsically lovely Madama Butterfly is as a creative jewel, for the Japanese people and many others of color, it has also been deeply problematic.

For Matthew Ozawa, Director and Chief Artistic Officer of the Lyric Opera of Chicago, it was as well.  As a Japanese-American director of operatic works, his relationship with Puccini’s masterpiece has been fraught.   He knew intrinsically as a director he could never present it in a conventional way.  If he were ever to take on the challenge of staging the piece, he would do it through more enlightened eyes.  The current production of Madama Butterfly he directs at the Lyric, running through April 12^th, shows how spectacular a 122-year-old classic can look and feel with a total makeover by a gifted artisan.

Ozawa’s Madama Butterfly, co-produced by the Cincinnati Opera, Pittsburg Opera, Detroit Opera and the Utah Opera, dismantles the old format and completely rebuilds it in a contemporary context.  The overhaul was so comprehensive, keeping the original orchestration and libretto unaltered and intact was a condition for greenlighting his vision.   

The Company of Madama Butterfly.

Like many men of his generation, Ozawa loved playing video games growing up.  It wasn’t a leap for him to envision Madama Butterfly taking on the features of a machine generated video game offering a portal to an alternate reality.  Pinkerton (tenor Evan LeRoy Johnson) would travel to Japan through his headset and begin a journey that would lead to the devastating consequences we all know will follow.

But first, like any talented leader, Ozawa needed to assemble a team to bring his concept to fruition.  Based on opening night’s performance at the Lyric, a better dream team probably doesn’t exist.  Recruiting all females as his key collaborators, who were either Japanese or Japanese-American, cultural accuracy and agency would no longer be a concern.  Each of them a heavy hitter in her respective craft, the composite experience they created was so remarkable it could easily be considered revelatory.  The superb impact of Kimie Nishikawa’s set designs and Yuki Nakase Link’s lighting talents made on the production’s visual potency and dynamism can’t be overstated. 

A muted background would suddenly blaze in dramatic color and fill with subtly ornate splendor when Pinkerton donned the goggles that would transport him to Japan. There, Maiko Matsushima’s costume designs bowled you away with their texture, imagination, sophistication and beauty.

Even when we first finally meet Cio-Cio-San, Butterfly, played by Karah Son, we’re visited with the unexpected.  She’s as small and delicate as butterflies are, but in her words and carriage you sense the steel in her spine.  At 15, she may have become a geisha to support herself, but she’s clearly proud of the fact that she’s also “well-bred”.   That inner dignity is an ever-present element of her character. 

Son has played this crucial character in houses around the globe; in her native Korea, Warsaw, Berlin, Bologna, Los Angeles and San Francisco just to list a few.  This production marks her Lyric debut.  She knows this part.  From the excellence of her soprano Saturday night, and the flawlessness of her acting abilities, she is this part.   

Johnson, a wonderful tenor who’s also making his debut at the Lyric, makes a compelling Pinkerton.  He doesn’t quite comprehend the import of his words when Sharpless (Zachary Nelson) tells him to “Be Careful, she trusts you”, until it’s too late.  Finally realizing what that trust has cost releases his humanity.  But it can’t stop the payment deception exacts.

In the final scene, where only pathos is expected, this presentation all but blinds you with the complex beauty of real life through the fiction of a story.  Ozawa’s brilliant directing, Son’s gifts as a marvelous actress/vocalist and Puccini’s stunning score converge to cause the soul to quake.  

Puccini’s Madama Butterfly now truly soars.

Madama Butterfly

Through April 12, 2026

Lyric Opera of Chicago

20 N. Wacker Drive

Chicago, IL  60606

For more information and tickets:   https://www.lyricopera.org

Highly Recommended

Open Space Arts has announced casting for its Chicago premiere of A THIRD WAY, a sharply funny, deeply compassionate new play that reimagines what love, marriage, and family can look like in the 21st century. Winner of the Del Shores Foundation Playwriting Award, the play received its acclaimed world premiere in 2024 at Actor's Express in Atlanta, where it was praised for its emotional honesty, contemporary relevance, and nuanced queer storytelling. ARTSATL said, it was "deeply introspective" in addition to having "some truly hilarious moments, with a playful energy throughout." Open Space Arts' founder David G. Zak, who was recently nominated for the Jeff Awards for Direction – Short Run Production for OSA's MR. PARKER, is directing. A THIRD WAY will play in Open Space Arts' intimate 25-seat theatre at 1411 W. Wilson Ave., Chicago. It will play three weekends, from April 3 through 19.

At the center of the play are Nico and Matt, a married couple committed to building a relationship that exists outside traditional binaries. When familiar figures from the past and unexpected new connections enter their world, long-standing assumptions are quietly—and sometimes explosively—challenged. With humor, warmth, and razor-sharp insight, A THIRD WAY explores the fragile balance between desire and responsibility, freedom and commitment. Rather than offering easy answers, the play invites audiences to sit inside uncertainty, asking what it really means to choose love when there are no clear rules.

Zak Wilson and Chris Sylvie have been cast as Matt and Nico. Wilson, who will play Matt, was seen most recently in the area as Karl and Steve for CLYBOURNE PARK with Buffalo Theatre Ensemble. He has also appeared in numerous productions with the prestigious Asolo Rep in Sarasota, Florida. Sylvie, who appeared in Open Space Arts' SUNSETS, will play Nico. Oliver Maalouf (of Steep Theatre's HAPPY DAYS ARE HERE (AGAIN)) is playing Haamid, a one-time hookup of the couple who becomes more seriously involved with Matt. Erica, Nico's best friend who has her own challenges finding a relationship, will be played by Alondra Rios, who recently appeared in LAS BORINQUEÑAS at Visión Latino and SIDE BY SIDE BY SONDHEIM at Oil Lamp Theatre. 

The production team for A THIRD WAY includes Zach Stinett (Sound Design), Jade Andrews (Costume Design), Devin Meseke (Scenic Design), Ethan Brentlinger (Lighting Design), Greta Zandstra (Intimacy Director), and Claire Ragusa (Stage Manager).

With humor, warmth, and razor-sharp insight, A THIRD WAY explores the fragile balance between desire and responsibility, freedom and commitment. Rather than offering easy answers, the play invites audiences to sit inside uncertainty, asking what it really means to choose love when there are no clear rules.

Intimate in scale but expansive in implication, A THIRD WAY speaks to contemporary audiences navigating evolving definitions of partnership, family, and belonging—without telling them what to think.

Open Space Arts' A THIRD WAY will play through Sunday, April 19, 2026. Performances will be at Open Space Arts, 1411 W. Wilson in Chicago. Tickets are $30 and are on sale now at www.openspacearts.org. 
 
LISTING INFORMATION
 
A THIRD WAY
By Lee Osorio
CHICAGO PREMIERE
Directed by David G. Zak
April 3-19, 2026
Thursdays, Fridays and Saturdays at 7:30 pm, Sundays at 3:00 pm
Open Space Arts, 1411 W. Wilson Ave., Chicago
Tickets $30.00 general admission, $25.00 students and seniors. On sale now at www.openspacearts.org. 
 
Nico and Matt are a married couple committed to building a relationship that exists outside traditional binaries. When familiar figures from the past and unexpected new connections enter their world, long-standing assumptions are quietly—and sometimes explosively—challenged. With humor, warmth, and razor-sharp insight, A THIRD WAY explores the fragile balance between desire and responsibility, freedom and commitment. Rather than offering easy answers, the play invites audiences to sit inside uncertainty, asking what it really means to choose love when there are no clear rules.

Intimate in scale but expansive in implication, A THIRD WAY speaks to contemporary audiences navigating evolving definitions of partnership, family, and belonging—without telling them what to think.

MadKap Productions is pleased to present the Tennessee Williams' classic play A STREETCAR NAMED DESIRE for 13 live performances at the Skokie Theatre, 7924 Lincoln Ave in Downtown Skokie from March 27 thru April 26, 2026, Fridays and Saturdays at 7:30 pm, and Sundays at 2:00 pm, with one Wed. matinee on April 15 at 1:30 pm. There are no performances April 3 - 5. Tickets are $42 general admission, $38 for seniors and students and can be purchased online at SkokieTheatre.org or by calling 847-677-7761

A STREETCAR NAMED DESIRE is considered to be one of the great classics of the American theatre.  When Blanche DuBois, a troubled woman with a dark past, moves in with her sister Stella and her volatile husband Stanley, she learns that genteel pretensions are no match for the harsh realities symbolized by her brutish brother-in-law.  It is an emotionally charged drama that explores desire, delusion, and the harsh realities of human nature

The play won both the Pulitzer Prize for drama and the Tony Award for Best Play.  The movie version won the Golden Globe for Best Picture.  Vivian Leigh won the Best Actress award for her portrayal of Blanche, a role originated by Jessica Tandy on Broadway.

A STREETCAR NAMED DESIRE stars Hailey Hance as Blanche, with Elyna Mellen as Stella, Nathaniel Kohlmeier as Stanley, and Denis Vorobyev as Mitch.  The cast also features AJ Carchi, Wyatt DeLair, Neil Figuracion, Kimmy Higginbotham, and Dee Dee Logan

A STREETCAR NAMED DESIRE is directed by Wayne Mell, who founded MadKap productions with producer Wendy Kaplan in 2012.  Set Design is by Brian Wasserman, with Lighting Design by Pat Henderson, Costume Design by Dame Erickson, Property Design by Michael Dwiggins and Sound Design by Elijah McTiernan.  Laine Rogers is the Assistant Director, with Intimacy Direction by Krista Retka and Fight Choreography by Brian Plocharczyk.

COMPANY is the final production in MadKap Productions' 11th season at Skokie Theatre, which started in July with A FUNNY THING HAPPENED ON THE WAY TO THE FORUM and included productions of PIPPIN, DEATHTRAP, .and most recently COMPANY.

For reservations or additional information, visit SkokieTheatre.org, or call the box office at 847-677-7761

About MadKap Productions

MadKap is celebrating its 11th year at Skokie Theatre and is the recipient of the 2019 Artistic Excellence award from the Village of Skokie Fine Arts Commission.  Wendy Kaplan and Wayne Mell formed MadKap Productions in 2011 and have premiered ground-breaking new plays like Clutter: The True Story of the Collier Brothers Who Never Threw Anything Out and Mr. Shaw Goes To Hollywood,  and Side Effects May Include, the semi-autobiographical account of Seinfeld writer Marc Jaffe's experiences with Parkinson's Disease which toured nationally, raising funds for Shaking With Laughter and The Michael J. Fox Foundation.  MadKap Productions was formerly a resident production company at the Greenhouse Theater Center in Chicago.  In February of 2014, MadKap Productions took over management of the Skokie Theatre with the goal of establishing a full-time performing arts center. 

About Skokie Theatre

The Skokie Theatre was originally built in 1912 and served as the local movie theatre for the people who lived in the Skokie area.  The building fell into disrepair, until 2006 when the Skokie Valley Music Foundation spent over 1.2 million dollars to refurbish it and create a music hall that is unlike any other in the area.  Its 140 comfortable seats, perfect acoustics, and elegant art deco architecture makes it a Skokie landmark.  MadKap Productions took over management of the building in February, 2014 with the goal of establishing a full-time performing arts center.  When not presenting plays, audiences can experience cabaret and concerts, dance, and comedy acts.

King Odysseus returns home to Ithaca after twenty years’ absence: ten years’ fighting the Trojan War (it takes time to build a big enough wooden horse), followed by a ten-year journey during which everything that could go wrong does go wrong: think rush-hour traffic on the Kennedy under construction. When he finally arrives, Odysseus finds yet another complication: in his absence a hundred men have undertaken to lay claim to his throne, actually taking up residence in Odysseus’ palace, scarfing down his harvests, seducing his servants, and harassing his wife.

Penelope has made every effort to discourage the putative suitors, her most recent gambit being a challenge to string Odysseus’ mighty bow, then use it to shoot an arrow through a line of a dozen axe handles. That’s pretty serious and, unsurprisingly, none of the opportunists manages. Everyone is amazed therefore when a stranger (Odysseus disguised as a beggar) nails it. The disappointed contenders aren’t happy about this, and are further aggrieved when the ‘beggar’ throws off his rags, identifies himself, and advises the intruders to hit the road.

Odysseus, legitimately vexed at the situation, answers their disgruntlement with violence and all hundred freeloaders are … well, the proper verb is in question, as it’s unclear whether Odysseus righteously executes or viciously murders them. This is the issue we explore in TRIAL OF ODYSSEUS: is Odysseus a champion, heroically defending his title, his home, and his family? Or is he a villain, goaded by jealous rage into a frenzy of unwonted slaughter?

TRIAL OF ODYSSEUS was … what to call it? to be honest it was not truly theater. TRIAL OF ODYSSEUS was presented as an actual trial, with Antonio M Romanucci and Daisy Ayllón of Romanucci & Blandin LLC prosecuting and Patrick M. Collins and Tinos Diamantatos of King & Spalding LLP arguing for the defense. A panel of four judges (Georgia M Alexakis, Sara L Ellis, Jeffrey G Chrones and Anthony C. Kyrikopoulos) and twelve jurors examined and cross-examined both the witness Phimeus (Leonardo Sfondouris) and Odysseus, played by Christos Vasilopoulos.

The final decision, however, was ours. Each audience member was provided with their choice of two tokens, blue for guilty and white for innocent. At the close of examination these tokens were collected and their count served as the verdict: Odysseus was found Not Guilty., I suspect that those voting Guilty did so from the viewpoint of twenty-first century law. I can’t believe anyone in the Bronze Age, roughly 1200 BCE, would not fully sympathize with Odysseus’ reaction, however grisly.

I’m totally ignorant of judicial matters, and someone better acquainted with legal procedure might have found problems with how the trial was portrayed, but I thought it was as credible as it was entertaining. For one, it certainly reflected the delay encountered in our modern magisterial system, as the event under arbitration occurred more than 3,000 years ago. A real trial for first-degree murder would probably incorporate less humor, but the Court had no difficulty drawing parallels across the three-millennium time difference; many of these comments were quite amusing and were certainly appreciated by the audience.

TRIAL OF ODYSSEUS was instructive, engaging, and just plain fun! The bad news is that it was a single production; there will be no further performances. But keep your eye on the National Hellenic Museum, as they offer regular events and exhibitions.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Get ready - those phones are about to explode, and Sam is already spinning like a top trying to catch every single one. It’s a full‑blown ring‑storm, and he’s diving into it with the hectic energy of someone who knows the chaos is coming and still can’t outrun it.

A brisk, razor‑funny powder keg of a play, Fully Committed tracks a single frantic day in the life of Sam, the lone reservationist at one of Manhattan’s most elite - and most impossible - restaurant. Becky Mode’s script is a full‑tilt high‑wire act, and Mike Newquist tears across nearly forty characters with the kind of breakneck precision that makes your head spin. As Sam, he’s already a live wire - but then he’s also snapping into entitled celebrities, neurotic assistants, tyrannical chefs, and every flavor of fine‑dining madness that dares to ring his desk. It’s dazzling, anxious, and wildly fun to watch him juggle it all without ever dropping the thread. The comedy snaps because each character is so sharply etched, and Newquist seamlessly shifts among them with the kind of finesse that turns mayhem into art.

At its heart, the nearly 90-minute play gleefully skewers the rituals of status and the agitated, almost feral hunger for exclusivity, exposing just how ridiculous people become when a reservation turns into a badge of power. Sam becomes the unseen fulcrum of that world, and his day unravels from merely hectic to outright surreal as he absorbs tantrums, negotiates impossible demands, and fights to keep a grip on his own sense of worth. Watching Newquist as Sam behind that reservation desk in a constant tinderbox had me instantly aware that I wouldn’t survive two hours in his shoes. His frantic charm and barely contained panic sells the chaos and sparks a whole new respect for the people who actually thrive in that kind of daily combustion.

Fully Committed lands as hard as it does because it’s rooted in real industry absurdity. Mode shaped these characters straight out of real restaurant‑world encounters, giving the show a mix of satirical whirlwind and a bite of truth that feels both sharply recognizable and wickedly real.

Throughout the play, I loved how Sam’s dad kept slipping into the heavy commotion with that gentle, grounding voice - just long enough to let the whole room exhale. Each time he called, Sam’s entire demeanor flipped in an instant; you could watch him go from frazzled to peaceful like someone had hit a reset switch. Those brief check-ins made it clear how a few steady words from a gentle, supportive father (or friend/family member) can cut straight through the noise, offering a tiny pocket of calm even when everything else is burning down around him.

Mike Newquist is pure kinetic joy onstage, delivering a commanding turn in Fully Committed. The Chicago‑based actor and improviser thrives in the city’s storefront trenches, bouncing between sharp‑edged comedy, character chameleon work, and the kind of ensemble disorder where anything can - and usually does - happen. He’s popped up with PrideArts, AstonRep, and The Comrades, tackling everything from contemporary drama to high-velocity comic mayhem. In Fully Committed, it’s his quick‑switch agility that makes him a blast to watch.

Directed by Derek Bertelsen, this Chicago staging arrives with a jolt of fresh energy and real immediacy. Newquist’s performance becomes the engine that drives the whole night, while Bertelsen keeps the momentum razor‑sharp, the pacing tight, and every character shift snapping cleanly into place.

The Den Theatre hosts the run March 13–28, 2026, with performances on Friday and Saturday nights at 7:30 p.m. Tickets for Fully Committed at The Den Theatre are just $26. For tickets and/or any more show information, click here.

Recommended.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

The Grelley Duvall Show returns with the world premiere of Grelley Duvall Best Actress, written and conceived by Alex Grelle with Jesse Morgan Young, directed by Kasey Foster, choreographed by Erin Kilmurray and Kasey Alfonso and music directed by Aunt Kelly, March 12 - April 12, at the Chopin Theatre, 1543 W. Division St.  The total running time including intermission is two hours and 15 minutes. Previews are Thursday, March 12 at 8 p.m. - Saturday, March 14 at 8 p.m. and Sunday, March 15 at 6 p.m. The performance schedule is Thursdays - Saturday at 8 p.m. and Sundays at 6 p.m. with industry performances, $25 industry tickets, Thursdays, March 26, April 2 and April 9 at 8 p.m. Tickets are now on sale for $25 (previews/industry) and $35 and $41 for the run and are available at ChopinTheatre.com.  

Grelley Duvall Best Actress is an all new two-act revue featuring the award-winning performances and iconic cinematic moments that have inspired generations. Bringing together live music, heart-pumping choreography, Oscar-worthy acting and a slew of puppets, this not-to-be-missed blockbuster has it all. Hollywood legends light up the stage for a star-studded evening that is part tear-jerker, part adrenaline rush, part whimsy and all Actress. Best Actress. We will see you on the red carpet. 

The Grelley Duvall Show has been 5, 6, 7, 8'ing on Chicago stages since 2015. Originally incubated through Salonathon as part of Steppenwolf Theatre Company's LOOKOUT series, it soon became a hallmark of the hallowed Hideout Stage. In 2019, The Grelley Duvall Show toured to Theater on the Lake in collaboration with the Chicago Parks District. During the pandemic, The Grelley Duvall Show evolved into a new medium with two spectacular television specials (“Grelley Duvall In My Home In My Prime” and “grelley.”), both aired on the Hideout's online platform. After a brief hiatus, Now That’s Grelley Duvall returned to the Hideout for a limited run in 2022. The fourth edition of The Grelley Duvall Show premiered at Color Club in February 2023 and Grelley Duvall V enjoyed a four-week run at the Chopin Theatre in spring 2025.

The cast of Grelley Duvall Best Actress includes Kara Brody (she/her), Madigan Burke (they/them), Alex Grelle (he/him), Lolly Extract (she/her), Darling Shear (she/they), Patrick Stengle (he/him) and Mary Williamson (she/her).

The band Grelley Duvall Best Actress is Aunt Kelly (she/her, Music Director/Keys/Guitart); Dan Gianaris (he/him, Bass); Max Loebman (he/him, Guitar) and Sarah Weddle (they/them, drums).

The production team of Grelley Duvall Best Actress is Alex Grelle (writer and conceived by, he/him); Jesse Morgan Young (writer and conceived by, he/him); Kasey Foster (she/her, director); Kasey Alfonso (she/they, choreographer); Erin Kilmurray (she/they, choreography); Aunt Kelly (she/her, music director); Sam Burkett (she/they, stage manager); Anastar Alvarez (they/them, production manager); Quinn Chisenhall (he/him, lighting design); Caitlin McLeod (she/her, scenic design); Alaina Moore (she/her, costume design); Peter Wilde (he/him, technical director); Maya Nguyen (she/her, sound engineer); Jackie Berland (they/them, properties design); Keith Ryan (he/him, wig design); Lolly Extract (she/her, puppet designer) and Madigan Burke (they/them, puppet designer) with Glam Hag (they/them, video direction), Derek Spencer (he/him, video production), Eon Mora (he/him, video cinematography), Drew Angle (he/him, video cinematography) and David Brown (he/him, video editing). Produced by Paul Scudder (he/him); Katie Mazzini (she/her) and Grelle.

ABOUT ALEX GRELLE, WRITER/CONCEIVED BY/PERFORMER

Alex Grelle (The Grelley Duvall Show, Ordinary Peepholes, Floor Show, Full Bush, STEPMOM At The Old Ethan Allen Space) is a gay Chicago-based performer. His heartfelt, comedic spectacles gallivant through a wide range of media, including but never limited to live music, dance, sketch comedy, acting, puppetry, Shelley Duvall’s late-career television exploits and video. Grelle's shows are carefully curated to showcase performances and artists that have impacted his life in a profound way.

ABOUT JESSE MORGAN YOUNG, WRITER/CONCEIVED BY 

Jesse Morgan Young is a multidisciplinary artist whose work as a director, writer, and producer bridges theater, video, music and performance art. As a director and creative producer, Young has brought to life genre-defying works like Floor Show and Full Bush, as well as acclaimed video work. His original plays explore queer identity, pop culture and irreverent rewrites of canonical works and his collaborations span stages and screens, often blurring the lines between satire, performance art and social commentary.

Young has many inspirations. Here are a few: In theatre – Eugene Ionesco, Christopher Durang, Sarah Kane and Adam Bock. In film – Federico Fellini, Luis Buñuel, Wong Kar Wai, Gregg Araki, Pedro Almodóvar and giallo. In music – Prince, David Bowie, Kate Bush, Grace Jones, Brian Eno, The Knife/ Fever Ray and the soaring melodies of so many synth-pop and new wave bands. In fashion – Hedi Slimane, Gareth Pugh, John Galliano, Alexander McQueen, Raf Simons and Rick Owens. In fine art – Gottfriend Helnwein, Olafur Eliasson and Andy Warhol. In literature – Dennis Cooper, Brett Easton Ellis and gothic horror. In performance art - Peaches, Casey Spooner, Matthew Barney and Alaska Thunderfuck 5000.

ABOUT KASEY FOSTER, DIRECTOR

Kasey Foster is a performer, producer, creator, director, singer, choreographer, puppeteer and Mom. She is an ensemble member at Lookingglass Theatre, where she also serves as a member of the current Artistic Leadership Team. Her most recent acting credits are: Mesmerized (Chicago Children’s Theatre), The Notebooks of Leonardo Da Vinci (Goodman, STC, and The Old Globe), Steadfast Tin Soldier (Lookingglass) and Mr. Dickens Hat (Northlight). Other Lookingglass productions include The Little Prince, Moby Dick, Treasure Island, and 20,000 Leagues Under the Seas. Some television credits include “Chicago Med” and IFC’s “Documentary Now!” Foster sings with bands Babelon 5, Nasty Buoy, Old Timey, and This Must Be the Band. She has created and directed over 50 original works in Chicago. Foster also works as the events manager at Actors Gymnasium, a place where people at any age can learn to fly.

ABOUT KASEY ALFONSO, CHOREOGRAPHER

Kasey Alfonso is a 2025 Jeff-Nominated choreographer, performer and educator based in Chicago. Their choreography has been featured at the 1800-seat Paramount Theatre (Cats, Come From Away, Charlie and the Chocolate Factory, Into The Woods), the Broadway Playhouse (Titanique - Chicago cast), Drury Lane Theatre (Disney’s The Little Mermaid), Teatro Vista (Somewhere Over The Border) and in collaborations with Northwestern University, University of Illinois Chicago, University of Chicago and The Grelley Duvall Show, to name a few. She also choreographed the National Tour of God’s Child for RuPaul’s Drag Race Winner Willow Pill and is a long time cast member and choreographer for Chicago Institution The Fly Honeys, named “Best Dance Troupe” by the Chicago Reader five years in a row. Critics describe Alfonso’s work as athletic, sparkling, energetic, emotionally driven and stylish. As a Filipina woman, they grew up dancing with her older cousins, who played Janet Jackson, Missy Elliot, Madonna, Salt-n-Pepa and Ginuwine on repeat at her Tita’s house. Her choreographic style was born from that deep rooted love of the music video culture of the 90s and early 2000s, athletic training and influences from queer dance styles.

ABOUT ERIN KILMURRAY, CHOREOGRAPHER

Erin Kilmurray is a Chicago-based dance artist creating genre-straddling, femme-forward performance work that demands aliveness and collectivity on stage, in studio and with audiences. They facilitate a dance and community practice that relentlessly explores the celebrations and liberations of women, queer folks and the underdog. Her work embraces mess, play, pleasure and lessons in how arbitrary the line between artist and audience can be.

Kilmurray is the creator/director of legendary queer punk dance and variety performance project The Fly Honey Show, where pleasure is king and politics favor the queens. Fly Honey was established in a DIY living space in 2010 and recently sold out rock venue Thalia Hall, was featured at Lollapalooza 2022 and named a “Chicago institution” (Chicago Reader).

She is recognized with a 2024 US Artist Fellowship Award in Dance, an Illinois Arts Council Fellowship Awardee (2023), a Chicago Dancemakers Lab Artist (2020) and one of 50 People Who Really Perform for Chicago (2023; Newcity). Kilmurray was one of three artists commissioned for the inaugural Chicago Performs program at the Museum of Contemporary Art (2022).

Additionally, she has made dances for countless independent makers, parties, music videos, festivals, concerts and theatrical productions. She is currently teaching at Northwestern University and the University of Chicago.

ABOUT AUNT KELLY, MUSIC DIRECTOR

There's a lot to love about Aunt Kelly’s jangly, guitar-driven power-pop—satisfying hooks, crisp pivots, gut-wrenching lyrics, retro references—but bandleader Kelly Hannemann’s raspy vocal deliveries tie everything together for the Chicago trio rounded out by bassist Dan Gianaris and drummer Sarah Weddle.

The Grelley Duvall Show returns with the world premiere of Grelley Duvall Best Actress, written and conceived by Alex Grelle with Jesse Morgan Young, directed by Kasey Foster, choreographed by Erin Kilmurray and Kasey Alfonso and music directed by Aunt Kelly, March 12 - April 12, at the Chopin Theatre, 1543 W. Division St.  The total running time including intermission is two hours and 15 minutes. Previews are Thursday, March 12 at 8 p.m. - Saturday, March 15 at 8 p.m. Press opening is Thursday, March 18 at 8 p.m. The performance schedule is Thursdays - Sundays at 8 p.m. with industry performances, $25 industry tickets, Thursdays, March 26, April 2 and April 9 at 8 p.m. Tickets are now on sale for $25 (previews/industry) and $35 and $41 for the run and are available at ChopinTheatre.com.  

Larkspur Productions is pleased to announce the world premiere of The Posthumous Trial of Giulia Tofana.  Directed by Cheryl Snodgrass, The Posthumous Trial of Giulia Tofana will play March 20^th- April 5^th at The Den Theatre, 1331 N Milwaukee Ave, Chicago IL

Tickets are on sale at https://thedentheatre.com/performances/2026/3/20/the-posthumous-trial-of-giulia-tofana-the-den-theatre-comedy-club-chicago

Murderer. Witch. Savior. Executed in 1659 for the murder of 600 men. That's how history remembers Giulia Tofana, the infamous creator of the Aqua Tofana poison. This is her story straight from Purgatory.

This one-person show is performed by Sydney Genco.

Comments playwright Gwyneth Forsythe: In a time when bodily autonomy and human rights are being actively taken away and the very idea of justice seems out of reach, stories from the past, like Giulia Tofana's, are more important than ever. We cannot wait to share hers with you.

The production team includes Matthew York (Scenic Designer), Kate Kamphausen (Costume Designer), Garrett Bell (Lighting Designer), DJ Douglass (Sound Designer), Tina Haglund-Spitza (Props Designer), Tom Daniel (Scenic Carpenter), Henry Bender (Master Electrician) and Drew Donnelly (Technical Director).

PRODUCTION DETAILS:

Title: The Posthumous Trial of Giulia Tofana

Playwright: Gwyneth Forsythe
Director: Cheryl Snodgrass
Cast: Sydney Genco (Giulia Tofana)

Location: The Den Theatre, 1331 N Milwaukee Ave., Chicago, IL 60622

Regular run: March 20 – Sunday, April 5, 2026
Curtain Times: Fridays & Saturdays at 8pm.  Sunday, April 5^th at 3pm.  Please note: there will be an added performance on Monday, March 30^th @ 8pm (Industry Night).

Tickets: General admission: $25. https://thedentheatre.com/performances/2026/3/20/the-posthumous-trial-of-giulia-tofana-the-den-theatre-comedy-club-chicago

About the Artists:

Gwyneth Forsythe (Playwright) is a writer, educator and theatre artist who splits her time between Iowa City and Chicago. She received two BAs (Theatre Arts and History) from the University of Iowa and her MFA in Writing for the Screen and Stage from Northwestern University, where she was awarded the Krevoy Screenwriting Prize. Gwyneth has worked as a freelance writer, taught for the Chicago City Colleges, and was a 2024 semi-finalist for the Eugene O'Neill Center's National Playwrights Conference. Last summer, her work was featured in the Heretic Theatre Festival produced by RJ Theatre Company in New York City. In the fall, she directed and produced "Ghosts on the Radio Vol. II: A Haunted Audio Anthology" for the Iowa Youth Writing Project and assistant-directed Global Express for the International Writing Program at the University of Iowa. She has taught and developed writing courses in playwriting, screenwriting, horror, humor, and creative non-fiction for writers worldwide of all ages and experience levels.

Cheryl Snodgrass (Director) is passionate about directing new works.  She is an alumni ensemble member of Hell in a Handbag where she's directed multiple premieres including The Drag Seed, which performed at the famous LaMama Theatre in NYC.  Other Handbag shows include The Birds, Scary Town, L'Imitation of Life, and Die, Mommie!  Die! Cheryl has worked extensively as a visiting artist at Mill Mountain Theatre and Studio Roanoke (Roanoke, VA). She has also directed for a number of Chicago companies that include Sweetback, Glass Apple, Trap Door, The Foundlings, Tellin' Tales, Jonny Staxx Presents, and Filet of Solo.  Most recently, Cheryl directed John Cariani's (playwright of Almost, Maine) new play Darker the Night Brighter the Stars for Penobscot Theatre in Bangor, ME and is very excited to be included in the published version as a premiere production.

Chicago theatre is firing on all cylinders right now, and this weekend lines up three productions that each showcase a different facet of the city’s creative muscle. Whether you’re in the mood for a riotous farce built on precision timing, a beloved mega‑musical delivered with full‑company sweep, or a sharp, literary comedy that only City Lit would dare to stage, you truly can’t go wrong. Each one stands on its own as a worthy night out, and any single pick will give you a taste of what Chicago theatre does best: craft, imagination, emotional punch, and a fearless sense of play.

The Play the Goes Wrong at Metropolis Performing Arts Centre, Arlington Heights

Few comedies promise laughter as reliably as The Play That Goes Wrong, and Metropolis throws itself into the chaos with real delight. This production revels in tightly calibrated mayhem—the kind where doors refuse to cooperate, props rebel at the worst possible moment, and actors push forward with a kind of heroic, straight‑faced determination that only makes the disaster funnier. The result is a joyful, precision‑engineered mess that the audience gets to savor from start to finish.

Why it’s a strong pick this weekend

• A perfect pressure‑release valve - high‑energy, no‑thought‑required escapism after a long week.
• The intimacy of Metropolis amplifies the comedy - every pratfall, mishap, and collapsing moment lands up close.
• A crowd‑pleaser for any group - theatre lovers, casual attendees, and pure comedy fans all get something out of it.

Music Theatre Works’ Cats at North Shore Center for the Performing Arts

Andrew Lloyd Webber’s Cats returns to Chicagoland with real sweep, and Music Theater Works gives it the kind of lush, full‑hearted staging that reminds you exactly why this musical became a global phenomenon. The choreography is athletic and fluid, the vocals land with clarity and warmth, and the production embraces the dreamlike, ritualistic world of the Jellicles without hesitation. It’s a show that works best when it leans into its own mythology, and this staging does just that - inviting the audience into a shimmering, nocturnal universe rather than standing outside it.

Why it’s a strong pick this weekend

• A rare large‑scale musical delivered with real sweep in an unexpectedly intimate setting - it’s not often you find this level of production value outside the downtown theatre district, and even rarer to experience it up close in the cozy North Theatre at the North Shore Center.
• “Memory” is delivered with emotional precision and is as memorable as it gets   - the kind of performance that earns its reputation as one of musical theatre’s great ballads.
• The North Shore Center elevates the experience - excellent acoustics and clean sightlines in the North Theatre make the show feel immersive, expansive, and visually rich.

Changing Channels at City Lit Theatre

City Lit’s newest offering is a sharp, genre‑bending piece that toys with narrative, identity, and the stories we cling to. Changing Channels shifts tone with the ease of a remote flipping through late‑night TV - comic one moment, unexpectedly poignant the next, then slipping into something surreal and incisively observed. It’s a play that rewards an attentive audience without ever feeling heavy, and City Lit’s trademark literary touch gives the whole production a crisp, intelligent edge that lingers after the lights come up.

Why it’s a must‑see this weekend

• It’s a fresh, original work in a city that thrives on new voices.
• The script’s structural playfulness makes it a conversation starter.
• City Lit’s intimate staging lets the humor and emotional beats land with precision.

This week’s 32C lineup offers a full spectrum of Chicago theatre:

• The Play That Goes Wrong offers pure, high‑energy escapism—perfect if you want to laugh until your face hurts.

• Cats delivers spectacle, nostalgia, and musical athleticism on a scale rarely seen outside downtown.
• Changing Channels gives you smart, inventive storytelling with City Lit’s signature literary edge.

It’s a weekend built for variety - laugh hard, feel deeply, think a little, and remember why Chicago remains one of the most vibrant theatre cities in the country.

Steppenwolf Theatre Company, the nation’s premier ensemble theater company, and Teatro Vista Productions are pleased to announce the world premiere production of TVP Artistic Collective member Paloma Nozicka’s* BOTH, as a part of a new, multi-year partnership between the two Chicago institutions. Directed by Georgette Verdin, BOTH will play April 11 – May 10, 2026 in Steppenwolf’s 1700 Theater, 1700 N. Halsted St. in Chicago. A special Steppenwolf member and Teatro Vista Productions VIP pre-sale begins Tuesday, February 3, 2026 at 12 pm. Tickets are on sale at steppenwolf.org and the Box Office at (312) 335-1650.

The multi-year partnership between Teatro Vista Productions and Steppenwolf brings two of Chicago’s most vital ensemble theaters together to present ambitious productions to Chicago audiences. Teatro Vista Productions is set to stage a full-length run of a play each season over the next three years in Steppenwolf’s 1700 Theater, in an exciting collaboration reflecting the unique artistic ambitions of both companies. The innovative partnership also provides opportunities for Teatro Vista Productions to build institutional capacity after recent record-breaking artistic achievement with shows including The Dream King and Memorabilia. With Teatro Vista Productions in residency at Steppenwolf, both companies look forward to modeling a relationship that they hope will inspire further collaboration in Chicago’s iconic theater community amongst organizations of all sizes.

BOTH follows on the success of Teatro Vista Productions’ recent world premiere productions in the 1700 Theater: La Havana Madrid (2017), Enough to Let the Light In (also by Nozicka, 2022) and ¡Bernarda! (2023). 

Steppenwolf Executive Director E. Brooke Flanagan comments, “For the last decade, Steppenwolf and Teatro Vista Productions have been frequent collaborators, but under this new, multi-year model, we are weaving the two institutions into an even closer relationship. We are thrilled to play host for the ambitions of this extraordinary company: from rehearsals to performances, from donor events to audience engagement opportunities.” 

“Staging the world premiere of BOTH by TVP Artistic Collective member, Paloma Nozicka, as the kick-off to our multi-year Steppenwolf Theatre Company residency is the ultimate fulfillment of our mission,” shared TVP Artistic Director Wendy Mateo and Executive Director Lorena Diaz. “BOTH is a gritty, character-driven look into complicated family dynamics and chosen truths. Great family dramas are a signature of the Steppenwolf brand. To provide our artists with this stage, in the birthplace of ensemble theater in Chicago, is a dream come true. This synchronicity is a moment of profound pride for our theater. As we celebrate our 35^th year, we continue to lean into the idea of radical abundance. And with the support of Steppenwolf Theatre Company, we get to do just that. Pa’lante, Juntos. Forward, Together.”

BOTH will feature TVP Artistic Collective members Charín Álvarez*, Eddie Martinez*, Ayssette Muñoz* and Paloma Nozicka* with Brian King and Yona Moises Olivares.

*Denotes TVP Artistic Collective member

About the Production:

Xochi is dealing with a lot: a difficult pregnancy, a new relationship, a family that can't stand her and the loss of her twin brother Sebastian, who was declared missing last year. As she tries to navigate her life (and keep her sanity), the impossible happens: Sebastian reappears. Her family is overjoyed, but Xochi is suspicious: where has he been? And why does this version of Sebastian seem so different than the one she knew? BOTH is an eerie examination of family, love, memory, and which version of the truth is the one worth believing.

The creative team includes Sotirios Livaditis (Scenic Design), Johan H. Gallardo* (Costume Design), Maximo Grano De Oro (Lighting Design), Satya Chávez (Sound Design), Shokie Tseumah (Properties Design), Greg Geffrard (Intimacy and Violence), Estrellita Beatriz (Production Manager), Janyce Caraballo (Assistant Director), Adelina Feldman-Schultz* (Casting Director), Julie Jachym (Production Stage Manager) and Olivia Ellery (Assistant Stage Manager).

Production Details:

Title: BOTH

Playwright: TVP Artistic Collective member Paloma Nozicka*

Director: Georgette Verdin

Cast (in alphabetical order): Charín Álvarez* (Angela), Brian King (Sam), Eddie Martinez* (Juan), Ayssette Muñoz* (Cynthia), Paloma Nozicka* (Xochi) and Yona Moises Olivares (Sebastian)

Covers: Aaron Barker (Cover Sam), Tatiana Bustamante (Cover Cynthia), Lorena Diaz (Cover Angela), Leonel Garza (Cover Juan), El Río (Cover Sebastian) and Amelia Roque (Cover Xochi) 

Location: Steppenwolf’s 1700 Theater, 1700 N. Halsted St., Chicago

Dates: Previews: Saturday, April 11 – Thursday, April 16, 2026

Opening: Friday, April 17, 2026 at 7:30 pm

Regular run: Saturday, April 18 – Sunday, May 10, 2026 

Curtain Times: Wednesdays, Thursdays, Fridays and Saturdays at 7:30 pm; Sundays at 3 pm. Please note: there will not be a 7:30 pm performance on Saturday, May 9, 2026

Tickets: Single tickets for BOTH ($47*) go on sale to the general public Thursday, February 5, 2026 at 12 pm at steppenwolf.org and the Box Office at (312) 335-1650. All preview performances and Wednesday performances will be Pay-What-You-Will. *Price includes a $3 processing fee

Artist Biographies:

Paloma Nozicka (Playwright) is an actor, writer and filmmaker based in Los Angeles. Playwriting credits include Enough to Let the Light In (2023 Jeff Awards nominee for Best New Work) and BOTH (2025 O'Neill National Playwrights Conference finalist). Screenwriting credits include Enough to Let the Light In (feature), Horns (feature), Each Lovely Thing (short), HUGE (short). Directing credits include Each Lovely Thing (official selection at the Austin Film Festival, Cleveland International; “Best Screenplay” at the New Filmmakers LA “Best of 2024” awards). She was a member of the 2023/2024 Geffen Playhouse Writer’s Room. She is a member of the Teatro Vista Productions collective, a company member with Jackalope Theatre Company and a member of SAG-AFTRA.

Georgette Verdin (Director) is the Associate Artistic Director of Northlight Theatre and a member of Rivendell Theatre Ensemble. Recent directing credits include: the World Premieres of Louisa May Alcott's Little Women (Northlight Theatre); The Singularity Play (Jackalope Theatre); A Mile in The Dark (Interrobang Theatre Project/Rivendell Theatre Ensemble); Enough to Let the Light In (Teatro Vista Productions) and Spay (Rivendell Theatre Ensemble); the U.S. premiere of The Writer (Steep Theatre); and the Chicago Premieres of Mary Jane and Dial M for Murder (Northlight Theatre), This Wide Night (Shattered Globe/Interrobang Theatre Project) and Ironbound (Raven Theatre). Georgette is a five-time Joseph Jefferson Awards nominated director, the 2022 Michael Maggio Directing Fellow at Goodman Theatre and was a 2024 3Arts Award nominee. She's been profiled in NewCity’s 2023 “Players: Who Really Performs for Chicago” and in Chicago Reader’s “Best of Chicago 2022.” She is an associate member of the Stage Directors and Choreographers Society. georgetteverdin.com

Charín Álvarez’s (Angela) theatre credits include: A Home What Howls, I Am Not Your Perfect Mexican Daughter, La Ruta, The Infidel, Ordinary Yearning, Fermi at Steppenwolf Theatre; Lettie, Mojada, Oedipus El Rey, Anna in the Tropics, A Park in the House at Victory Gardens Theatre; The Scene at Writer’s Theatre; Inherit The Wind, 2666, Pedro Paramo, El Nogalar, Dollhouse and Electricidad at Goodman Theatre; Anna in the Tropics, Passage, Skin of Our Teeth and Clean House with Remy Bumppo’ “Bernarda!, In the Time of the Butterflies, Our Lady of the Underpass, I Put the Fear of Mexico in ‘Em, Dreamlandia, Another Part of the House with Teatro Vista; Water by the Spoonful at Court Theatre; A Work of Art at Chicago Dramatists Theatre; What We Once Felt with About Face Theatre; Kita & Fernanda with 16th Street Theatre; Esperanza Rising with Chicago Children’s Theatre; Two Sisters and a Piano at Apple Tree Theatre; Generic Latina with Teatro Luna; La Casa de Bernarda Alba with Aguijon Theatre. Film/TV credits include: Somebody Somewhere, Paper Girls, Ripple Effects, Chicago Med, Easy, Shameless, Chicago Fire, Mob Doctor, Boss,  Chicago Code, Approach Alone, Rooftop Wars, Arc of a Bird, Were the World Mine, Chicago Overcoat, First and Only Lesson, Dogwalker, Rogers Park, Olympia: Manual on How to Live Your Life, Signature Move, En Algun Lugar, Princess Cyd, Single File, Teacher, Hala, Saint Frances, The Rounding, Heartsong, Museum, Last Drop, Single Car Crashes, Adult Children, Ghostlight, Ask a Punk and Kombucha.

Brian King (Sam) was recently seen in HBO’s Somebody Somewhere, NBC’s The Irrational and Showtime’s The Chi. Other TV credits include Chicago Fire, Chicago Med, Boss, Leverage, Empire, Detroit 1-8-7, Crisis, Mob Doctor and Prison Break. His most recent film credits include Candyman, Widows, Man of Steel, Seneca and A Light Beneath Their Feet. Other Chicago stage credits include TimeLine Theatre's Hundreds and Hundreds of Stars, Steppenwolf Theatre’s Fair Use, The North Plan and The Drunken City. 

Eddie Martinez (Juan) is a member of Teatro Vista Artist Collective previously seen in Parachute Men, Fade and Hope (Victory Gardens and Den Theatre). Other credits include: I Am Not Your Perfect Mexican Daughter, Our Lady of 121^st Street (Steppenwolf); Native Gardens (Old Globe); Fade (Denver Center, Cherry Lane, Theater Works Hartford); As You Like It (Denver Center); Big Lake Big City, Cascabel, Circus Quixote (Lookingglass); Rightlynd (Victory Gardens); Bull (Paramount); Ugly Lies The Bone (Shattered Globe). Film/TV credits include: Sense8 (Netflix), Sirens (USA), Chicago Fire (NBC), Shameless (Showtime) Justified: Primeval (FX) and The Dilemma (Universal). Member of Actors' Equity Association.

Ayssette Muñoz (Cynthia) is a Mexican American actor/director from the Rio Grande Valley. In 2015, the Chicago Tribune featured her as one of the “Top 10 Hot New Faces of Chicago Theatre'' and in 2019, she was nominated for "Outstanding Supporting Actor in a Play" from the Alliance of Latinx Theatre Artists of Chicago. She is a proud teaching artist at Steppenwolf Theatre and an Artistic Collective Member at Teatro Vista. Favorite acting credits include: Teatro Vista, Goodman Theatre, Steppenwolf, Chicago Shakespeare Theater, Lookingglass, Rivendell Theatre, A Red Orchid Theatre, Definition Theatre. On-camera credits: The Bear, Chicago Med, Chicago P.D. Associate directing credits: Arthur & Friends Make a Musical (Marriott Theatre), An Educated Guess (Definition Theatre, Jeff Recommended), Somewhere Over the Border (Teatro Vista, Jeff Recommended, winner of Best Director, Best Ensemble and Best Production of a Musical) Represented by Big Mouth Talent. ayssettemunoz.com

Paloma Nozicka (Xochi) is thrilled to make her Teatro Vista debut. Chicago theatre credits (selected): The Thanksgiving Play (Steppenwolf Theatre Company), Teddy Ferrara (Goodman Theatre); Native Gardens (Victory Gardens Theatre); Bobby Clearly (Steep Theatre); The Harvest (Griffin Theatre); In the Canyon, The Light Fantastic, Exit Strategy, Long Way Go Down (Jackalope Theatre Company). Regional: Citizen Detective (Geffen Playhouse); Boeing Boeing (TheatreSquared). Television: The Irrational, Chicago Med, Proven Innocent, Chicago P.D., The Red Line, Empire. Nozicka was a 2023 Jeff Awards nominee for "Best New Work" for her play Enough to Let the Light In. She is a member of the TVP collective, a Jackalope Theatre Company member and a proud member of SAG-AFTRA.

Yona Moises Olivares (Sebastian) Chicago: Much Ado About Nothing (Chicago Shakespeare Theater); Sanctuary City (Steppenwolf Theatre Company); Gender Play, or what you Will (About Face Theatre); Anna in the Tropics (Remy Bumppo); Same Sects (Haven Chicago); When Harry Met Rehab (Greenhouse Theater). Regional: Anna in the Tropics, The Winter’s Tale (American Players Theatre); How to Defend Yourself, We’ve Come to Believe, A Christmas Carol, Dracula (Actors Theatre of Louisville). Education: University of North Carolina at Chapel Hill.

Accessibility:

Steppenwolf's 1700 Theater is equipped with an induction hearing loop and assistive listening devices (ALDs) are available upon request. Our building features wheelchair-accessible seating and restrooms, push-button entrances, a courtesy wheelchair, and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/plan-your-visit/accessibility or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it.. 

Sponsor Information:

The LookOut Series is supported in part by the Walder Foundation. United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul M. Angell Family Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, Walder Foundation, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Steven and Nancy Crown, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, Joyce Foundation, Harold and Mimi Steinberg Charitable Trust, The Orlebeke Foundation, Polk Bros. Foundation, Bryan Traubert and Penny Pritzker, Sacks Family Foundation, Smart Family Foundation of Illinois, and Vinci Restaurant. Steppenwolf also acknowledges support from the Illinois Arts Council and the City of Chicago Department of Cultural Affairs and Special Events.

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’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.

Lorena Diaz (Executive Director), Wendy Mateo (Artistic Director) and Cruz Gonzalez-Cadel (Associate Artistic Director). 

Follow us on Social Media & YouTube to experience the multidisciplinary talents of our Artistic Collective and stay connected to all things TVP! We’ll see you there! @teatrovista

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation’s premier Ensemble Theater with 49 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theater and Chicago's cultural landscape. Founded in 1976, Steppenwolf started as a group of teens performing in the basement of a church. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf’s Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.