In times of stress, we often turn to familiar and comforting things: a favorite song, a dog-eared book, a movie we’ve seen twenty-seven times. We’re drawn back to the things we know because they have a certain salve to the severity and uncertainty around us. There’s a comfort in knowing what is coming, how something will turn out, that everything works out in the end (or doesn’t if that’s your jam). We can revisit the same story over and over again, play it in the background, speak it word-for-word, and still never tire of it. Even when the same story is told through a new medium, we gravitate towards it naturally, prepared to be comforted all over again.

Sharon Catherine Brown (Older Allie) and Beau Gravitte (Older Noah) in The Notebook. All photos by Roger Mastroianni.

For many millennials, there is no better comfort show than The Notebook, now a musical presented by Broadway in Chicago through August 16^th. The Notebook is a new hit musical based on the best-selling novel that inspired the iconic 2004 film. Much like the movie and the book the musical adaptation is based on, The Notebook: The Musical follows the love story of Allie and Noah, a young man and woman from different worlds, sharing a lifetime of love despite the forces that threaten to pull them apart.

Truthfully, the love story of Allie and Noah isn’t particularly groundbreaking; a rich girl and a poor boy fall in love, but societal pressures and expectations push them apart and challenge their choices, though (spoiler) their love overcomes and they find their way back to one another time and time again. One of the central themes of the story is about young love. It’s a love that grows and yet remains unchanged. It’s about a love that endures and prevails against the most wicked villain in the universe: time.

Ken Wulf Clark (Middle Noah) and Alysha Deslorieux (Middle Allie).

The Notebook: The Musical visualizes this simple love in the most compelling of ways that both the book and the movie cannot truly capture. Memories of Noah and Allie’s younger and middle selves drift across the stage as the elder versions watch with reverie, nostalgia, and sonder. The interactions with these wisps are brief and fleeting, just like time itself. Songs are reprised and echoed throughout the play just as memories do, tangible and yet somehow out of reach. The stage medium hurriedly tells the same story we know (and watch on repeat yearly), but it’s this franticness that only adds to the beauty of The Notebook. Stage productions have a limited time to convey messages they want the audience to walk away with. It’s this medium that truly captures the urgency and fleetingness of The Notebook; that time in linear, ever-present, and ticking away until there is none left. The production even hints at this central theme from the moment you enter the theatre, the sound of a distant, persistent ticking clock. Time is the enemy, and it’s in time that we drift between our past and present selves and reflect on the love between Allie and Noah. That’s what makes The Notebook so comforting. It’s time, and the time that is given to us; what more is needed in this world than to love someone so deeply, and to be so loved in return, that time doesn’t matter?

Chloë Cheers (Younger Allie) and Kyle Mangold (Younger Noah).

Truthfully, The Notebook: The Musical is not particularly a revolutionary or Tony-award-winning musical. But then again, the 2004 adaptation of the novel wasn’t winning Oscars. It’s a simple story told through a new medium with plenty of feet-kicking, giggle-worthy, heart-wrenching moments. The songs are sweet, simple, and performed with incredible vocals and an emotionally vulnerable cast that heighten the awkward, love-sick, truly sick events that make this simple story so beloved by an entire generation.

It might not be flashy. The songs might not make Broadway playlists. But this musical is worth every fleeting moment of your time. To those who the story resonates with, it will feel like a favorite book filled with marginalia, a movie you can quote word-for-word, a song that brings butterflies to your stomach after decades of hearing it. And what better way to spend your time than curling up in an auditorium theatre to watch the beloved love story? The Notebook: The Musical is now playing at the James M. Nederlander Theatre (24 W. Randolph St., Chicago) through August 16^th. Don’t waste any time and get your tickets today.

The nonprofit service organization 3Arts announces the date for its annual 3Arts Awards Celebration, a festive evening of dynamic performances by Chicago artists and the announcement of the recipients of unrestricted grants to artists working in the performing, teaching, and visual arts. The 2026 3Arts Awards Celebration takes place at the Harris Theater for Music and Dance (205 E Randolph) on Monday, October 26, at 5:30pm. Tickets for the event, which includes a welcome reception, awards program, and a jubilant after-party, are $150 (general admission) and $300 (VIP) with a limited number of $50 tickets available for industry professionals. Tickets will be available at 3arts.org/tickets in early September. Funds raised during the event will be split between 3Arts and Chicago nonprofit, Center for Native Futures.

"When artists rise, communities rise with them,” says Cat Tager, Executive Director of 3Arts. "Because art isn't a luxury; it's a foundation of any thriving community. As we head into our 20th year in 2027, we are looking forward to celebrating the milestone of putting $10 million directly into the hands of Chicago artists, and to continuing our mission to provide the critical programming that helps those artists to experiment, to take risks, and to elevate our communities.”

Thirty-six artists will be honored at this year’s program, which distributes unrestricted awards across three categories: the 3Arts Awards ($30,000 each), Next Level Awards ($50,000 each), and the peer-selected Make a Wave Awards ($2,000 each). The celebratory evening will also feature powerful performances by three past 3Arts awardees.

Expanded for 2026, the Next Level Awards will now include two awards in Music and two in Theater, made possible by support from the Paul Angell Foundation. This marks the first time these unrestricted grants will be available to musicians and theater artists, following the initiative's initial launch in Visual Arts (2020) and subsequent expansion into Teaching Arts.

3Arts has distributed more than $10 million in grants to more than 3,050 artists since 2007. 3Arts awardees reflect 66% women artists, 74% artists of color, and 17% Deaf or disabled artists.

2026 3Arts Awards Celebration

Dates:                 Monday, October 26, 2026

                              5:30pm Welcome Reception

                              6:30pm Awards Celebration and Performances

                              7:45pm After Party

Location:           Harris Theater for Music and Dance

                              205 East Randolph Drive

Tickets:              Tickets are $50-$300 and can be purchased in early September at 3arts.org/tickets and via the Harris Theater Box Office at 312.334.7777.

About 3Arts

Founded in 1912 with a history centered on women artists and reimagined as an arts service organization in 2007, 3Arts supports artists in the Chicago metropolitan and greater Carbondale areas working in the performing, teaching, and visual arts, including women-identified artists, artists of color, and Deaf and disabled artists. The 3Arts Awards were launched in 2007 to provide unrestricted awards, project funding, residencies, professional development opportunities, and promotion to help artists take creative risks, build sustainable careers, and contribute to the cultural vitality of Chicago and the broader region.

3Arts extends special thanks to the 2026 Award Partners: The HMS Fund, The SIF Fund at the Chicago Community Foundation, Stan Lipkin & Evelyn Appell Lipkin, and MSU Federal Credit Union.

One of the ten 3Arts Awards, the 2026 3Arts/MSUFCU Community Award celebrates the collective generosity of artists and supporters across Chicago, whose contributions made the award possible.

3Arts also recognizes support for the Next Level Awards from an anonymous donor at The Chicago Community Foundation, the Paul Angell Foundation, and the John D. and Catherine T. MacArthur Foundation.

For more information about 3Arts, please visit www.3arts.org.

Steppenwolf Theatre Company Artistic Directors Glenn Davis and Audrey Francis are thrilled to welcome veteran Production Stage Manager Laura D. Glenn into the company's world-renowned ensemble. Glenn, whose journey with Steppenwolf began as a summer intern in 1988, has worked on more than 100 Steppenwolf productions over 38 years and collaborated with all 55 ensemble members. This historic appointment makes Glenn the second-ever stage manager invited into the ensemble, joining the late Malcolm Ewen. She has traveled with the company to Broadway, London and Ireland's Galway International Arts Festival. Glenn has been a proud member of Actors' Equity Association for 36 years and received the inaugural Joseph Jefferson Impresario Award for Stage Management in 2025.

Steppenwolf Artistic Directors Glenn Davis and Audrey Francis comment, "Laura has been an invaluable part of the Steppenwolf community for nearly 40 years. She has supported directors to execute their vision, cared for actors as productions evolve from the first day of rehearsal to closing, and has mentored the next generation of stage managers. Every artist and ensemble member who has had the privilege of working with Laura has felt her care and appreciation for the craft. We cannot tell the story of Steppenwolf without including the contributions of Laura D. Glenn. She is a singular artist who has garnered the respect of our entire community. Even though she has felt like an ensemble member for decades, it's an honor to finally make it official."

Laura D. Glenn adds, "I am honored, moved and humbled by Audrey and Glenn asking me to join the Ensemble. Steppenwolf has been my life's work, and I am excited for this next step."

About Laura D. Glenn:

Laura D. Glenn's history with Steppenwolf began as an intern in 1988, working various jobs on productions of Killers and The Grapes of Wrath at the theatre's then home at 2851 N. Halsted St. After completing her Theater Arts Degree at SUNY New Paltz, Glenn immediately returned to Chicago and worked as Assistant Stage Manager on Steppenwolf's 1989 Educational Outreach production of A Midsummer Night's Dream. In 1990, she was asked to stage manage her first Steppenwolf production: Love Letters – and secured her Equity card during the show's nearly five month run. Following an "all hands on deck" move to Steppenwolf's current home at 1650 N. Halsted St., Glenn stage managed 1991's Curse of the Starving Class, the second production at the new theater. Over the following 36 years, Glenn has worked as Stage Manager or Assistant Stage Manager on more than 100 Steppenwolf productions and collaborated with all 55 ensemble members. Glenn traveled to Broadway with Buried Child (1996), London's Barbican BITE Festival with The Man Who Came to Dinner (1988) and took multiple productions to Ireland's Galway Arts Festival including Purple Heart, Orange Flower Water and True West. Her most recent Steppenwolf credits include Purpose, Little Bear Ridge Road, Amadeus, The Dance of Death and Catch as Catch Can. Other favorite productions over the years include Picasso at the Lapin Agile, Buried Child, Space, Three Days of Rain, The Drawer Boy, Superiors Donuts, Domesticated, Downstate and True West. Between 2002 – 2016, Glenn also worked on 22 productions at the esteemed Northlight Theatre and returned to Galway with Northlight's production of Better Late starring John Mahoney. In 2025, she received the inaugural Joseph Jefferson Impresario Award for Stage Management. Glenn has been a proud member of Actors' Equity Association for 36 years.

The Steppenwolf ensemble includes: Joan Allen, Kevin Anderson, Alana Arenas, Randall Arney, Kate Arrington, Ian Barford, Robert Breuler, Cliff Chamberlain, Gary Cole, Carrie Coon, Celeste M. Cooper, Glenn Davis, Kathyrn Erbe, Audrey Francis, K. Todd Freeman, Laura D. Glenn, Francis Guinan, Moira Harris, Jon Michael Hill, Tim Hopper, Tom Irwin, Ora Jones, Rajiv Joseph, Terry Kinney, Tina Landau, Tracy Letts, John Malkovich, Sandra Marquez, Tarell Alvin McCraney, James Vincent Meredith, Laurie Metcalf, Amy Morton, Sally Murphy, Caroline Neff, Bruce Norris, Austin Pendleton, Jeff Perry, William Petersen, Yasen Peyankov, Martha Plimpton, Rondi Reed, Molly Regan, Karen Rodriguez, Anna D. Shapiro, Eric Simonson, Gary Sinise, Namir Smallwood, Lois Smith, Rick Snyder, Jim True-Frost and Alan Wilder. Steppenwolf honors the memory of late ensemble members Malcolm Ewen, Frank Galati, Martha Lavey, Mariann Mayberry and John Mahoney. For additional information, visit steppenwolf.org/ensemble.

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 51 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. 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 E. 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.

Broadway In Chicago is thrilled to announce that single tickets for Tony® and Olivier Award®-winning OPERATION MINCEMEAT: A NEW MUSICAL, Entertainment Weekly’s #1 Broadway Show of 2025, are now on sale. OPERATION MINCEMEAT: A NEW MUSICAL will play Broadway In Chicago’s CIBC Theatre (18 W. Monroe St.) for a limited two-week engagement, September 29 – October 11, on its North American leg of its World Tour.

In OPERATION MINCEMEAT: A NEW MUSICAL, it’s 1943, and the Allied Forces are on the ropes. Luckily, they’ve got a trick up their sleeve. Well, not up their sleeve, per se, but rather inside the pocket of a stolen corpse. Equal parts farce, thriller, and Ian Fleming-style spy caper (with an assist from Mr. Fleming himself), OPERATION MINCEMEAT tells the wildly improbable and hilarious true story of the covert operation that turned the tide of WWII.

Written by triple Tony Award nominees SpitLip (comprised of David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts), OPERATION MINCEMEAT began performances on Broadway on February 15, 2025, and continues to play at the historic Golden Theatre (252 West 45th Street), where it has been extended eight times and will soon celebrate its 500^th performance. The West End production, which has been playing at the Fortune Theatre since March 29, 2023, is widely recognized as one of the best-reviewed shows in West End history, holding the record for the most five-star reviews for a new musical, with a tally of 131. OPERATION MINCEMEAT has just launched its world tour, beginning with a UK leg before heading across the pond.

Olivier Award nominated Robert Hastie (Standing at the Sky’s Edge, National Theatre – Best New Musical Olivier Award winner) will reprise his work for the tour, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. The creative team will include Olivier nominated Set and Costume Designer Ben Stones (Standing at the Sky’s Edge), Tony and Olivier winning Lighting Designer Mark Henderson (The History Boys), Tony nominated Sound Designer Mike Walker (Charlie & The Chocolate Factory), Tony nominated Orchestrator Steve Sidwell (Beautiful: The Carole King Musical), and Olivier nominated Music Supervisor Joe Bunker (Spring Awakening). Georgie Staight is Associate Director and Paul Isaiah Isles is Associate Choreographer. Production Stage Management is by Geoff Maus, Casting is by Carrie Gardner, CSA, and General Management is by TT Partners.

OPERATION MINCEMEAT has been nominated for 64 awards since opening at the 77-seat New Diorama Theatre in 2019, winning 13, including Best Musical three times, from the Olivier Awards®, WhatsOnStage Awards, and Off-West End Awards. On Broadway, the show was nominated for four Tony Awards® in 2025, including Best Musical. The production won Best Featured Actor in a Musical for Jak Malone ’s portrayal of Hester Leggatt, who previously won the Olivier Award® in the same category. The production has also received nominations for Outstanding Production of a Musical at the Drama League Awards, Outstanding New Broadway Musical at the Outer Critics Circle Awards, Best Musical at the BroadwayWorld Theater Fans’ Choice Awards, and Favorite New Musical at the Broadway.com Audience Choice Awards.

Over 2,000 performances – from its origins on the London Fringe to the West End, to Broadway, OPERATION MINCEMEAT has cultivated a fervent fanbase, affectionately dubbed “Mincefluencers.” On Broadway alone, more than 2,000 audience members – roughly one in fifty – have bought tickets for multiple performances, including 53 superfans who have purchased tickets for ten or more shows.

OPERATION MINCEMEAT is produced on Broadway, in the West End and on its world tour by Avalon (in association with SpitLip). The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.

For more information, visit operationmincemeat.com/tour/us
Follow OPERATION MINCEMEAT on TikTok, X, and Instagram.

TICKET INFORMATION (As of July 17, based on availability and subject to change)
Individual tickets for OPERATION MINCEMEAT: A NEW MUSICAL are on sale now and range from $40.00 - $135.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

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

For more information and tickets, visit www.BroadwayInChicago.com.
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Hell in a Handbag Productions, now celebrating its 25^th year, is pleased to present a revival of the fan favorite Joan Crawford Goes To Hell, written by Artistic Director David Cerda* and directed by Cheryl Snodgrass, playing August 21 – September 27, 2026 at The Clutch, Handbag's boutique performance space at 4335 N. Western Ave. in Chicago. Tickets are currently on sale at handbagproductions.org and buytickets.at/hellinahandbagproductions/2276662. 

The cast includes ensemble members David Cerda*, Lori Lee*, TJ O'Brien* and Michael Rashid* with Tyler Calhoun, Nick Dorado, Jennifer Engstrom, Haley Gillman, Gretchen Greear, Nicholas Ian, Ryan Kenny and Coco Sho-Nell.

About the Production:

Originally produced in 1999 with Sweetback Productions, Joan Crawford Goes To Hell is a roller coaster ride that explores the life of the legendary Hollywood star.

The premise? Joan Crawford (David Cerda*) dies, goes to hell and is forced to view her life through the eyes of her daughter, Christina (TJ O'Brien*) in a tale so big it needs three Joans! Part Mommie Dearest, part biography with a dash of Joan's lifestyle book, My Way of Life, Joan Crawford Goes to Hell is the perfect summer cocktail for those with a taste for camp.

The production team includes Marcus Klein* (Scenic Design), Ben Kress (Costume Designer), Liz Cooper (Lighting Design), Danny Rockett (Sound Design), Maggie O'Brien (Prop Design), DJ Douglass (Video & Projection Design), Syd Genco** (Makeup Design), Keith Ryan* (Wig Design), Matt Tenny (Fight & Intimacy Coordinator), Carol Kelleher (Production Manager), Jason Pikscher (Technical Director), Francis Brenner (Stage Manager), Rick Aguilar* (Photography) and Michael S. Miller* (Graphics).

*Denotes Handbag Ensemble Member | **Denotes Handbag Associate Member

PRODUCTION DETAILS:

Title: Joan Crawford Goes To Hell
Playwright: Artistic Director David Cerda*
Director: Cheryl Snodgrass
Cast (in alphabetical order): Tyler Calhoun (Various/Carol Ann u/s), David Cerda* (Joan #1), Nick Dorado (Mr. Deville/Various), Jennifer Engstrom (Celluloid Joan), Haley Gillman (Child Christina/Various), Gretchen Greear (Joan #2), Nicholas Ian (Various/Joan #2 & 3 u/s), Ryan Kenny (Carol Ann/Various), Lori Lee* (Helga/Various), TJ O'Brien* (Teen/Adult Christina), Michael Rashid* (Greg/Various) and Coco Sho-Nell (Joan #3).

Location: The Clutch, 4335 N. Western Ave., Chicago

Previews: Friday, August 21 at 7:30 pm, Saturday, August 22 at 7:30 pm, Sunday, August 23 at 3 pm and Thursday, August 27 at 7:30 pm.
Opening performance: Friday, August 28 at 7:30 pm
Regular run: Saturday, August 29 – Sunday, September 27, 2026.
Curtain Times: Fridays and Saturday at 7:30 pm; Sundays at 3 pm and 7 pm. Please note: There will be an added Industry Night performance on Monday, September 14 at 7:30 pm.

Tickets: $29* previews, $40 VIP previews*, $39* advanced general admission, $52* VIP/reserved seating. Group rates $35* for 10 or more. VIP tickets include a refreshment and reserved premium seating. Tickets are currently on sale at handbagproductions.org and https://buytickets.at/hellinahandbagproductions/2276662. *Ticket prices include processing fees.

About the Artists

David Cerda (Playwright) is a founding member and Artistic Director of Hell in a Handbag Productions, now celebrating its 25^th anniversary. As resident playwright, he has written many Handbag productions as well as acted in them. His play, The Drag Seed was produced at LaMaMa Experimental Theater and his Golden Girls Lost Episodes parody shows have been produced around the country and featured in Golden Con: Thank you for being a Fan, the world's first fan convention dedicated to all things Golden Girls at Chicago's Navy Pier. Cerda is a proud inductee into the Chicago LGBT Hall of Fame and recipient of a Jeff Award for lifetime achievement for his body of work and service to the community. He lives in Chicago with his partner, Christopher and Walter the Wonder Dog..

Cheryl Snodgrass (Director) is an alumnus ensemble member of HIAH and is back to direct her 11^th production at her artistic home. She directed Die Mommie! Die!, Haywire, Rip Nelson's Halloween Spooktacular, SCARRIE: The Musical, L'Imitation of Life, The Birds, The Drag Seed (at Mary's Attic, Chopin Theatre and LaMama in NYC), A Fine Feathered Murder and Scary Town. She's worked extensively as a visiting artist at Mill Mountain Theatre, Studio Roanoke and Hollins University (Roanoke, VA). Cheryl has directed for Sweetback, Glass Apple, Trap Door, The Foundlings, Tellin' Tales, Jonny Staxx Presents, Filet of Solo and Larkspur Productions. Most recently, Cheryl directed the pre-publishing premier of John Cariani's new play Darker the Night Brighter the Stars at the Penobscot Theatre Company in Bangor, ME and the world premiere of The Posthumous Trial of Giulia Tofana at The Den. Next up, Cheryl will be returning to Penobscot Theatre Company to direct The Book Club.

About Hell in a Handbag Productions

Hell in a Handbag is dedicated to the preservation, exploration, and celebration of works ingrained in the realm of popular culture via theatrical productions through parody, music and homage. Handbag is a 501(c)(3) Not for Profit. For additional information, visit handbagproductions.org.

Nothing Without a Company (NWaC) is proud to announce five performances of The Trouble With My Hair: Coloring, Cutting, and Coming into Who I Am. This is a solo performance, written and performed by award-winning storyteller Ada Cheng, which intimately explores gender, sexual identity, and boundary-making through her evolving relationship with her hairstylist and her hair. The production will have five performances across Chicago. Friday August 21st, 7:30 PM at Scissor & Fork, 3968 North Elston Ave. Saturday August 22nd, 7:30 PM at Visceral Adventure Lounge, 3638 W Grand Ave. Sunday August 23rd, 7:30 PM at REM Salon, 3035 W Fullerton Ave. Saturday August 29th, 7:30 PM at Haibayo, 1132 W Argyle St. Sunday August 30th, 1:00 PM at The Center on Halsted, 3656 N Halsted St. Each performance will be followed by a Q&A discussion. August 30th performance will end with a reaction piece by Stir Friday Night, along with a reception catered by Krung Thep Thai Cuisine, 3205 N Halsted St, Tickets range from $15.00 - $50.00 and are available at NothingWithoutaCompany.org.

This production is supported by Crossroads Fund. 

NWaC is accepting submissions for Chicago-based Guest Artists through July 19, 2026. 

History of The Trouble With My Hair: Coloring, Cutting, and Coming into Who I Am.

The performance is developed with and directed by Jessica Lynn Johnson, an award-winning director and solo show development expert known for shaping compelling, authentic solo works. "Ada is a brilliant and gifted storyteller. Gentle, perfectly paced and warmly welcoming in her sweetly sarcastic way. The writing is magical. Evocative, sensual and human." -Samantha Simmonds-Ronceros of NoHo Arts District. Ada has performed The Trouble With My Hair nation-wide, including the Asheville Fringe Art Festival, was an official selection of the Soaring Solo Studios Stars Series 2025, and she continues to have more shows throughout the year in and out of the country.

Synopsis:

The Trouble With My Hair: Coloring, Cutting, and Coming into Who I Am, is an intimate exploration of gender, sexual identity, and boundary-making through Ada's evolving relationship with her hairstylist and her hair. Blending narrative art and theatrical storytelling, Ada Cheng playfully brings her audience on a journey of self-discovery and self-love through her struggles with hair. From early memories of negotiating belonging to courageous acts of boundary-making in adulthood, Cheng uses her changing hairstyles and haircolors as milestones marking her path toward self-definition. Each cut, color, and conversation becomes a metaphor for reclaiming voice and visibility in a world eager to define her first.

"Hair is never just hair, It holds our histories, our rebellions, our identities, our desires to belong, and our declarations of independence. This show is about coming home to oneself and learning to love the person underneath it all." - Ada Cheng

Writer and Performer Bio 

Dr. Ada Cheng is an award-winning storyteller, solo performer, and producer. Committed to amplifying and uplifting marginalized voices, she has created numerous storytelling platforms for BIPOC and LGBTQIA community members to tell difficult and vulnerable stories. She has consistently engaged in public education and public outreach through the use of storytelling and performance arts. Since 2016, she has toured her solo performances Not Quite and Loving Across Borders nationwide, presenting at universities, theaters, and conferences. She premiered her third solo performance, The Trouble with My Hair, in Los Angeles in October 2025 as part of Soaring Solo Studios' Stars Series. She has been a speaker with the Illinois Humanities Road Scholars Speakers Bureau since 2019. Dr. Cheng was named the 2023–24 Lund-Gill Endowed Chair at Dominican University and was a recipient of the 2024 Public Humanities Award from Illinois Humanities. 

Artistic Director's Note

Hannah Ii-Epstein "My relationship to my hair is personal. I come from mixed lineages, and it has always felt like hair-itage, something that carries different parts of me at once. It holds memories of family, culture, identity, and how I have grown into myself over time. What I appreciate about Ada Cheng's work is how honest it is, and how it leaves room for people to recognize themselves.

We are bringing the performance into five hair salons and gathering places because I want people who might not usually see theatre to be able to walk into it easily, and to leave room for conversation in each neighborhood. This is Ada's personal story, but I also see it reflecting experiences shared across the area. It feels rooted in places where those stories already live. I also wanted each of these gatherings to feel like a conversation, so NWaC has invited artists whose work sits with memory and lived experience to be part of it. For the closing performance, we're really glad to be in conversation with Stir Friday Night, the longest running AAPI improv team in Chicago."

Nothing Without a Company has also updated their mission & vision statements.

New Mission: "Nothing Without a Company (NWaC) utilizes theatre and film to amplify culturally inclusive stories by immersing audiences in site-specific environments."

New Vision: "To create a safe space where everyone feels welcome, highlighting authentic stories about LGBTQIA+, Women, Trans and Gender Nonbinary/GNC, AANHPI and BIPOC communities."

Website: www.nothingwithoutacompany.org

Facebook: www.facebook.com/NothingWithoutACompanyChicago

Instagram: www.instagram.com/nothingwithoutacompany

Oil Lamp Theater, currently at 1723 Glenview Road, announces its new future home will be at the former Ten Ninety Brewing Co. in Downtown Glenview, 1025 Waukegan Road. The opportunity to move to a larger performance space, that is adjacent to Oil Lamp Academy, became possible due to the founder of the Negaunee Foundation, client of Virginia Trux, who purchased the property as a personal project and looks forward to years of joy with Oil Lamp Theater. This new location pursues the goals of the “Light the Way” fundraising campaign that was announced in September of last year. The campaign included a 2028 opening of the new venue, a $5 Million fundraising goal, the expansion of its arts education, strengthening essential staff and establishing a larger performance venue with the goal of remaining in downtown Glenview. For more information or to support the campaign go to OilLampTheater.org/Light-the-Way or reach out to Oil Lamp at This email address is being protected from spambots. You need JavaScript enabled to view it..

At approximately 11,000 square feet, this new home will feature a warm and welcoming lobby, a flexible theater with seating for up to 150+ guests and thoughtfully designed spaces by Future Firm that will serve Oil Lamp’s artists, students and community. 

MORE FROM OIL LAMP THEATER:

I Love You Because

August 14 – September 13, 2026

Book and Lyrics by Ryan Cunningham

Music by Joshua Salzman

Directed by Scott Shallenbarger

Music Directed by Aaron Kahn

Preview Performances: Friday, Aug. 14 at 7:30 p.m. and Saturday Aug. 15 at 3 p.m .

Opening Night: Saturday, Aug. 15 at 7:30 p.m. 

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday Aug. 19 at 11 a.m. and 3 p.m.; Wednesday, Aug. 26 at 7:30 p.m.; Wednesday September 2 at 11 a.m. and 3 p.m.; and Wednesday September 9 at 7:30 p.m.

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

Dial M for Murder

October 2 – November 1, 2026

Adapted by Jeffrey Hatcher from the original play by Frederick Knott

Directed by Daniel King

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

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

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

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

It’s A Wonderful Life: A Live Radio Play

November 20 - December 27, 2026

Adapted by Joe Landry

Directed by Becca Holloway

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

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

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

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

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

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

ABOUT OIL LAMP THEATER

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

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

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

Is there anything more alluring than a summer night in Chicago? The lakefront beaches, the meandering pathways, the festivals and street foods, the hidden gardens where free art productions are staged, whatever you like, you can find it in the city during summer evenings. There is no shortage of parks to explore or cultural events to experience, thanks in part to the Mayor’s Night Out in the Parks program that partners with organizations to stage free artistic experiences in neighborhood parks all around the city. One such organization kicked off its summer series with a spectacular – and free – performance of Shakespeare’s As You Like It, now playing throughout Chicago parks through August 2^nd.

Shakespeare’s As You Like It is a comedy that follows Rosalind and Orlando, two lovers who each run away from their own political and familial problems and escape into the Forest of Arden. Disguised as a shepherd boy, Rosalind finds Orlando and convinces him to woo her under the guise of curing him of his love for Rosalind. Multiple couplings occur, lessons of life and love are expounded on, and, as every Shakespeare comedy does, As You Like It ends with a wedding – four to be precise.

foreground - Thomas Russell and Connor O. Locklin. Photo by Steven Townsend, Distant Era.

As You Like It is the 2026 production of Midsommer Flight, a theatre troupe that stages high-quality, accessible performances of Shakespeare’s plays in Chicago. Directed by Producing Artistic Director Beth Wolf, this summer’s production continues to delight audiences and draw crowds, presenting free performances to Chicago communities that aim to bring people together. Midsommer Flight is an Arts Partner with Chicago Park District and a participant in the Mayor’s Night Out in the Parks initiative. They will be performing the classic Shakespeare comedy throughout the summer at different neighborhoods throughout the city, but if you think you’ve seen a Shakespeare production, (seen one, seen them all, right?) I beseech you to venture to one of the parks. At the best of times, Shakespearean stories can be difficult to follow: analogous phrasing, double entendres, prosaic old-timey insults, and slurs; it’s not always easy to follow. Midsommer Flight, however, gives the old texts modernity, witty asides, and an expressive atmosphere that makes the play easy to follow and understand. The acting is superior, and the inclusivity is a delightful and refreshing display of humanity at its finest. Talent of the Midsommer Flight cast would rival that of any Shakespearean theatre company, charging hundreds of dollars for seats, and staging productions in grand halls. And the best part? The productions are completely free to the public. The accessibility, the garden park scenery, and the flowy costuming truly provide a magical experience, embodying the spirit, humanity, and beauty of the arts.

There are many benefits to living in and around the Chicagoland area, but summertime really brings out the best and brightest Chicago has to offer. Night Out in the Parks is but one of the many incredible accessible programs bringing cultural events to neighborhoods to “amplify the artistic and cultural vibrancy of our city in every neighborhood and enhance quality of life across Chicago.” Find out more about Night Out in the Parks here. When initiatives such as this meet the grassroots talent and love shown by Midsommer Flight, magic happens. Whether you like it because it’s in your local park or you like it because it is free, there is truly something for everyone this summer in Chicago. You can truly have it just as you like it. As You Like It will be performed outdoors at six Chicago parks through August 2^nd. Learn more about Midsommer Flight and its mission, and check out the list of upcoming performances at parks throughout Chicago and reserve your free space today!

Following a critically-acclaimed, sell-out run of Just For Us at Steppenwolf Theatre and around the globe, Tony and Emmy Award-winning comedian Alex Edelman returns with another hilarious and thought-provoking dissection of identity: What Are You Going to Do, playing five performances only August 12 – 16, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Tickets ($54* – $94*) are now on sale at steppenwolf.org or by calling the Box Office at (312) 335-1650. *includes $10 processing fee

This all-new show finds the Bostonian sweetheart asking different and more unsettling questions. Primarily, should he spend his time doing something else? Should he be saving lives like his physician father? Should he be trying to return to the sense of community he experienced growing up among Israelis and Palestinians? In a show that reckons with the effects of time spent in trauma, Edelman deftly weaves in and out of examinations of faith broadly – not just Judaism – and wonders if, perhaps, there might be better things out there for him.

Performance Schedules:

Wednesday, August 12 at 7:30 pm
Thursday, August 13 at 7:30 pm
Friday, August 14 at 7:30 pm
Saturday, August 15 at 7:30 pm
Sunday, August 16 at 3 pm

Artist Biography

One of the most critically hailed comedians of his generation, Alex Edelman is best known for solo shows that blur the line between his stand-up comedy roots and narrative-driven storytelling. His last offering, Just For Us, played more than 500 performances all over the world - including acclaimed runs off- and on-Broadway. It premiered as an HBO original comedy special in April of 2024, earning him a place on the Time 100 list, a Tony Award and an Emmy Award for Best Writing for a Variety Special. Edelman appeared in Jerry Seinfeld's directorial debut for Netflix, Unfrosted. Beyond stand-up, he writes regularly for TV and can be seen starring in Peacock's The Paper, a Greg Daniels-helmed spiritual successor to The Office. He also writes on the show as a Consulting Producer. 

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices are available for every performance and all our spaces are equipped with an induction hearing loop. 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/access. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

Sponsor Information: 

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, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Polk Bros. Foundation, Sacks Family Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the Illinois Arts Council and the City of Chicago Department of Cultural Affairs and Special Events.

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 50 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 Theatre and Chicago's cultural landscape. Founded in 1975 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of young people in their teens and early 20s 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 E. 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.

If you’ve ever worked in an urban coffee shop, chances are you’ve encountered at least one ultra-paranoid kook who believes the government is spying on them. Often they’re filling out long journals or manifestos. Or perhaps that one crazy uncle we all seem to have who believes in way too many conspiracy theories. These loveable, but disturbed weirdos commonly refer to themselves as “targeted individuals.” 

Hanna Kime’s new play The Targeted makes its world premiere at A Red Orchid Theatre. In it, she empathetically explores the lives of these folks and what draws them to their beliefs. Though it is at times humorous, Kime’s play is not exploitative. Rather, she builds an entire ecosystem for not only those affected by this kind of thinking, but the ways in which others profit from it. 

Grace Dolezal-Ng directs a bonafide dream cast of some of Chicago’s best actresses. They turn the main stage at The Chopin into a woodsy, weekend retreat called The Solidarity and Truth Summit. Rhonda (Kirsten Fitzgerald), Didi (Natalie West) at first seem very nice and chummy when welcoming newcomer Sherry (Sadieh Rifai), but as the weekend wears on, fractures begin to form. Rhonda is immediately mistrustful of Mia (Stephanie Shum), another newbie who is very upfront about not being a believer in government tracking conspiracies; she’s only there to support her misguided younger brother Eric (Glenn Obrero). The power structure becomes more complicated once the organizer of the summit, Jeff (Lawrence Grimm), starts giving whacky lectures.

In 95 minutes of quick-moving scenes, each character reveals how this affliction has sabotaged their personal lives. At the beginning, you can almost convince yourself these people are normal, just with some strange ideas. Sadieh Rifai plays Sherry with such naive conviction that you can’t imagine a simple, suburban housewife could ever be tempted by this rabbit hole. Through her character, Kime makes a thinly veiled parallel to the “Q-Anon” to “Trad Wife” pipeline. In contrast, Kirsten Fitzgerald’s Rhonda is hard as nails and her desire to control the weekends’ narrative speaks directly to just how dangerously persuasive conspiratorial ideology can be.

The central storyline presents itself in the relationship between Eric and Mia though. As a non-believer, Mia is outnumbered and it’s not long before she begins questioning her own sanity. Stephanie Shum plays the voice of reason with a quintessential authority. Her character’s demand for truth shows how frustrating independent thinking can feel in group settings.

While there is certainly a rubber-necking quality to the topic at hand, Kime never treats her characters as some sort of Netflix documentary sideshow specimens. Natalie West plays one of the weirder believers but her quirky softness makes her one of the show’s most endearing characters, even if she is hawking metaphoric snake oil for a living.

In the end, Kime lets the audience make up their own mind as to whether these folks actually believe what they’re talking about, or whether they’re just extremely lonely. It’s hard to criticize conspiracy theorists in an era in which almost every aspect of our federal government seems to be conspiring against its people. Kime builds a case for compassion with The Targeted.

Through June 21st at A Red Orchid Theatre. At Chopin Theatre. 1543 W Division St. 773-278-1500.

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