Almost fifty years after she first sang her way into Broadway history, the sun is still shining bright in Oakbrook Terrace as Drury Lane Theatre brings the beloved holiday classic Annie back to its stage for the first time in over a decade. Directed by Scott Weinstein and starring young powerhouse Emerson Mae Chan in the title role on opening night (with Catharina Araujo playing the part at select performances and Kate in others), this lavish seasonal revival captures all the Depression-era charm and infectious optimism of the original 1977 hit. From the opening notes of the overture, Drury Lane delivers a polished, crowd-pleasing take on a familiar favorite.

The story never gets old and remains a warm tale of resilience and hope. Set in New York City during December 1933, Annie follows an irrepressibly optimistic 11-year-old streetwise orphan determined to find the birth parents who left her on the steps of the New York City Municipal Orphanage a decade earlier. Armed with only half of a silver locket and a handwritten note promising they would return for her, Annie endures the daily misery of the orphanage’s bitter, scheming matron, Miss Hannigan. But her luck takes a dramatic turn when Grace Farrell, the warmhearted personal secretary to billionaire industrialist Oliver Warbucks, selects Annie to spend the Christmas holidays at Warbucks' Fifth Avenue mansion. Though initially awkward around children, the gruff tycoon is quickly charmed by Annie's pluck and determination, growing so fond of her that he asks to adopt her himself. When Annie gently declines - still holding out hope of finding her real parents - Warbucks vows to help her search, eventually offering a massive cash reward, and enlisting some help from none other than President Franklin D. Roosevelt. Predictably, the promise of a payout attracts the greed of Miss Hannigan, her swindler brother Rooster, and his accomplice Lily St. Regis, sparking a frantic race for Warbucks to expose their con and give Annie a true home just in time for Christmas.

Kelly Felthous as Miss Hannigan in Annie at Drury Lane Theatre. Photos by Justin Barbin.

Weinstein’s direction keeps that familiar plot moving at a brisk, buoyant pace, anchored by standout performances across the board. After two years of touring full-time, Emerson Mae Chan returns home in her Drury Lane debut, capturing Annie’s spunky spirit with effortless charm, hitting her funniest lines with great timing and delivering a nice vocal highlight on “Tomorrow” - the signature number that defines Annie’s sunny outlook. Anand Nagraj delivers one of my favorite performances of the evening as Oliver “Daddy” Warbucks, impressing with both his strong baritone vocals and his nuanced acting. Rather than playing the billionaire as a one-note caricature, Nagraj brings genuine warmth and subtle humor to the role, making it a treat to watch his guarded exterior soften as his heart fills with love and he finds his childlike joy again. Meanwhile, nobody commands the stage quite like Kelly Felthous as Miss Hannigan, who delivers a gloriously unhinged, standout comedic performance from her very first entrance. She makes the iconic villainess unmistakably her own. Felthous is joined by Jackson Evans (Rooster) and Amanda Walker (Lily St. Regis), who each score solid laughs in their roles and help turn “Easy Street” into a high-energy highlight. Elsewhere, Allison Sill impresses vocally as Grace Farrell, lending a calming, assured presence whenever she steps onstage.

A large, energetic ensemble gives the entire production an undeniable lift. The young performers portraying the orphans often take center stage with sharp timing and genuine personality, holding their own alongside a hard-working adult ensemble that fills out the show's many worlds - stepping into everything from street vendors and radio performers to servants and politicians with ease.

Equally irresistible is Georgie, the real live dog playing Annie’s loyal companion, Sandy. Well-behaved and utterly endearing onstage, Georgie melts the theater on contact - every appearance triggers a chorus of affectionate "awwws" from the audience.

Georgie as Sandy and Emerson Mae Chan as Annie in Annie. 

One of my favorite moments in the show arrives in Act II during a trip to the White House, where Annie interrupts a tense, pessimistic meeting between President Roosevelt (wonderfully played by Ron E. Rains) and his Cabinet as they struggle to pull the country out of the Great Depression. While his advisors bicker over grim economic forecasts, FDR turns to Annie for her perspective, sparking a playful back-and-forth that perfectly captures her ability to find a silver lining in everything. Sharing her simple philosophy that the sun will always come out tomorrow, Annie wins over the President - who nudges his gloomy Cabinet members to take her advice to heart before joining her in a spirited reprise of "Tomorrow" that turns a dreary policy session into a lively sing-along.

Another standout sequence was the live radio broadcast scene, which offers a fun glimpse back in time at how an old-school radio show operated - complete with a scene-stealing foley operator whose deadpan, almost-bored demeanor suggested every sound effect was pure second nature.

Visually, the production strikes a rich, theatrical balance. Under the crisp musical direction of Julia Schade, the live orchestra brings Charles Strouse’s definitive score vibrantly to life. Tijana Bjelajac’s scenic design effortlessly transitions between the bleak, shadowy grays of 1930s Hoovervilles and the warm, gilded grandeur of the Warbucks estate. Paired with Mara Blumenfeld’s period-authentic costumes and Jose Santiago’s atmospheric lighting, the staging highlights the stark economic contrasts of the era while keeping the holiday magic front and center. Mara Newberry Greer’s crisp, athletic choreography gives the young performers plenty of room to shine, particularly during high-energy numbers like "It’s the Hard-Knock Life" and "You’re Never Fully Dressed Without a Smile."

Ultimately, Drury Lane’s Annie succeeds because it treats its classic material with genuine affection rather than mere nostalgia. By pairing strong performances and polished stagecraft with an honest, heartfelt approach to the story, the production reminds audiences why this scrappy orphan has endured for nearly half a century without ever feeling dated or overly saccharine. Running at Drury Lane Theatre in Oakbrook Terrace through January 10, this joyous revival makes for the perfect holiday treat for the entire family.

Recommended.

For tickets and/or more show information, click here.

Disney's Frozen the Musical arrives at Marriott Theatre's intimate in-the-round stage with a story most audience members already know, though its enduring appeal relies on far more than ice castles and snowstorms. At its center is a moving tale of two sisters struggling to reconnect after years of fear and misunderstanding. Surrounding the audience on all sides, the production draws patrons directly into the kingdom of Arendelle, where family ties prove stronger than any spell.

The musical follows Princesses Anna and Elsa, whose childhood changes forever when Elsa's unexplained ability to create ice and snow accidentally puts her younger sister in danger. As Elsa grows older, she retreats into isolation, afraid her powers will hurt the people she loves. When those abilities are exposed during her coronation as queen, Elsa flees into the mountains, unintentionally plunging Arendelle into an endless winter.

Refusing to give up on her sister, Anna sets out to find Elsa and save the kingdom. Her journey introduces her to the rugged ice harvester Kristoff, his loyal reindeer Sven, and the endlessly optimistic snowman Olaf. Together they navigate frozen landscapes, unexpected obstacles, and long-buried truths as Anna searches for a way to bring Elsa home.

While the show delivers plenty of humor, adventure, and recognizable songs, its real strength lies in its focus on acceptance and unconditional love. As Anna and Elsa confront the fears that have kept them apart, Disney's Frozen the Musical reminds audiences that true love does not always look like a fairy-tale romance. Sometimes it means having the courage to accept who you are and holding tight to family.

The production is led by Morgan Anita Wood as Elsa and Chloé Nadon-Enriquez as Anna, whose sisterly relationship anchors the entire evening. Wood is fabulous in the role; her voice is truly special because she combines disciplined, commanding vocal range with an effortless, rich, and velvety tone that you simply cannot teach. Opposite her, Nadon-Enriquez is a ball of energy whose lively animation completely wins over the crowd, delivering plenty of laughs alongside enjoyable singing.

Chloé Nadon-Enriquez as Anna and David Terrell Moreland as Kristoff in Marriott Theatre's production of Disney's Frozen the Musical. Photo by Justin Barbin.

They are joined by David Moreland, who delivers an earnest, disarming, vocal-rich performance as Kristoff. Fresh from his riveting, powerhouse lead turn in Jekyll & Hyde - a collaboration between Broadway In Chicago and Kokandy - Moreland proves he is a talent to watch. Rounding out the principal cast are Nick Berninger as the ever-cheerful Olaf and Justin Albinder as a smoothly charming Hans, both helping bring the beloved world of Arendelle to the stage. The puppetry is equally impressive, with Olaf (designed by The Rock Shop) and the reindeer Sven (designed by Jesse Mooney-Bullock) bursting with personality. Like Berninger, Garrett Lutz brings Sven to life with remarkable skill, operating the puppet with expressive movements that make the character feel genuinely alive. Their work is further supported by a talented, richly utilized ensemble that fills the stage with memorable townsfolk, bustling crowd scenes, and lively theatrical touches.

The score remains one of the show's biggest draws, with crowd-pleasing favorites such as "Let It Go," "Do You Want to Build a Snowman?," "For the First Time in Forever," and Olaf's delightful "In Summer" earning enthusiastic applause. The stage adaptation also benefits from several numbers written specifically for Broadway, most notably Elsa's soaring "Monster," which digs deeper into her inner turmoil.

Much of the production's success belongs to the creative team. Ashley Rodbro's direction keeps the characters' relationships front and center, even during the splashier production numbers. Katie Spelman fills the space with choreography that feels purposeful rather than decorative, and Ryan T. Nelson's music direction gives the score warmth and clarity, helping the cast tackle big vocal demands with confidence. Visually, the design turns the theater into a winter wonderland. From the moment audiences walk in, they are greeted by a snowy Arendelle artfully staged in the round, complete with dazzling special effects that bring the magic right to their seats. Swirling snow falls on and around the stage and wraparound lightboards encircling the theater shift dynamically with the action, flaring to life with icy brilliance whenever Elsa unleashes her powers.

Disney's Frozen the Musical succeeds because of the genuine humanity running through its core. Beneath the dazzling stagecraft, Elsa’s ice powers serve as a poignant metaphor for the truths we fear are too dangerous, too different, or too overwhelming to share with the world. The endless winter that overtakes Arendelle becomes more than a fairy-tale curse; it reflects the quiet, aching isolation we create when we lock away our authentic selves out of fear of hurting the people we love. Ultimately, the story reminds us that shame thrives in secrecy, and that real thaw only begins when we allow ourselves to be fully seen and accepted. Marriott Theatre's immersive staging delivers that message of forgiveness and self-acceptance with real theatrical flair.

Running November 4, 2026, through January 3, 2027, Disney's Frozen the Musical is a crowd-pleasing holiday outing that will delight longtime fans while welcoming a new generation to Arendelle.

Recommended.

For tickets and/or more show information, click here.

Join PlayMakers Laboratory (PML) for some jolly belly laughs at the family-friendly sketch comedy show That's Weird, Grandma: A Holiday Celebration!, playing five performances only December 4 – 13, 2026 at the Neo-Futurist Theater, 5153 N. Ashland Ave. in Chicago. Tickets are currently on sale at www.playmakerslab.org.

Directed by Executive Program Director Brandon Cloyd, the cast include Company Members Jen Allman, Noah Appelbaum, Lola Fratto, Ruby Gibson, Sonia Goldberg, Maddy Grady, Indira Gutiérrez Marrero, Barry Irving, Sam Nieves, Brad Stevens and Lexy Weixel.

That's Weird, Grandma features adaptations of stories written during PML's creative writing residencies in Chicago elementary schools. PML's ensemble of professional actors, comedians and musicians bring the young authors' stories to life as raucous sketches, songs and movement pieces, performing first for students in their schools and then for the public. These stories – from hilarious dialogues between unlikely characters to poignant pleas for social change, along with holiday-inspired sketches– all resonate with adults while celebrating the imaginations of young people.

Production team: Jen Allman (Assistant Director), Lex Turner (Stage Manager).

Performance Schedule:

Friday December 4 at 7 pm

Saturday December 5 at 2 pm

Sunday December 6 at 2 pm

Saturday December 12 at 2 pm

Sunday December 13 at 2 pm

Ticket Prices: $26.50 adults; $16.50 youth aged (4 – 15). Free for children 3 and under. Tickets are currently on sale at www.playmakerslab.org. *Ticket prices include a $1.50 processing fee

About the Director

Brandon Cloyd joined PlayMakers Laboratory in 2007 and has been deeply involved in many facets of the company ever since. Prior to joining PML, Brandon graduated from Northwestern University with a Bachelor of Arts in Theatre and a minor in Business Institutions. Brandon has held many roles in PlayMakers Laboratory before becoming the company's Program Director in September 2017. He served with PML as an actor, teaching artist, lead teacher, a member of Teacher Corps, as well as directing shows for schools and public performances of That's Weird, Grandma. Outside of PML, he worked as the Associate Director of Camp Echo, where he spent 13 summers managing campers and staff at a co-ed sleep away camp in Upstate New York. Brandon has worked with other theatre companies including Urban Theatre Company, American Theater Company, Filament Theatre, InGen Productions, ACLE's Teatrino in Italy and a founding director with Purple Crayon Players at Northwestern University. Brandon is also a former board member for the League of Chicago Theatres.

About PlayMakers Laboratory

For 29 years, PlayMakers Laboratory has served Chicago Public School students by providing a creative writing residency program aimed primarily at elementary schools. Our company of over 60 teaching artists utilize creative drama and storytelling to promote literacy and self-esteem during our in-school residencies and park district programming. Each year, our programs serve more than 4,000 young people across Chicago. In our six-week writing residencies, a whopping 88% of students improve writing scores by at least one level over the course of our residencies. Plus, 100% of classroom teachers report that our program supports their student's writing and improves confidence and self-esteem.

PlayMakers Laboratory is sponsored in part by Chicago Department of Cultural Affairs and Special Events, The Crown Family Philanthropies, The Field Foundation, The Mardi Gras Fund, Illinois Arts Council, Paul M. Angell Foundation, The Polk Bros Foundation, Siragusa Family Foundation, S&C Electric and generous individuals like you!

Award-winning Redtwist Theatre announces the cast and creative team for this added special engagement to its 2026 - 2027 season, the world premiere of Flying Monkeys, produced in collaboration with the New Theatre Project, December 6 - January 17, 2027, by L.C. Bernadine and directed by Robert Falls, at Redtwist Theatre, 1044 W. Bryn Mawr Ave. The running time is 100 minutes, with no intermission. Preview performances are Friday, Dec. 4 and Saturday, Dec. 5 at 7:30 p.m. The regular performance schedule includes Wednesdays through Saturdays at 7:30 p.m. and Sundays at 3:30 p.m. with some dates adjusted for the holidays. General admission tickets are on sale now for $50; senior and veteran tickets are $35; student tickets are $10; industry tickets are $25; access tickets are $35 and Fridays performances are Pay-What-You-Can with subscriptions to the 2026 - 2027 season also available at RedtwistTheatre.org. 

Chicago is a city where, when all goes well, theater happens at every scale. Just weeks after Robert Falls directed Don Giovanni at the almost 3,500-seat Lyric Opera of Chicago, Falls directs Flying Monkeys, a new play by Chicago playwright L.C. Bernadine, at Edgewater’s Redtwist Theatre, an intimate venue of just over 35 seats. 

Flying Monkeys follows two transport agents working in the so-called “troubled teen industry.” Hired by a desperate mother, they arrive in the middle of the night to legally take her 15-year-old daughter from her home and deliver her to a residential treatment program across the country. What begins as a job governed by contracts and procedure becomes increasingly complicated as everyone involved is forced to confront what they believe desperation can justify.

Falls read the play earlier this year and was drawn both to its subject and to the opportunity to stage it in an extremely intimate venue. “I’ve been an admirer of L.C. Bernadine’s plays for quite a while,” said Robert Falls. “She has a very distinctive voice — tough, funny, poetic and completely her own — and Flying Monkeys feels to me like an especially exciting new work. It takes on difficult, volatile material without reducing anyone to a type or telling us too quickly what to think. The play keeps shifting under you: your sympathies move, your assumptions get challenged and what at first seems morally clear becomes much more complicated. There are no easy villains and no easy answers, which is exactly what I find so compelling about it.” 

For Falls, the shift from Lyric Opera to Redtwist reflects something essential about Chicago theater. He continued, “I cut my teeth in Chicago at Wisdom Bridge Theatre, one of the city’s first storefront theaters, a small space up two flights of stairs over a bar and a violin repair shop on Howard Street. I spent more than a decade of my life there, so coming to Redtwist really does feel like a homecoming. It’s one of Chicago’s finest theaters and there’s something about being back in a room this intimate that takes me right back to where I began.” 

“L.C. Bernadine has been an incredible friend and collaborator over the past few years, welcoming me to Chicago when I first made the move,” says Redtwist Artistic Director Dusty Brown. “After working together on the Independent Productions Initiative, I jumped at the opportunity to collaborate artistically with L.C. on her new play. Bringing Bob Falls on to direct spoke to the very thing that drew me to Chicago in the first place, the most incredible artists in the world can be found in the least likely of places. Some of our country’s greatest artists started their careers in Chicago storefronts and Bob Falls’s return is a reminder that artistic merit can’t be judged simply by the size of the theatre.”

Redtwist Theatre is producing Flying Monkeys in collaboration with the New Theatre Project. Peter Handler and Spencer Huffman will serve as producers. Founder of the New Theatre Project Spencer Huffman said, "Since our first production in 2024, L.C. has been pivotal in New Theatre Project's success as a producer. When the opportunity arose to co-produce her excellent new play with Bob directing, we jumped at it. This collaboration captures something essential about the Chicago theatre: the city's most notable director teams up with two small storefronts to produce a new play by an under-the-radar Chicago playwright. It's so exciting."

The cast of Flying Monkeys includes Skylar McClure (she/her, Gina); Anne Trodden (she/her, Kinnie); Ethan Cerros (he/him, Tim); Drew Longo (he/him, Blayber); Macaria Chaparro Martinez* (they/she, Nash); Alexandria Bressette (she/her, Gina U/S); Caitlin Jemison (she/her, Kinnie U/S); Samuel Yoder (he/him, Tim U/S); Ben Auxier (he/him, Blayber U/S) and Maddy Hudson (she/her, Nash U/S).

The creative team of Flying Monkeys includes L.C Bernadine (she/her, playwright); Robert Falls (he/him, director); Emily Blanquera (she/her, assistant director); Sofie Schmeltzer* (they/them, stage manager); Kat Coyle (she/her, violence coordinator); A Inn Doo (she/her, scenic designer); Nicholas Bartleson (he/him, props designer); Eric Watkins (he/him, lighting designer); Kat Poon (she/her, costume designer); Ethan Korvne (he/him, composer & sound designer); Jeff Brain* (he/him, technical director); Charlie Tolbert (they/them, scenic charge artist); Ruby Lowe (they/she, master electrician): Joshua Servantez* (he/him, casting director) and Dusty Brown (they/them, executive artistic director).  

*denotes Redtwist Theatre ensemble member

ABOUT L.C. BERNADINE, playwright 

The author of numerous plays and a frequent collaborator with The New Theatre Project, Bernadine was recently profiled in Newcity's "50 Players" as founder of the Independent Productions Initiative, which supports work outside ongoing companies. Her plays include The Whole Seamus Thing, co-written with Ben Auxier (Bramble Theatre); Welcome J-1 Students (University of Alabama Theater); Is You Is, a musical co-written with Nik Whitcomb and Erik Olsen about the 1930s “Races of Mankind” exhibit at The Field Museum (DCASE’s Chicago Cultural Center New Play Residency and then Broadway Rose Theatre, Portland, Oregon) and The Virginian, co-written with Spencer Huffman (City Lit Theatre). 

ABOUT ROBERT FALLS, director

Over a career spanning more than four decades, Robert Falls has directed new plays and reimagined classics, large-scale musical theater and opera in the United States and internationally. He began his career at Chicago’s Wisdom Bridge Theatre and later served as artistic director of Goodman Theatre for 35 years. His most recent productions include Richard Greenberg’s Holiday at the Goodman and Peter Shaffer’s Amadeus at Steppenwolf Theatre Company.

Falls’ many Broadway credits include Death of a Salesman, Long Day’s Journey into Night, Horton Foote’s Pulitzer Prize-winning The Young Man from Atlanta and Elton John and Tim Rice’s Aida.

His honors include a Tony Award, Drama Desk Award, Obie Award, Helen Hayes Award, multiple Jeff Awards and the Savva Morozov Diamond Award from the Moscow Art Theatre. He was inducted into the Theater Hall of Fame in 2015.

ABOUT NEW THEATRE PROJECT, producer

The New Theatre Project is an independent theatre collective based in Chicago. The New Theatre Project intends to put artists at the far edge of their abilities so that they must discover something new to succeed. They believe there is nothing more moving than an artist on the brink. This process of artistic risk and discovery defines their work.

Five years in, The Second City's Black Excellence Revue continues to bring bold comedy, fresh perspectives and an unmistakable sense of joy to the Chicago stage. Returning February 5 – March 13 to UP Comedy Club, the annual production celebrates Black creativity and comedic talent with an all-new lineup of original sketches, music and The Second City's signature improvisation. Now in its fifth year, the revue has become a much-anticipated part of the theater's season, showcasing the voices and talents of Black performers and creatives while finding plenty to laugh about along the way.

Rob Wilson returns to direct this year's production, featuring a standout cast: E.J. Cameron, Montrez Hawkins, Chandra Russell, Kimberly Michelle Vaughn, Lauren Walker, and PJ Walker. Tony Belsito returns as Music Director and Laura Courtney joins as Stage Manager.

The 2027 Black Excellence Revue runs February 5 – March 13, 2027, with performances on Fridays at 8pm and Saturdays at 6:30pm and 9:30pm in February. Performances in March are on Saturdays at 8pm only. All performances take place in UP Comedy Club, located at 230 W. North Ave., on the third floor of Piper's Alley in Chicago.

Tickets start at $39.00 and are available at The Second City Box Office, by phone at 312-337-3992, or online at www.secondcity.com. For groups of 16 or more, contact This email address is being protected from spambots. You need JavaScript enabled to view it. for exclusive deals.

Want a behind-the-scenes experience? Don't miss Black Excellence Sketch Pad, an exclusive look at the creation of this year's show. Catch the comedy taking shape during previews on January 7, January 14, and January 28 at 7pm in Donny's Skybox at Second City. Tickets for these previews are just $5.

About the Artists

TONY BELSITO (Music Director) is a Chicago-based musician and performer originally from Duluth, Minnesota. Tony previously served as music director for The Second City's National Touring Company (RedCo) and plays guitar in the local supergroup Kid Copter, signed to Ersatz Records.

E.J. CAMERON (Ensemble) is an alum of The Second City's e.t.c. (Grinning from Fear to Fear and The Best Decision You Ever Made) and Mainstage (Do the Right Thing, No Worries If Not) and is excited to return for this show. He has also performed and trained at iO and ComedySportz.

LAURA COURTNEY (Stage Manager) graduated from Illinois College in 2008 with a B.A. in Fine Arts: Theatre. Since then, she has worked primarily in Chicago and throughout the Midwest with companies and organizations including Pulse Theater, Chicago Human Rhythm Project, Brave New Voices, Kuumba Lynx, and MPAACT, as well as other Chicago-based performers in both guerrilla and professional theater settings. She has served as a stage manager, production manager, road manager, and co-coordinator of the Chicago Hip Hop Theater Fest (CHHTF). Her production credits include Dandelions, Once on This Island, Tad in 5th City, The House That Will Not Stand, Sun Tea, In the Continuum, and City of Water.

MONTREZ HAWKINS (Ensemble) is a Chicago-based actor and comedian by way of Atlanta who has performed in plays, stand-up, and improv in both cities. He completed The Second City's Bob Curry Fellowship, co-starred in the award-winning short film Pistachio, and performs in iO Theater's Dare Dropouts. He also continues to perform stand-up and characters throughout Chicago. In addition to his stage and film work, Montrez is a voiceover artist and has appeared in commercial campaigns for companies including Insure On the Spot, Bright Speed Internet, and Four Season Air Condition. Montrez is represented by Gray Talent Group.

CHANDRA RUSSELL (Ensemble) is a Chicago-born actor, writer, and producer best known for playing Officer Zenobia Turner on Max's South Side. Her screen credits include Between the Aisles, written and directed by Anthony Lucero; All Happy Families, written and directed by Haroula Rose; and IFC's Sherman's Showcase. As a writer and creator, she has developed projects including Superior Breeds with Max, Warner Bros. Animation, and Gaspin Media; Black Girl Magic for NBC, produced by Gabrielle Union; and Downtown Girls for TBS, with Warner Bros. and Elizabeth Banks' Brownstone Productions. A graduate of New York University's Tisch School of the Arts, Russell is also a member of the comedy trio The Downtown Girls and co-creator and co-host of the podcast Unglamorous Truths.

KIMBERLY MICHELLE VAUGHN (Ensemble) is a SAG-AFTRA actor, award-winning filmmaker, and graduate of Columbia College Chicago with a B.A. in Theatre. A Second City Mainstage alum, she has appeared in Epic Rap Battles of History as former Vice President Kamala Harris, Hallmark's Holiday Touchdown: A Bears Love Story, Chicago Med, and more. She is proudly represented by Paonessa Talent Agency. 

LAUREN WALKER (Ensemble) is a writer and comedian from Chicago. She has written for the Emmy-nominated Book of Queer (Discovery+), RuPaul's Drag Race (VH1), American Auto (NBC), and South Side (HBO Max). As a member of The Second City National Touring Company, Lauren has traveled the country performing improv, sketch, and stand-up comedy. She also wrote and performed in the 2021 ViacomCBS Showcase and served as a consulting producer for the 2022 ViacomCBS Showcase.

PJ WALKER (Ensemble) is an actor and comedian born and raised in Chicago. This is his second production with The Second City, following his work as an understudy for the Mainstage revue This Too Shall Slap. In 2024, he was selected for The Second City's Bob Curry Fellowship. He has performed stand-up at venues including The Laugh Factory, The Annoyance, iO Theatre, and The Lincoln Lodge. He hosts and produces I Said What I Said, a reality TV-themed comedy show, and The Rewine podcast. In 2025, he was a runner-up for "Best Stand-Up Comic" in the Chicago Reader.

ROB WILSON (Director) is a Chicago-based creator and the Artistic Director of Development and Touring at The Second City. Second City directing credits include: The Devil Is in the Detours; Black by Popular Demand; and Thank You Goodnight. His sold-out Dance Like There's Black People Watching went on to Woolly Mammoth Theatre in DC. He also directed Shamilton  for Baby Wants Candy. As an actor, his credits include Shameless, Empire, Chicago Fire, Chicago Med, South Side, and The Big Leap. As the creator of The Black Excellence Revue, he is endlessly proud of every writer, performer, director, and artist who has helped make it what it is today.

The producing team includes James Colquhoun (Co-President), Elizabeth Howard (Co-President), Jen Ellison (VP, Head of Creative), Jeremy Smith (Managing Director), and Bryon Henderson (Producer).

About The Second City

The Second City opened its doors in 1959 as a small comedy cabaret and has since grown to become the world's most influential name in improvisation and comedy. For over 67 years, The Second City's stages, Touring Companies, and Training Centers across North America have proudly been the launch pad and artistic home for many of the funniest performers, writers, directors, and comedic minds on the planet.

For more information on The Second City, visit www.secondcity.com and follow The Second City on TikTok, Instagram, Facebook and Twitter.

Few musicals are as fun to sing (and watch) as “Little Shop of Horrors”. It’s not a huge surprise that Porchlight Music Theatre is christening their new home at the Biograph with a sure-fire crowd pleaser. Even better news is that their production directed by longtime Porchlight associate Michael Weber, lives up to the high standards they’ve always set for themselves.

Aside from the recent Halloweekend, why “Little Shop”? Why now? For starters, a revival of “Little Shop” has been running off-Broadway since 2019 and has endured the COVID-19 lockdowns and other obstacles. It’s hard to discount the demand, but if New York isn’t your bag, Chicago has something just as mean and green to offer.

Man-eating plant Audrey II is an unlikely allegory for AI, but somehow, it works seamlessly. When viewing “Little Shop” through the lens of capitalism, it’s more than B-movie flavored musical about an alien plant and more of a story about people choosing profit over extinction. In fact, the stage musical has a notably more nihilistic ending than the beloved 1986 film version.

Members of Porchlight's cast of Little Shop of Horrors at Biograph Theater. Photo by Kyle Flubacker.

“Little Shop” has always offered companies an exciting challenge, and that is how to bring the talking, murderous plant to life. The puppets created by Jonathan Berg-Einhorn are animated hilariously by Josh Bernaski and Juwon Tyrel Perry. Let’s just say the puppet budget is noticeable and appreciated.

Porchlight isn’t just relying on staging alone, a talented cast of both non-equity and equity performers round out this glossy production. Alina Taber as Audrey brings a sort of Sarah Sherman of SNL vibe to the flighty floral assistant originated by Ellen Greene. Her quirky sense of comedic timing brings a new angle that makes some of the goofy humor seem fresh. Plus, she has the pipes to bring down the house with her soaring duet "Suddenly Seymour" alongside co-star Andrew Linden, whose earnest portrayal of Seymour Krelborn makes the number all the more affecting.

Linden is another great talent in this casts’ small but mighty arsenal. “Grow for Me” is always an ear worm, but Linden’s powerful voice ensures you won’t forget it. Though, he shines best in the choreo segments. Really though, the entire cast makes Ashman and Menken’s pre-Disney musical numbers leap off the stage.

If it’s been a while, or you’ve never seen a stage production of “Little Shop”, it would be hard to beat Porchlight’s production without boarding a flight to New York. The change of scenery feels like a big step up for one of Chicago’s foremost storefront musical theatre companies. The historic Biograph Theater in Lincoln Park is a space more fitting to the caliber of work Porchlight is known for. And it’s nice to see lights on again at the Biograph which was temporarily shuddered. Halloween might be over, but the AI era, spooky season is now forever, so it’s the perfect time to revisit the 1950s doo-wop fun of “Little Shop of Horrors”.

Through December 13 at Porchlight Music Theatre at Biograph Theater. 2433 N. Lincoln Avenue. 773-777-9884

Few dance companies can claim both the history and continued relevance of Giordano Dance Chicago. More than sixty years after its founding as Dance Incorporated Chicago in 1963, America's original jazz dance company continues to evolve while remaining firmly rooted in the style and spirit that helped define its legacy. That blend of tradition and innovation was evident throughout Untamed Passion at the North Shore Center for the Performing Arts, an engaging program that showcased the company's versatility, athleticism, and enduring commitment to the art form.

Rather than relying on a single style or choreographic approach, the evening moved comfortably between intimate character-driven moments, explosive ensemble work, ballroom-inspired celebration, and contemporary abstraction. What emerged was a portrait of a company capable of balancing technical precision with genuine emotional connection.

What made Untamed Passion particularly rewarding was the variety from one piece to the next. No two works felt alike, yet each revealed a different facet of the company, whether it was powerful ensemble work, intimate relationship-driven choreography, or pure entertainment. The result was an evening that remained captivating from beginning to end and offered several standout highlights along the way.

The program opened with Ronen Koresh's EXit 4, a physically demanding work that set the tone for the evening. The company filled the stage with sharp, driving movement and an energy that rarely relented. The piece demonstrated the strength of the ensemble while also highlighting the individual personalities within the group.

One of the evening's most affecting sequences arrived with Lindsey Leduc's Gravity, a tender pas de deux exploring the complexities of overcoming grief from the loss of a loved one. Charles Palmer Jr. and Sydney Priestly delivered a beautifully matched performance that felt genuine rather than theatrical. Their partnering was seamless, but what stood out most was the sense of trust between them. Neither dancer seemed interested in drawing attention to the technical demands of the choreography. Instead, they allowed the relationship at the center of the piece to come forward naturally. Palmer projected both depth and sensitivity, while Priestly moved with a graceful ease that made even the most intricate passages appear effortless. Together they created a quiet intimacy that drew the audience in and provided one of the evening's strongest emotional connections.

Gravity featuring dancers Charles Palmer Jr and Sydney Priestly. Photo By Zach Kemper.

The mood shifted dramatically with excerpts from Sabroso by Del Dominguez and Laura Flores, which ultimately emerged as my favorite piece of the evening. Filled with Latin rhythms and social dance influences, the work brought an infectious energy to the stage and quickly became a crowd favorite. Here, Analysse Vance and Adam Houston were impossible to ignore. Vance danced with grace, poise, and confidence, moving across the stage with an effortless elegance that never sacrificed the playful spirit of the choreography. Houston proved an equally engaging partner, combining intensity, charisma, and sharp musicality. What made their performance particularly memorable was the natural chemistry between them. Whether navigating the work's faster ballroom-inspired passages or sharing quieter moments together, they danced with a fiery passion that felt completely genuine rather than performed. Their enthusiasm seemed to spread throughout the entire ensemble, drawing appreciative reactions from the audience and elevating Sabroso into one of the most entertaining and unforgettable works on the program.

Jon Rua's namuH (which is human spelled backwards) offered a striking contrast, blending jazz vocabulary with street-dance influences and contemporary movement. The work felt fresh and modern without abandoning the company's jazz foundation. Its sharp textures and urban sensibility gave the dancers an opportunity to explore a different side of their artistry, one that was every bit as compelling as the more traditional pieces on the program. There were two striking tableaus, the first was the entire body of dancers climbing to form a human mountain topped with a lone female dancer ascending to the summit of their bodies. The second was performed under a red spotlight in which all of the ensemble formed a human heart actually beating and pulsating in time to the music. Rua’s piece was as spectacular as it was unforgettable.

Autumn Eckman's commonthread, featuring live accompaniment by musician Dan Myers, slowed the pace and invited audiences into a more reflective space. The relationship between movement and music became the focus, creating a thoughtful and atmospheric interlude that showcased the company's ability to adapt to a wide range of choreographic voices.

Across the program, the lighting, costumes, and simple scenic elements complemented each work without overwhelming it. Whether emphasizing the intimacy of Gravity, the vibrant energy of Sabroso, or the playful retro atmosphere of Dumb Luck!, the production design enhanced the choreography while allowing the dancers to remain the evening's primary focus.

The evening concluded with Al Blackstone's reimagined Dumb Luck!, a lively work infused with swing influences and contemporary flair. The choreography radiated a sense of fun that proved impossible to resist. It served as a fitting finale, reminding audiences that while Giordano Dance Chicago continues to evolve, the company has never lost sight of the joy that lies at the heart of great dance.

While Palmer, Priestly, Vance, and Houston delivered some of the evening's most memorable moments, Untamed Passion was very much a company effort. Aidan Aloma, Ava Geske, Talia Luzzo, Simon Schuh, Rueben Brock, Amanda Hickey-Newcom, Erina Ueda, Joshua Brumm, Nathan Eck, Sasha Lazarus, Sasha Schick, and Eduardo Zambrana all played important roles in bringing the program to life. Their commitment, versatility, and ensemble work helped maintain the production's momentum throughout the evening, serving as a reminder that Giordano Dance Chicago's greatest strength lies not only in its featured performers, but in the depth of talent across the entire company.

What makes Giordano Dance Chicago so impressive after all these years is not simply its technical excellence, but its ability to connect with audiences through a variety of styles and emotions. Untamed Passion offered bursts of exuberance, intimacy, playfulness, and reflection, all delivered by dancers fully invested in the material. With standout performances from Charles Palmer Jr., Sydney Priestly, Analysse Vance, Adam Houston, and Ava Geske, the program served as yet another reminder that Giordano Dance Chicago remains not only an important part of the city's artistic landscape but also one of the premier dance companies performing today, drawing remarkable artists from across the United States and abroad, including company member Erina Ueda of Nagoya, Japan.

I highly recommend experiencing Giordano Dance Chicago, as the company showcases the highest level of traditional dance training combined with the excitement and “Untamed Passion” that inspires dancers of all ages and will continue to do so for decades to come.

https://www.giordanodance.org/

At this stage of his career, David Byrne’s name alone fills concert halls and theaters.  The “singer, songwriter, musician, record producer, actor, writer, music theorist, visual artist and filmmaker” is best known for his affiliation with the rock band Talking Heads.  It’s likely less known that he’s also been awarded both an Oscar and a Tony for the uniqueness of his creative perceptions in other artistic spheres.

Byrne’s latest project involves very little music and instead explores the complex nuances of the human mind; a relatively new area of interest for him and one that’s been consuming large amounts of his attention.  Created in conjunction with his spouse, businesswoman and entrepreneur Gala Gaonkar, Theater of the Mind is the imaginative byproduct of that fascination.  Debuting as one of the productions celebrating the Goodman Theatre’s centennial anniversary late last year, the show, directed by Andrew Scoville, opened in the Spring of ’26 and has been sustaining a very strong appeal ever since.

Byrne calls the production “an immersive Science Theater project” that peers into a rarely opened door.   Behind it are valuable clues into how pliable our perceptions of experiences and memories can be over both long and short periods of time.  That malleability extends to our perceptions of ourselves.  What we think of our own identity can change over time or in an instant.  Byrne and Gaonkar’s science driven theatrical effort actively prods and plays with those concepts by creating an environment where they can be tested and validated in real time by ordinary people. 

Photos by Todd Rosenberg.

It’s a highly sophisticated time sensitive endeavor that on the surface looks smooth and meticulously organized.  Continuously running multiple shows from 5:00 to 8:30pm, reservations are available at 15-minute intervals.  This allows the staggering of several 75-minute shows over the time span.  It’s not unusual for ticketholders with different reservation times to be grouped together for the same performance.  Every show features a central character named David who acts as both the central subject of the show and the guide who walks you through the arch of his life.

Because shows run concurrently, the cast is comprised of several Davids whose talent base is periodically refreshed as it was recently.

Unlike most immersive theatrical performances that remove the fourth wall by bringing audience members onto the stage as silent observers, Theater of the Mind requires a multi-tiered investment.  First you’re asked, and given the means, to shed and then replace your identity.  Perhaps even more importantly, you’ll periodically be asked to do very specific things.  All of them are best accomplished if you relax the automatic inhibitions most of us have when we find ourselves among strangers.  Theater of the Mind is a different environment.  Relinquishing yourself to the moment will generate the most gratifying outcomes.  None of the requests are unusual or difficult and all of them end with an unexpected revelation. 

Chicago audience members experienceTheater of Mind, David Byrne and Mala Gaonkar’sone-of-a-kind immersive theater experience, directed by Andrew Scoville, produced as part of Goodman Theatre’s Centennial 100th Anniversary season.

Some suggest this type of theatrical effort might not be for everyone.  Because the project upends convention so thoroughly, many who attend a performance have little idea of what to expect and may unconsciously create their own assumptions about what’s in store.  Blocking those impulses and homing in on mindful receptivity proves an asset in a venture like this.  It ensures the wealth of interesting and often stimulatingly provocative information David shares and reenforces is received and processed easily and deeply.

Shortly after we meet him, we notice inconsistencies between what he tells us about himself and what we see.  As he continues to share key facts about himself, he intentionally highlights the vulnerability of our perceptions by casually and methodically conducting experiments that make us question whether what we’re seeing is real or a mental deception.  His first simple demonstration prepares our minds for more examples that will call into question the viability of the reality we’re experiencing.  That theme gets expanded as we follow David from rooms that look like places where experiments happen to rooms that could be in a domestic dwelling.  Others simulate outdoor spaces or even discos. 

These spaces make up David’s “memory palace” and strong links are always provided that tie them together.  And in all of them we’re given opportunities to reexamine our own past experiences, assumptions and even convictions about the past and ourselves just as he reassesses his.  Thrown in are exercises that challenge our perception of the natural world and our ability to adapt to it.

As our guide, David uses his own life to show how our relationships with others are susceptible to misreadings. Whether it’s near the beginning, in the middle or approaching the end, where we are in life often plays a key role in determining how we see and understand the world around us as well as the people in it.  Among the many subtly brilliant feats Theater of the Mind accomplishes is the ability to time travel and return to periods in David’s childhood that take on a completely different tenor from the vantage point of maturity. 

Through their thoughtfully imaginative only-in-Chicago project, Byrne and Gaonkar have discovered a way to expand our appreciation of and respect for the mind’s capabilities.  They’ve also provided valuable lessons on how its perceptions can be skewed by either physical or psychological influences.  Both things leave us better prepared to weigh our judgments and opinions with equanimity.

Theater of the Mind

Extended to January 3, 2027

Reid Murdoch Building at 333 N. LaSalle Street

Chicago, IL  60610

For more information and tickets:  https://my.goodmantheatre.org/19246/19834

Small-town scandal ignites the Albert Theatre stage this winter at the Chicago premiere of Kimberly Belflower's Tony Award-nominated Broadway smash hit John Proctor Is the Villain—the country's most-produced production this season. Marti Lyons makes her Goodman directing debut, returning to the play after helming its 2022 world premiere at Studio Theatre in Washington, D.C. The principal cast includes Mea Allen (The Village Theatre's All Nighter), Kason Chesky (Red Theater's The Seagull), Isabella Star LaBlanc (HBO's True Detective), Jack Lancaster (Swing State), Katherine Mallen Kupferer (Independent Film Company's Mouse), Felicia Oduh (Covenant), Audrey Parker (Guthrie Theatre's Louisa May Alcott's Little Women), Daniel Petzold (The Public's Sally & Tom) and Ani Tonoyan (Theatre Latté Da's Indecent). Understudies will be announced at a later date. John Proctor Is the Villain—a co-production with Guthrie Theater in Minneapolis—appears in the 856-seat Albert Theatre January 23 – February 21. Opening Night is February 1. For tickets ($34 - $114; on sale November 6), call 312.443.3800 or purchase online at GoodmanTheatre.org/JohnProctor.

"It is such an honor and a joy for me to get to return to this play in Chicago, at a theater I love so much," said director Marti Lyons, who was The Goodman's 2015 Michael Maggio Directing Fellow. "Almost five years after its world premiere, it feels like we're living in a different world. Yet there's still so much that's relevant and unnervingly familiar in this story, so its importance remains. I feel so much joy in getting to come back to the piece as a different artist and a different person." 

Fueled by pop music, optimism and fury, five young women are about to light up some of the darkest secrets of their one-stoplight town. The Chicago premiere of the Tony Award-nominated Broadway smash sensation—hailed as "the new era of cool-girl theater" (BrooklynRail.org) "igniting its own cultural moment" (Variety)—pulses with humor and energy. Heroes, villains and who gets blamed when the hysteria starts are up for debate in this "vital, hilarious, thrilling and urgently necessary" (The New York Times) unflinching perspective of a generation staking its claim.

ABOUT THE ARTISTS

Kimberly Belflower is a playwright and educator originally from a small town in Appalachian Georgia. Plays include: John Proctor Is the Villain (2025 Broadway directed by Danya Taymor and starring Sadie Sink, Tony Award Nominee for Best Play; 2024 Huntington Theatre, 2022 Studio Theatre, 2019 Kilroys List); Lost Girl (2018 Milwaukee Rep, Kennedy Center Darrell Ayers National Playwriting Award); Saint Pigtail (commissioned and developed by Studio Theatre, 2023 O'Neill Finalist). Kimberly has also worked with South Coast Rep, Manhattan Theatre Club, Alliance Theatre, Ojai Playwrights Conference, the Farm Theatre, We the Women, Less Than Rent, among others. Kimberly worked for two years as a narrative lead for Meow Wolf, Santa Fe's celebrated arts and entertainment company, where she wrote a short film with original music by Beach House. She proudly holds an MFA from the University of Texas at Austin and teaches playwriting at Emory University in Atlanta.

Marti Lyons is thrilled to return to John Proctor Is the Villain by Kimberly Belflower after directing the world premiere of the play at Studio Theatre in Washington, D.C in 2022. Marti most recently directed Hedda Gabler, adapted by Christopher Shinn, and Art by Yasmina Reza at Remy Bumppo Theatre Company, where she is Artistic Director, and her adaptation of The Taming of the Shrew at Court Theatre. Other select credits include Little Women adapted by Kate Hamill at Seattle Repertory Theatre and Milwaukee Repertory Theatre, Wife of a Salesman by Eleanor Burgess at Milwaukee Rep, Sense and Sensibility adapted by Jessica Swale, and Cymbeline at American Players Theatre, The Wolves by Sarah Delappe and Kings by Sarah Burgess at Studio Theatre in Washington, D.C. Selected other credits include: The Niceties by Eleanor Burgess at Writers Theatre; Cymbeline at American Players Theatre; The Wolves by Sarah DeLappe and Kings by Sarah Burgess at Studio Theatre; the world-premiere of How to Defend Yourself by Liliana Padilla, a Victory Gardens and Actors Theatre of Louisville co-production; Cambodian Rock Band by Lauren Yee at Victory Gardens and City Theatre; Witch by Jen Silverman at Geffen Playhouse and Writers Theatre (LA Drama Critics Circle Award for Best Direction); Native Gardens by Karen Zacarías at Victory Gardens; Botticelli in the Fire by Jordan Tannahill at Woolly Mammoth Theatre Company; I, Banquo at Chicago Shakespeare Theater; Title and Deed by Will Eno at Lookingglass Theatre Company and Laura Marks' Bethany and Mine at The Gift Theatre. Lyons is also an ensemble member at The Gift Theatre and a member of Stage Directors and Choreographers Society.

Cast of John Proctor Is the Villain
By Kimberly Belflower
Directed by Marti Lyons
A co-production with Guthrie Theater

Mea Allen...Shelby Holcomb 
Kason Chesky...Mason Adams 
Isabella Star LaBlanc...Bailey Gallagher 
Jack Lancaster...Lee Turner 
Katherine Mallen Kupferer...Beth Powell 
Felicia Oduh...Nell Shaw 
Audrey Parker...Raelynn Nix 
Daniel Petzold...Carter Smith 
Ani Tonoyan...Ivy Watkins

Creative Team

Choreographer...Erin Kilmurray 
Intimacy & Violence...Samantha Kaufman 
Voice & Dialect...Shadana Patterson 
Sound Designer...Melanie Chen Cole 
Set Designer...Lex Liang 
Lighting Designer...Jason Lynch 
Costume Designer...Jessica Pabst 
Assistant Director...Lorenzo Rush Jr. 
Line Producer...Malkia Stampley 

Casting by Lauren Port, CSA, and Jennifer Liestman, CSA. Nikki Blue is the Production Stage Manager. Krista Kanderski is the Assistant Stage Manager. Sarah Slight is the Dramaturg, with Dramaturgical Support by Anna Rogelio Joaquin.

ENHANCED AND ACCESSIBLE PERFORMANCES
Visit GoodmanTheatre.org/Access for more information about The Goodman's accessibility efforts. 

ASL-Interpreted...February 12 at 7:30pm – An ASL interpreter signs the action/text as played.
Audio-Described...February 13 at 2pm; Touch Tour; 12:00pm – Action audibly enhanced via headset.
Spanish-Subtitled...February 13 at 7:30pm – Spanish-translated dialogue via LED sign.
Open-Captioned...February 14 at 2pm – LED sign presents dialogue in sync with the performance.