Displaying items by tag: Chicago stage

Susan-Lori Parks’ Topdog/Underdog, the Pulitzer Prize-winning masterpiece, is the kind of play that changes depending on when—and how many times—you see it. Directed by Kenny Leon, this revival stars Tony nominee Glenn Davis as Lincoln and Namir Smallwood as Booth, two brothers whose names alone tell us that Parks is preparing to play a very dangerous game with her audience.

The play was originally produced in Chicago by Steppenwolf Theatre Company in 2003, directed by ensemble member Amy Morton, with ensemble member K. Todd Freeman as Booth and David Rainey as Lincoln. More than two decades later, this revival demonstrates just how much material Parks packed into the story of two brothers living on the edge of survival.

Parks begins her own version of Three-Card Monte by giving us the names Lincoln and Booth. We already know the historical ending: John Wilkes Booth assassinated Abraham Lincoln. Parks puts that card on the table immediately—and then spends the rest of the play moving it around.

Lincoln and Booth are not historical figures, of course, but the names become a psychological trap. Lincoln works as an Abraham Lincoln impersonator, repeatedly allowing strangers to “assassinate” him as part of the act. The brothers themselves simulate the murder, turning history into performance and performance into something increasingly dangerous.

That is where Parks’ Three-Card Monte becomes so effective. We know the card. We know what is coming. Yet Parks keeps moving our attention elsewhere—to money, women, abandonment, brotherly rivalry, masculinity and the desperate need to survive. The audience is watching closely, thinking we know exactly where Parks is going. But like the mark in a Three-Card Monte game, we can never be completely sure which card we are actually watching.

The brilliance is that Parks gives us the ending and still manages to create suspense.

The question isn't simply, “Will Booth kill Lincoln?” We already know that story. Instead, Parks asks us to consider how and why these two brothers arrive at that moment. By the time the real gun is fired, we have become so invested in these men that the historical inevitability becomes a genuine emotional shock.

Having seen Topdog/Underdog several times, I’ve gained new insight into Lincoln and Booth with each production. I’ve always imagined these brothers as relatively young men—perhaps somewhere between 21 and 35 at the oldest. There is something about their desperation, their dreams and their constant jockeying for position that feels connected to men still trying to figure out who they are.

Seeing older actors inhabit these roles changes the equation. This production brings a greater sense of history and introspection to Lincoln and Booth. These aren't simply two young men making bad decisions. They feel like men who have accumulated years of disappointment, mistakes and missed opportunities. Their arguments have the weight of history behind them.

That being said, the acting is first-rate.

Glenn Davis delivers some of the best work I have seen in his storied career. His Lincoln carries weariness beneath the humor, as though every card trick, every performance and every attempt to maintain dignity has taken something from him. Davis understands that Lincoln is not simply trying to make a living; he is trying to hold onto an identity.

There is an extraordinary sadness to his Lincoln because he has found a way to make a living by pretending to be someone who, historically, has already been dead for generations. Every night he puts on the stovepipe hat, becomes Abraham Lincoln and allows strangers to reenact his assassination. The joke is that he survives the murder every night—until, of course, the night he doesn't.

Namir Smallwood is equally compelling as Booth. Smallwood has the remarkable ability to morph into whatever character is placed before him, and here he creates a Booth whose swagger and insecurity exist simultaneously. Booth wants to be seen, respected and successful, but beneath that ambition is a brother desperate to prove himself.

Their relationship is the heart of the play. They love each other, resent each other, depend on each other and compete with each other. They are simultaneously brothers and adversaries. One minute they can make each other laugh; the next, they are fighting over money, women or the invisible scorecard of who has accomplished more.

Arnulfo Maldonado’s set—a room in a New York City boarding house—captures the basic circumstances of their existence, but for me, it is far too sanitized for the gritty New York City world Parks has created.

Rooms like this were common, particularly in neighborhoods such as Hell’s Kitchen. They were tight. Space was at a premium. They were not necessarily neat or clean. These were places where people lived because they had few alternatives. The room should feel less like a place where two men are actually struggling to survive.

That distinction matters because Lincoln and Booth are in survival mode. The room is not simply their home; it is a pressure cooker. Every inch of space should remind us that there is nowhere for these brothers to escape—not from each other, not from their past and ultimately not from the consequences of their choices.

Kenny Leon's direction keeps the focus where it belongs: on two brothers trapped between history, memory and survival. He allows Parks' language, humor and repetitions to accumulate rather than rushing toward the inevitable conclusion.

Ultimately, Topdog/Underdog remains a remarkable piece of American theatre because Parks refuses to let history stay in the past. She takes two names everybody recognizes, places them on two Black brothers living in New York, and transforms a familiar historical tragedy into an intimate story about family, survival, masculinity and fate.

We may enter the theatre believing we know who Lincoln and Booth are and how their story ends. But Parks makes us see them as brothers first—two men desperately trying to survive each other, their circumstances and the histories they have inherited.

By the time the final card is played, the tragedy is no longer about Abraham Lincoln and John Wilkes Booth. It belongs entirely to these two brothers. And that is Parks’ greatest trick: she makes us think we are watching history repeat itself, when what we are really watching is the heartbreaking collapse of an American family.

Highly Recommended

When: Through Nov. 1

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Running time: 2.5 hours (15 minute intermission)

Tickets: $20 -$142.50 

312-335-1650 

www.steppenwolf.org

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to launch its 51st Season with the world premiere of Chicago playwright Stephanie Alison Walker's biting satire Adirondack Chair Circle, directed by Tony Award winner Pam MacKinnon (Downstate, Edward Albee's Who's Afraid of Virginia Woolf?), playing October 22 — December 6, 2026 in Steppenwolf's Ensemble Theater, 1646 N. Halsted St. in Chicago. Single tickets are now on sale at steppenwolf.org or the Box Office at (312) 335-1650.

The Adirondack Chair Circle cast features a stellar lineup of talent including ensemble member Caroline Neff, who returns to the Steppenwolf stage, adding to her extensive Steppenwolf credits including Mr. Wolf, Fool for Love, POTUS and Another Marriage. She is joined by David Darrow, who dazzled Steppenwolf audiences as Mozart in last season's record-breaking Amadeus. Broadway favorite Katrina Lenk, who received Tony and Grammy Awards for her turn in The Band's Visit, returns to Steppenwolf for the first time since 2005's Lost Land. Making her Steppenwolf debut is Chicago actor Wendy Mateo, while Sadieh Rifai returns to Steppenwolf after captivating audiences in last year's You Will Get Sick.

About the Production:

A gaggle of suburban moms, armed with pickleball paddles and hard kombucha, are ready to take on the school board in the fight of their lives: attempting to ban the controversial books available to their kids in the school library. But is this trusted inner circle all on the same page? A piercing world premiere from a Chicago playwright, Stephanie Alison Walker's Adirondack Chair Circle exposes the hilarious hypocrisy of the causes we claim and the company we keep. And has a damn good time doing it.

The creative team includes Todd Rosenthal (Scenic Design), Izumi Inaba (Costume Design), Barbara Samuels (Lighting Design), Mikhail Fiksel (Sound Design), Nicholas Hussong (Projection Design), Steph Paul (Choreographer), Kate DeVore (Vocal Coach), Bryar Barborka (Dramaturg), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), Michelle Medvin (Production Stage Manager) and Kathleen Barrett (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Adirondack Chair Circle
Playwright: Stephanie Alison Walker
Director: Pam MacKinnon
Cast: ensemble member Caroline Neff (Evelyn Grace) with David Darrow (Crow), Katrina Lenk (Banna), Wendy Mateo (Winona) and Sadieh Rifai (Libby).
Understudies: Tiffany Bedwell (Banna), Brittany Burch (Evelyn Grace), Alex Casillas (Winona), Warren Keith Duncan (Crow) and Erinn Fredin (Libby).

Location: Steppenwolf's Ensemble Theater, 1646 N. Halsted St., Chicago

Dates: Previews: Thursday, October 22 – Saturday, October 31, 2026
Opening: Sunday, November 1, 2026 at 6 pm
Regular run: Tuesday, November 3 – Sunday, December 6, 2026
Curtain Times: Tuesdays, Wednesdays, Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 7:30 pm; and Sundays at 3 pm. Please note: there will not be 7:30 pm performances on Tuesday, October 27, Thursday, November 5, Tuesday, November 10, Wednesday, November 18, Wednesday, November 25, Thursday, November 26 and Tuesday, December 1; there will be an added 2 pm matinees on Wednesday, November 25 and Wednesday, December 2.

Tickets: Classic Memberships starting as low as $165 are now on sale for Steppenwolf's 2026/27 season at steppenwolf.org/myseason. Single tickets for Adirondack Chair Circle ($20 – $149*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale: Black Card Memberships with six tickets for use any time for any production and RED Card Memberships for theatergoers under 30. *Pricing includes an $8.50 handling fee

Steppenwolf offers 20 tickets for $20 (no added fees) for each performance of every Main Series production. Use promo code 20FOR20 to redeem this offer online, available in advance until they're sold out for every main series show. Limit 2 tickets per person. You can also purchase by phone at (312) 335-1650 on the day-of show at 12 pm for main series performances. Limit 2 tickets per person.

Accessible Performance Dates:

Audio-Described and Touch Tour: Sunday, November 22 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Saturday, November 7 at 3 pm, Thursday, November 19 at 7:30 pm and Saturday, November 28 at 3 pm
ASL-Interpreted: Friday, December 4 at 7:30 pm

Education and Engagement:

Throughout the 2026/27 season, Steppenwolf continues its commitment to the next generation of theatre learners, makers and appreciators with robust education and engagement programming. Programming includes dedicated student matinee performances during four of the five Main Series productions including Topdog/Underdog, Adirondack Chair Circle, The Comeuppance and Ellen B., in-school residencies in partnership with Chicago Public schools, workshops, panels and events specifically geared towards teens, as well as professional development trainings and resources for educators. For additional information about Steppenwolf's Education and Engagement programming and to register your school for a field trip visit steppenwolf.org/education-community/school-teacher-programs/field-trips.

Artist Biographies:

Stephanie Alison Walker (Playwright) is an internationally-produced, award-winning playwright whose work is known for the personalization of the political, humor in darkness and the dramatization of the resilience of women. She is a native Chicagoburbian who has lived all over including London, Buenos Aires, San Juan Island and fifteen years in Los Angeles. She received her Bachelors in English/Creative Writing and Spanish from the University of Colorado and her Master of Professional Writing from the University of California. She began writing plays while working for Fox Theatricals in Chicago. Her play about the housing crisis, American Home, was the inaugural winner of American Blues Theatre's Blue Ink Award. Her play about the mothers of the disappeared in Argentina, The Madres, received a National New Play Network Rolling World Premiere at Teatro Vista in Chicago, Skylight Theatre Company in L.A., Moxie Theatre in San Diego and Shrewd Theatre Company in Austin. It was the 2019 Winner of the Francesca Primus Prize, winner of the Ashland New Plays Festival, the Generations Prize and semi-finalist for the CTG/ Humanitas Prize for playwriting. Her follow-up play The Abuelas, premiered at Teatro Vista and was recently adapted into a short film titled The Birthday Gift. The Art of Disappearing was a finalist for the Primus Prize and enjoyed critical praise for the world premiere in Chicago by 16th Street Theater in 2015. Friends with Guns, her play about liberals and gun ownership was an O'Neill Finalist, winner of Best New Play at the 2019 Valley Theatre Awards, and had its Chicago premiere by A Short Leap Theatre Company in 2025. Sophia Hayden Deserves Better tells the story of the architect of the Woman's Building at the 1893 World's Columbian Exposition in Chicago and was recently a part of Gglassfest by Lookingglass Theatre in Chicago. The Ordeal of Water, inspired by the first women to work as Longshoremen at the Port of Los Angeles, was most recently a part of Bay Street Theater's New Works Festival. Adirondack Chair Circle, her play that tackles suburban book-banning moms, was developed at The Inkwell Theater Company and A Red Orchid's Studio at A Red Orchid. Her short plays have been anthologized by Smith & Kraus. Her full-lengths are published by Broadway Publishing, Inc. In addition to writing plays, she is currently adapting Friends with Guns and The Abuelas as features while raising two spirited boys and selling real estate in the suburbs of Chicago. She is a proud member of the Dramatists Guild of America, Honor Roll Playwrights, NNPN Affiliated Artist, and a proud alumni of the Playwrights Union. stephaniealisonwalker.com

Pam MacKinnon (Director) is a Tony, Drama Desk and multi-Obie Award winning director. She is the artistic director of American Conservatory Theater in San Francisco. She has directed more than eighty productions. Her Tony Award-winning production of Edward Albee's Who's Afraid of Virginia Woolf? originated at Steppenwolf. Her production of Bruce Norris's Downstate (Steppenwolf, National Theatre and Playwrights Horizons) was celebrated with several Jeff Awards and won Pam her second Obie. She served as president of SDC, the national Union of choreographers and directors.

David Darrow (Crow) Steppenwolf Theatre Company: Amadeus; Off-Broadway: Memnon (Classical Theatre of Harlem), All Is Calm (Drama Desk Award), The Revival (Project Y Theatre); Regional: Over ten productions at The Guthrie including A Little Shop Of Horrors, Juno And The Paycock  and The Tempest; Sweat (ACT); Ragtime, Sweeney Todd, Fiddler on the Roof (Asolo Repertory Theatre); Lookinglass Alice, Twelfth Night (Baltimore Center Stage); Romeo And Juliet (Ten Thousand Things); Television: RJ Decker, Ballard and Cupertino; Education: MFA Grad Acting – Tisch School of the Arts. David has written several musicals which have been developed/produced at theatres around the country.

Katrina Lenk (Banna) Broadway: Company, The Band's Visit (Tony, Grammy, Lucille Lortel Award), Indecent, Once, Spider-Man: Turn Off the Dark, The Miracle Worker. Additional theater credits include: High Spirits (New York City Center Encores!), Indecent (Vineyard, La Jolla Playhouse, Yale Rep), iWitness (Mark Taper Forum), Lost Land (Steppenwolf), Lovelace: A Rock Opera (L.A./Edinburgh). Television: Cupertino, Apples Never Fall, Ozark, The Marvelous Mrs. Maisel, Little Voice, The Good Fight, The Village, Tommy, Law & Order: SVU, Law & Order, et al.

Wendy Mateo (Winona) is beyond thrilled to make her Steppenwolf debut. Wendy is the Artistic Director of Teatro Vista Productions (TVP) and a Chicago-based actor, director and filmmaker. An iO and Second City alum, she has been seen on stage in Beyond Caring and Big Lake Big City (Lookingglass Theatre). Her directing work includes The Brief Wondrous Life of Oscar Wao (Goodman Theatre); ¡Bernarda! (TVP); Mojada (upcoming at Court Theatre). Her TV/film acting credits include Chicago Med, Station Eleven and Widows, while her filmmaking credits include Good Mothers and Hair.

Caroline Neff (Evelyn Grace) is a Steppenwolf ensemble member. At Steppenwolf, she was last seen in Mr. Wolf, Fool for Love, POTUS, Another Marriage, Describe the Night, Seagull, Dance Nation, The Curious Incident of the Dog in the Night-Time, You Got Older, Linda Vista (also Taper Forum and Broadway), The Fundamentals, The Flick, Airline Highway (also Broadway), The Way West, Three Sisters, Annie Bosh is Missing and Where We're Born. Select theatre credits include: Lettie (Jeff Award Best Actor, Victory Gardens Theater); Uncle Vanya (Goodman Theatre); A Brief History of Helen of Troy (Jeff Award for Best Actress), The Knowledge, Harper Regan, In Arabia We'd All Be Kings (Steep Theatre); The Downpour (Route 66 Theatre); Port (Griffin Theatre); 4000 Miles (Northlight Theatre); Moonshiner (Jackalope Theatre). Regional credits include: Peerless (Yale Repertory Theatre). Film and television credits include: Parallax (upcoming Apple tv) FBI, Three Women, Let the Right One In, The Red Line, Chicago P.D., Chicago Fire, Open Tables and Older Children, and heard in multiple Audible Projects such as: Song of the Northwoods, Crowded Hours, Denali and Boar's Nest. She is a proud company member of Steep Theatre and holds her BA from Columbia College.

Sadieh Rifai (Libby) Steppenwolf Theatre: You Will Get Sick, August: Osage County (u/s). The Targeted, Do You Feel Anger, An Evening at the Talk House, Grey House (A Red Orchid). She's performed at theaters such as Goodman, American Theatre Company, Chicago Shakespeare and Milwaukee Repertory. Film: Block Party, Hekla, The Wise Kids, Nate and Margaret, Olympia, All Happy Families. Television: Bettendorf Talks, The Red Line, Chicago Med, Patriot, Shining Girls and Somebody Somewhere. Sadieh received the Princess Grace Award in 2011 & The Princess Grace Fellow in 2026. She's a graduate of The School at Steppenwolf and is represented by Venture and Paonessa Talent.

Accessibility:

As a commitment to make the Steppenwolf experience accessible to everyone, performances featuring American Sign Language Interpretation, Open Captioning and Audio Description are offered during the run of each STC production. Assistive listening devices (ALDs), large-print programs and Braille programs 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/plan-your-visit/accessibility or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information:

Adirondack Chair Circle is a recipient of the Edgerton Foundation New Play Award. 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 Angell 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, 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, Rich and Margery Feitler, FROST CHICAGO, Lloyd A. Fry Foundation, Jessica and Dominic Green Family Fund, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Sacks Family Foundation, Gary Sinise Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo, and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the National Endowment for the Arts, 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 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.

Producer Jeffrey Seller and Broadway In Chicago have announced the world-premiere of the new musical THE PRINCESS BRIDE will begin performances in Chicago next summer at the James M. Nederlander Theatre, from July 19-August 22, 2027.

A miraculous blend of sword fights and satire, absurd fun and true romance, THE PRINCESS BRIDE has been both a beloved novel and celebrated film. Now, as you wish, it comes to enchanting life as a Broadway musical.

Like many timeless stories, this one asks the eternal question: Why does life have to be so complicated?

Journey to Florin, where a sweet-natured giant, a six-fingered (well technically 11-fingered) scoundrel, a vengeance-obsessed Spaniard, and an overconfident meanie all conspire to make things incredibly difficult for two young lovers just trying to live happily ever after. Prepare to die laughing and fall in love all at the same time, all over again.

The creative team features a book by Tony Award winner Bob Martin (The Drowsy Chaperone) and Tony-nominated Rick Elice (Jersey Boys), music and lyrics by Oscar-winning composers Kristen Anderson-Lopez (Frozen) and EGOT winner Robert Lopez (Frozen, The Book of Mormon), direction by Tony Award winner Alex Timbers (Moulin Rouge!) and choreography by Tony Award winner Andy Blankenbuehler (Hamilton, In the Heights).

Producer Jeffrey Seller is one of the most successful American producers of our time. He produced the Tony Award–winning musicals Rent, Avenue Q, In the Heights, and Hamilton. His shows have garnered twenty-two Tony Awards, including four for Best Musical. Jeffrey is the only producer to have mounted two Pulitzer Prize–winning musicals—Hamilton and Rent. He also revolutionized theater accessibility with the $20 ticket lottery for Rent, making theater affordable for all. 

The Princess Bride is based on the novel and Motion Picture written by William Goldman and the Motion Picture executive produced by Norman Lear and directed by Rob Reiner.

TICKET INFORMATION
THE PRINCESS BRIDE will be part of the next Broadway In Chicago season, on sale next month. Group tickets for 10 or more are on sale now by calling Broadway In Chicago Group Sales at (312) 977-1710 or by emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Individual tickets will go on sale at a later date. 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, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at The Auditorium.

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

Follow Broadway In Chicago @BroadwayInChicago on
Facebook, Instagram, TikTok , Bluesky
#BroadwayInChicago

The Auditorium (Chicago's landmark stage at 50 E. Ida B. Wells Drive) begins its 2026-27 Dance Season titled North American Dance with a highly anticipated performance by the acclaimed American ballet company Dance Theatre of Harlem (DTH). The evening marks the company's first return to Chicago since 2016. Dance Theatre of Harlem will present a trio of works from the company's extensive repertoire, including the recently revived Firebird - a legendary reimagining of the traditional ballet based on a Russian folktale set in a lush Caribbean world. The one-night-only presentation takes place Saturday, October 17 at 7:30 PM at The Auditorium, 50 E. Ida B. Wells Dr. Tickets are $44-$154 and are available at auditoriumtheatre.org or by calling The Auditorium's Box Office at 312.341.2300.

Debuted in 1982, Firebird tells a timeless tale of love over evil set to the iconic classical score by Igor Stravinsky with a twist. Featuring choreography by John Taras, this Firebird takes place in a vibrant Caribbean setting brought to life through the rich sets and revolutionary costumes designed by Geoffrey Holder. DTH captivated the world touring with Firebird, which helped solidify the company's reputation as a global leader of the art form. After a twenty-year hiatus, DTH revived Firebird with a bold new production featuring recreated sets and costumes by Holder's son artist Leo Holder - preserving the integrity of the original design while updating the work for a new era.

In addition to Firebird, the evening will also include a performance of Donizetti Variations – a lively and technically demanding series of dances choreographed by George Balanchine set to music from composer Gaetano Donizetti's opera Don Sebastian. Rounding out the evening is Return choreographed by DTH Artistic Director Robert Garland. Created for DTH's 30^th anniversary, Return is a soulful, high-octane fusion of post-modern urbanism and neoclassicism set to the timeless music of James Brown and Aretha Franklin. 

"The Auditorium is absolutely thrilled to welcome Dance Theatre of Harlem back to Chicago for the first time in a decade," said Rich Regan, CEO of The Auditorium. "This is a truly special moment for our city and for everyone who loves the transformative power of dance. Founded by Arthur Mitchell—the first Black principal dancer of a major American ballet company—Dance Theatre of Harlem has spent more than five decades expanding our understanding of what ballet can be, who it can represent, and who gets to experience its beauty. This extraordinary program celebrates the remarkable depth, artistry, and stylistic range of the company, culminating in DTH's iconic reimagining of Firebird. It is a breathtaking work and an experience that simply must not be missed—not only for devoted dance lovers, but for anyone who wants to witness the power, beauty, and joy of live performance at its very best."

About The Auditorium

The Auditorium, a National Historic Landmark in the heart of downtown Chicago, is a nonprofit cultural institution dedicated to bringing people together through extraordinary performances, education, and community engagement. Since opening in 1889, The Auditorium has been a defining part of Chicago's cultural and architectural legacy, presenting world-class music, dance, theater, and a broad range of artistic and civic programming within its iconic building designed by legendary architects Louis Sullivan and Dankmar Adler. Located at 50 E. Ida B. Wells Drive - the center of Chicago, The Auditorium is committed to preserving and protecting its extraordinary historic home through ongoing preservation, restoration, stewardship, and care. Honoring its remarkable past while creating new experiences for audiences today, The Auditorium continues to inspire and connect people from Chicago and around the world.  For more information and a complete calendar of events, visit AuditoriumTheatre.org.

About Dance Theatre of Harlem
A singular force in the ballet world, New York-based company Dance Theatre of Harlem is internationally acclaimed for redefining what ballet looks like in the 21st century. With breathtaking athleticism and undeniable artistry, DTH bridges tradition and innovation—featuring beloved classics, neoclassical works by George Balanchine and Artistic Director Robert Garland, as well as innovative contemporary works that use the language of ballet to celebrate DTH founder Arthur Mitchell's belief that ballet belongs to everyone. Through performances, community engagement and arts education, the Company carries forward Dance Theatre of Harlem's message of empowerment through the arts for all. More information available at dancetheatreofharlem.org

The Gift Theatre, led by Artistic Directors Brittany Burch and Jennifer Glasse, continues its 25^th Anniversary Season with the world premiere of Hayward by Gift ensemble member Netta Walker, directed by AmBer Montgomery. Presented in Steppenwolf's 1700 Theatre, 1700 N Halsted St in Chicago, Hayward runs October 14 – November 15, 2026. The opening is Sunday, October 18, 2026, at 6:00 pm.

Tickets, priced at $45-50, are on sale now through Steppenwolf Theatre Company's box office, http://steppenwolf.org/hayward, and (312) 335-1650. Presenting this production during the Gift's anniversary season in Steppenwolf Theatre's 1700 Theatre feels like a homecoming for the company. Many in the ensemble first met at The School at Steppenwolf, and those experiences shaped how the company thinks about telling stories.

The cast features Gift ensemble members Shanésia Davis and Gregory Fenner and guest artists Ireon Roach, Sydney Charles, Victor Musoni, Watson Swift, and Alfred H. Wilson.

The creative team is AmBer Montgomery (director), Martel Manning  (assistant director), Sydney Lynne (scenic designer), Daniella Brown (sound designer), Saawan Tiwari (costume designer), G. "Max" Maxin (lighting designer), Mariah Bennett (props designer), Maya Vinice Prentiss (violence director), Sarah Luse (stage manager), Dorothy Craven (assistant stage manager), Tom Daniel (technical director and Jennifer Aparicio (production manager). Brittany Burch and Jennifer Glasse are co-artistic directors.

Hayward reimagines Hamlet and Electra through the eyes of Luna, who reveals to her family — on the day of their father's funeral — that his ghost has come to see her. Beneath the haunting, this is a love story: a daughter's love for her father, and the complicated, unresolved feelings he left behind. The story follows a family shaped by the trauma passed down by a father who served in the Navy during the Gulf War. Across grief, they reach for each other, trying, imperfectly, to come back together.

Developed through the Pearl Cleage Writers Workshop with Goodman Theatre and Remy Bumppo Theatre Company, and named a semifinalist for the 2025 Eugene O'Neill National Playwrights Conference, Hayward is exactly the kind of bold new work The Gift Theatre was built to tell.

The Gift Theatre Co-Artistic Directors Brittany Burch and Jennifer Glasse comment, "We are so excited to produce this powerful world premiere by Ensemble Member Netta Walker. As one of our newest ensemble members, Netta's history with The Gift goes back 10 years, beginning in 2017 when she understudied The Grapes of Wrath in her first professional play. After last summer's sold-out In the Works reading of Hayward, we are thrilled to bring this beautiful and deeply personal play to the stage."

Fact Sheet | Hayward

Playwright: Gift Theatre Ensemble Member Netta Walker

Director: AmBer Montgomery

Cast:    Gift Theatre Ensemble Members: Shanésia Davis and Gregory Fenner  

Guest Artists: Ireon Roach, Sydney Charles, Victor Musoni, Watson Swift, Alfred H. Wilson

Dates: October 14 – November 15, 2026

Audio description: November 12, 2026

Captioning: November 13, 2026

Location: Steppenwolf's 1700 Theatre, 1700 N Halsted St in Chicago

Tickets: $45-50

Box office: http://steppenwolf.org/hayward; (312) 335-1650

If you are a veteran who has served or is currently serving in the United States Armed Forces, we thank you for your service to our country.  Veterans may purchase tickets for $15 with code HAYWARDVET with an Active Duty, Reserve, or Retired Military ID Card.

About the Artists: Link to all artist bios and headshots

Netta Walker | Playwright

Netta Walker is an actor and playwright who began her career onstage in Chicago 10 years ago as the Rose of Sharon understudy at The Gift Theater for "The Grapes of Wrath". Now she is known for starring as Keisha McCalla in "All American: Homecoming" and "All American" on The CW for 3 seasons. In 2019, she won a Jeff Award for "Best Supporting Performance in a Play" ("Yen", Raven Theater) and was quickly named one of the Chicago Tribune's "Hot New Faces" by theater critic Chris Jones.

She studied playwriting at The LIR at Trinity College for a year while simultaneously taking acting classes at RADA. As a writer in the Pearl Cleage writers workshop with the Tony Award winning Goodman Theater and Remy Bumppo Theater Company, she began developing Hayward - which was choosen as a Eugene O'Neill National Playwrights Conference 2025 Semifinalist. Her play keerah was selected as a winner in Definition Theaters' 2024 AMPLIFY New Play Festival, where it is set to be workshopped for two years. keerah has also been performed in scratch nights in London with Irish speaking casts. Her Filipino short film Balik won the Horror/Thriller short script category at Hollywood Just4Shorts Film and Screenplay competition, as well as being selected for London Film Festival International and Edinburgh FFI. This was swiftly followed by her short script Baby Gay being selected for the Chicago Script Awards and as a Cambridge Script Festival finalist (LGBTQ Screenplay). Both shorts were selected for the Best Script Awards screenplay competition in London in the same year. Walker was also chosen to pitch her original feminist dystopian series House of Dixie at the American Cinemtheque's Proof of Concept Film Festival in LA in 2024 - it then went on to be selected as a Quarterfinalist for WeScreenplays' Diverse Voices Lab Spring 2025. She is now adapting it for stage.

Chicago onstage acting credits include: Lion in Winter (Court Theater), How to Defend Yourself (Victory Gardens, original cast); Yen (Raven Theatre, Jeff Award for Best Supporting Actor); Hamlet, Grapes of Wrath (The Gift); No Child (Definition Theatre); Continuity (Goodman); truth and reconciliation (Sideshow Theatre Company); Great Expectations (Silk Road Rising/Remy Bumppo); The Wickhams: Christmas at Pemberley (Northlight, original cast) and in workshops and reading series with companies like Steppenwolf Theater, Jackalope Theater, and Pride Films and Plays. Regional: Miss Bennet: Christmas at Pemberley (Milwaukee Rep).

Born and raised on the Florida/Georgia line in the Westside of Jacksonville, Florida, her unique background as a child of an immigrant and a Navy Chief influences every decision of storytelling she makes. The blended cultures of Cebuano Filipina and traditional Southern African-American heritage fuel her passion for creating multicultural, multilayered, and nuanced representation of the human condition in the arts.

Special events:

These events happen immediately following the respective Sunday performances of Hayward:

October 25, 2026: Scholar Sunday | African American Literature & Psychology of Trauma Speakers: Tara Betts | Author & Professor in Peace, Conflict Studies and Social Justice at DePaul University & Judith Singleton | Professor of Sociology and Criminology at Dominican University

November 8, 2026: Scholar Sunday| The Role of African-American Soldiers in Literature | Speakers: Names to Follow 

The Gift Theatre's 25^th Anniversary Season continues with:

ANNUAL GHOSTLIT AT GALE STREET INN

Dinner and drinks are available for purchase with specialty cocktails designed for the event.

4914 N Milwaukee Ave, Chicago, IL 60630 - Monday October 26th - Doors at 6:00pm

Tickets $25 online or $30 at the door

Come gather at the inn to warm your bones and chill your blood. Join The Gift Theatre for our annual evening of live ghost stories and haunting songs presented this year at The Gale Street Inn!

25th ANNIVERSARY BENEFÊTE PERFORMANCE

at Copernicus Center — Gateway Theatre 5216 W. Lawrence, Chicago, IL

December 7, 2026

Tickets $75, thegifttheatre.org and (773) 283-7071 | Tickets on sale now: https://thegifttheatre.org/event/homecoming-benefete/

The season will close out with a spectacular, one-night-only celebration honoring a quarter century of The Gift Theatre. This 25th Anniversary Benefête Performance, will be a night featuring our favorite scenes from over the years performed by ensemble members —the artists who have shaped this theatre across generations.

About The Gift Theatre
The Gift Theatre is a storefront nonprofit theater founded in Chicago's Jefferson Park neighborhood, committed to creating accessible, inclusive, and impactful theatrical experiences. 

Our identity is defined by intimacy, collaboration, and a belief that live storytelling can inspire and transform both artist and audience. 

What began as a spatial limitation became a revelation. For nearly 20 years, we performed in a renovated shoe store—Chicago's smallest Equity theatre—where audience members sat just inches from the actors. That intimacy didn't just shape our work; it shaped who we are as artists.

We've learned to lean into the vulnerability and electricity that arise when actor and audience share the same breath, both fully present in mutual emotional exchange.

At the Gift, we are only interested in work that is challenging and transformative —stories that ask big questions and risk discomfort in pursuit of deeper understanding. We delight in the dark humor and unexpected joy that surface in life's messiest moments, reminding us that even pain can carry connection and light. We believe that every story, at its heart, is a love story—rooted in longing and a search for communion. 

Our programming isn't bound by genre but guided by character-driven, emotionally rich storytelling rooted in truth. Whether surreal or starkly naturalistic, each play we share reflects our commitment to creating spaces of deep connection—among artists, between artist and audience, and within our community.

Presenting this show during our anniversary season at Steppenwolf's 1700 Theatre feels like coming home — many in the ensemble first met at The School at Steppenwolf, and those experiences shaped how they think about telling stories.

The Gift Theatre Ensemble includes its newest members Jennifer Aparicio, Shanésia Davis, Angela Morris, Jennifer Rumberger, Netta Walker, and Patrick Weber. They join fellow ensemble members Daniel Ahlfeld, Cyd Blakewell, Brittany Burch, Hillary Clemens Harbor, Jenny Connell Davis, John Kelly Connolly (in memoriam), Paul D'Addario, Brendan Donaldson, Will Eno, James D. Farruggio, Gregory Fenner, Ed Flynn, Gabriel Franken, John Gawlik, Maggie Andersen Gawlik, Emjoy Gavino, Jennifer Glasse, Andrew Hinderaker, Chika Ike, Evan Michael Lee, Sarah Luse, Marti Lyons, Alexandra Main, Martel Manning, Laura Marks, Kenny Mihlfried, Benjamin Montague, William Nedved, Darci Nalepa, Keith Neagle, Lynda Newton, Sheldon Patinkin (in memoriam), Maureen Payne-Hahner, David Preis, David  Rabe, Mary Ann Thebus (in memoriam), Michael Patrick Thornton, Hannah Toriumi, Erica Weiss, Jay Worthington, and Kyle Zornes.

Steep Theatre will open its new theater this coming January with the U.S. Premiere of playwright Simon Stephens' A Slow Fire. The production, which opens January 22, 2027, will be directed by Steep Ensemble Member Robin Witt and continues the company's long-running relationship with its Tony and Olivier Award-winning Artistic Associate, Stephens. A Slow Fire will mark the company's much-anticipated return in its new home and a full-production calendar. Season tickets are now available online at Steeptheatre.com 

In A Slow Fire, Ashton and Reece shelter in a converted storage unit in a post-apocalyptic wasteland. They sustain themselves by reenacting moments of hope from their past until forces from the outside world challenge how best to carry hope forward. 

A Slow Fire premiered in January 2026 at Glass Mask Theatre in Dublin and made its London premiere August 2026 at the Jermyn Street Theatre in the West End. Simon Stephens is a Tony and Olivier Award-winning playwright whose plays have been widely produced in the UK, Europe, Australia, and the US. Stephens is an artistic associate at the Lyric Hammersmith and has been an associate playwright of Steep Theatre since 2013. Director Robin Witt has directed six of Steep's Simon Stephens productions, including Light Falls and Harper Regan.

"Steep's new home will be a testament to the extraordinary faith and generosity of so many in our community," said Steep's Artistic Director, Peter Moore. "I can think of no better way to mark our homecoming than with a new work from our dear friend Simon that celebrates storytelling, community, and hope - albeit in a very Steep way."

Steep's new theater, located at 1044 W. Berwyn, will be a dynamic theatrical venue that reflects the company's commitment to fearless storytelling, inclusive collaboration, and community building. The company has partnered with Civic Projects Architecture, which has been recognized for its experience with community-oriented space, prioritizing universal design and physical accessibility. Steep also worked with Norcon, Inc. to manage the construction of the new space and CharcoalBlue as theater and venue consultants. 

The acquisition and renovation of Steep's new home were made possible by the extraordinary generosity of Steep patrons and community, a grant from the Paul Angell Foundation, a capital funding grant from the Illinois Department of Commerce & Economic Opportunity (DCEO) and the City of Chicago, which awarded Steep more than $3.8 million in grant funds to support the project.

Called 'the most fearless theater in town' by the Chicago Tribune, Steep has produced over 80 plays with remarkable critical and commercial success, earning 63 Jeff Award nominations, 12 Jeff Awards, and recognition on numerous "Best of" lists, including the Tribune's Top Ten Shows of the Year and WBEZ's Top Ten Shows of the Decade.

WHAT:

The U.S. Premiere of

A Slow Fire

by Simon Stephens

Directed by Robin Witt

Sheltered in a converted storage unit in a post-apocalyptic wasteland, Ashton and Reece sustain themselves by reenacting moments of hope from their past, until forces from the outside world challenge how best to carry hope forward. 

WHERE:

Steep Theatre

1044 West Berwyn Avenue

Chicago, IL 60640

WHEN:

January 22 – February 28, 2027

Previews: January 16, 17, and 21, 2027

Press Opening: Friday, January 22, 2027 at 7:30pm

Schedule: Thursday, Friday, and Saturday nights at 7:30 pm | Sunday matinees at 3 pm

Accessible Performances: To be announced

Contact us at This email address is being protected from spambots. You need JavaScript enabled to view it. or 773-649-3186 for more information.

CONTACT INFORMATION:

Web: www.steeptheatre.com

Phone: 773-649-3186

Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

Steep Theatre Company

1044 W Berwyn Ave.

Chicago, Illinois 60640

Social:

Facebook: SteepTheatre

Instagram: @steeptheatre

LinkedIn: @SteepTheatreCompany

CAST

Nate Faust*

Peter Moore*

Melissa Riemer*

Omer Abbas Salem*

CREATIVE TEAM:

Director: Robin Witt*

Stage Manager: Lauren Lassus*

Production Manager: Jennifer Aparicio

Scenic Design: Sotirios Livaditis

Lighting Design: Brandon Wardell*

Costume Design: Sally Dolembo

Sound Design: Thomas Dixon*

Props Design: Spencer Diaz Tootle

Dramaturg: Jean Marie Higgins

Intimacy and Violence Consultant: Christina Gorman

Assistant Director: Spencer Diedrick

* denotes Steep Ensemble Member 

Production Sponsors: Ken Burlington, James T. O'Neill, Timothy Sherck, Barbara & Randy Thomas, Lisa & Randy White, and Martha Anne & Stephen Yandle 

Steep Theatre is supported in part through generous grants from the Paul Angell Foundation, the Bayless Family Foundation, the Gaylord & Dorothy Donnelley Foundation, and the Illinois Arts Council Agency.

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to announce full casting for its world premiere of Chicago playwright Stephanie Alison Walker's biting satire Adirondack Chair Circle, directed by Tony Award winner Pam MacKinnon (Downstate, Edward Albee's Who's Afraid of Virginia Woolf?).

The Adirondack Chair Circle cast features a stellar lineup of talent including ensemble member Caroline Neff, who returns to the Steppenwolf stage, adding to her extensive Steppenwolf credits including Mr. Wolf, Fool for Love, POTUS and Another Marriage. She is joined by David Darrow, who dazzled Steppenwolf audiences as Mozart in last season's record-breaking Amadeus. Broadway favorite Katrina Lenk, who received Tony and Grammy Awards for her turn in The Band's Visit, returns to Steppenwolf for the first time since 2005's Lost Land. Making her Steppenwolf debut is Chicago actor Wendy Mateo, while Sadieh Rifai returns to Steppenwolf after captivating audiences in last year's You Will Get Sick.

Launching Steppenwolf's 51^st Season, Adirondack Chair Circle will play October 22 — December 6, 2026 in Steppenwolf's Ensemble Theater, 1646 N. Halsted St. in Chicago. Single tickets are now on sale at steppenwolf.org or the Box Office at (312) 335-1650. 

About the Production:

A gaggle of suburban moms, armed with pickleball paddles and hard kombucha, are ready to take on the school board in the fight of their lives: attempting to ban the controversial books available to their kids in the school library. But is this trusted inner circle all on the same page? A piercing world premiere from a Chicago playwright, Stephanie Alison Walker's Adirondack Chair Circle exposes the hilarious hypocrisy of the causes we claim and the company we keep. And has a damn good time doing it.

The creative team includes Todd Rosenthal (Scenic Design), Izumi Inaba (Costume Design), Barbara Samuels (Lighting Design), Mikhail Fiksel (Sound Design), Nicholas Hussong (Projection Design), Steph Paul (Choreographer), Kate DeVore (Vocal Coach), Bryar Barborka (Dramaturg), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), Michelle Medvin (Production Stage Manager) and Kathleen Barrett (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Adirondack Chair Circle
Playwright: Stephanie Alison Walker
Director: Pam MacKinnon
Cast: ensemble member Caroline Neff (Evelyn Grace) with David Darrow (Crow), Katrina Lenk (Banna), Wendy Mateo (Winona) and Sadieh Rifai (Libby).
Understudies: Tiffany Bedwell (Banna), Brittany Burch (Evelyn Grace), Alex Casillas (Winona), Warren Keith Duncan (Crow) and Erinn Fredin (Libby).

Location: Steppenwolf's Ensemble Theater, 1646 N. Halsted St., Chicago

Dates: Previews: Thursday, October 22 – Saturday, October 31, 2026
Opening: Sunday, November 1, 2026 at 6 pm
Regular run: Tuesday, November 3 – Sunday, December 6, 2026
Curtain Times: Tuesdays, Wednesdays, Thursdays and Fridays at 7:30 pm; Saturdays at 3 pm & 7:30 pm; and Sundays at 3 pm. Please note: there will not be 7:30 pm performances on Tuesday, October 27, Thursday, November 5, Tuesday, November 10, Wednesday, November 18, Wednesday, November 25, Thursday, November 26 and Tuesday, December 1; there will be an added 2 pm matinees on Wednesday, November 25 and Wednesday, December 2.

Tickets: Classic Memberships starting as low as $165 are now on sale for Steppenwolf's 2026/27 season at steppenwolf.org/myseason. Single tickets for Adirondack Chair Circle ($20 – $149*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale: Black Card Memberships with six tickets for use any time for any production and RED Card Memberships for theatergoers under 30. *Pricing includes an $8.50 handling fee

Steppenwolf offers 20 tickets for $20 (no added fees) for each performance of every Main Series production. Use promo code 20FOR20 to redeem this offer online, available in advance until they're sold out for every main series show. Limit 2 tickets per person. You can also purchase by phone at (312) 335-1650 on the day-of show at 12 pm for main series performances. Limit 2 tickets per person.

Accessible Performance Dates:

Audio-Described and Touch Tour: Sunday, November 22 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Saturday, November 7 at 3 pm, Thursday, November 19 at 7:30 pm and Saturday, November 28 at 3 pm
ASL-Interpreted: Friday, December 4 at 7:30 pm

Education and Engagement:

Throughout the 2026/27 season, Steppenwolf continues its commitment to the next generation of theatre learners, makers and appreciators with robust education and engagement programming. Programming includes dedicated student matinee performances during four of the five Main Series productions including Topdog/Underdog, Adirondack Chair Circle, The Comeuppance and Ellen B., in-school residencies in partnership with Chicago Public schools, workshops, panels and events specifically geared towards teens, as well as professional development trainings and resources for educators. For additional information about Steppenwolf's Education and Engagement programming and to register your school for a field trip visit steppenwolf.org/education-community/school-teacher-programs/field-trips.

Tin Drum Theatre Company is proud to announce that tickets are now on sale for the Chicago premiere of A Dark Wood, October 15 - November 1, written by Eric Coble and directed by Steve Needham, at Studio 44 in the Greenhouse Theater Center, 2257 N. Lincoln Ave. The preview performance for A Dark Wood is Thursday, Oct. 15 at 7:30 p.m. with the opening night/press performance Friday, Oct. 16 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m. and Sundays at 2:30 p.m. The Understudy Performance is Saturday, Oct. 31 at 2:30 p.m. There will be a post-show talk-back with playwright Eric Coble after a select performance, date to be announced. Tickets are $28 with $18 student tickets and available at TinDrumTheatre.com or by calling the Greenhouse Theater Company box office at 773.404.7336. 

“The Fix” was supposed to correct everything that had gone wrong with the country. Now, three members of a shattered family, Earthworm, Hummingbird and Armadillo, occupy different corners of a society in free-fall, each surviving in their own way. Earthworm squats in no-man’s land beside his only friend, desperate to cross the river border and begin a new life. Hummingbird hides in a boarded-up apartment, secretly reading books with a fugitive teacher who will do anything to keep both her — and the resistance — alive. Armadillo stands alone in her police armor searching for justice, or perhaps forgiveness. Which of them will make it to Paradise and what will it cost? Does such a place even exist?

A Dark Wood ensemble cast includes Renzo Vicente (he/him, Earthworm), Delaney 

Vallese (she/her, Hummingbird), Marlee Feacher (she/her, Armadillo), Carlos Andrés Mai (he/they, Montrose), Shannon Leigh Webber (she/her, Miss Vivian),Raúl Alonso (he/him, Dipper), Eric Hinkle (he/him, U/S Earthworm), Bryce Ranee (she/her, U/S Hummingbird), Anika Flores (she/her, U/S Armadillo), Dimitri Marinakos (he/him, U/S Montrose), Renae Stone (she/her, U/S Miss Vivian) and Michael Stejskal (he/him, U/S Dipper).

The creative team includes Eric Coble (he/him, playwright), Steve Needham (he/him, producer/director), Jason Palmer (he/him, production manager), Sil Rivera (they/them, stage manager), Kathleen Kronauge (she/her, assistant stage manager), Will Hughes (he/him, technical director and scenic designer), Kasey Wolfgang (she/her, costume designer), Emma Berry (she/her, lighting designer and master electrician), Zach Stinnett (he/him, sound designer) and Erin Alys (she/her, director of intimacy and movement).

ABOUT ERIC COBLE, playwright

Eric Coble is an award-winning American playwright whose work spans sharply drawn dramas, audacious comedies and incisive social satire. Born in Edinburgh and raised on the Navajo and Ute reservations of the American Southwest, Coble brings a distinctive blend of wit, empathy and theatrical boldness to the stage.

His plays have been produced across the United States and internationally, including on Broadway, Off-Broadway and at major regional theatres. His Broadway debut, The Velocity of Autumn, starring Estelle Parsons and Stephen Spinella, earned Parsons a Tony Award nomination. Other widely produced works include The Giver (stage adaptation), Bright Ideas, My Barking Dog, Fairfield, The Dead Guy, Natural Selection and Southern Rapture, among many others.

Coble’s scripts have received an ATCA Steinberg New Play Award citation, the Governor’s Award for the Arts (Ohio) and multiple Edgerton New Play Awards. His work has been developed or produced by The Kennedy Center, Playwrights Horizons, Manhattan Class Company, Denver Center Theatre Company, Cleveland Play House, Alliance Theatre, Arena Stage and Actors Theatre of Louisville.

Known for his sharp comic voice and ability to illuminate the tensions and absurdities of contemporary American life, Coble remains a vital presence in the new-play landscape. He is a member of the Playwrights’ Center and a graduate of Ohio University’s MFA program.

ABOUT STEVE NEEDHAM, director

Originally from Cleveland, Ohio, Steve Needham is a founding member of Convergence-Continuum, which is still producing provocative black box theatre for more than 25 years.

In Chicago, Needham has previously worked in various capacities at The Bailiwick Repertory Theatre, About Face Theatre and Pride Films & Plays. He holds a B.A. in theater from Kent State University, a Master’s degree from the University of Chicago and a J.D. from Cleveland State University.

At Tin Drum Theatre, he wrote the company’s inaugural play, Winter Garden about Edwin and John Wilkes Booth, and directed The Unseen by Craig Wright. 

Outside of his artistic pursuits, Needham is an attorney with a litigation firm located in the River North neighborhood.

ABOUT TIN DRUM THEATRE COMPANY

Tin Drum Theatre Company exists to disrupt complacency and reassert theatre’s civic purpose. Creating theatre that asks something of its audience, moving beyond comfort to provoke conversation and critical engagement. Tin Drum believes community begins where audiences and ideas collide, and where dramatic disturbances are created.

Trap Door Theatre is thrilled to begin its 33rd season with the World Premiere of The Man Who Fell with the Rain, written by Andrei Kureichik and directed by resident director Kay Martinovich. The Man Who Fell with the Rain will play September 3rd – 19th, 2026 at Trap Door Theatre, 1655 W Cortland St. in Chicago. Tickets are now on sale at trapdoortheatre.com or by calling (773)-384-0494.

Based on the short story by Gabriel García Márquez, Kureichik's play is a darkly comic fable about a mysterious old man with enormous wings who falls from the sky into the yard of an ordinary couple.  As neighbors, opportunists, and skeptics descend upon the strange visitor, wonder gives way to greed, fear, and spectacle.

PRODUCTION DETAILS:

Title: The Man Who Fell with the Rain

Author: Andrei Kureichik

Translator: John Freedman

Adaptor/Director: Kay Martinovich

Cast (in alphabetical order): Carolyn Benjamin (2nd Neighbor/Woman), Tony-Elias Choufani (Fisherman/Sleepwalker), Dan Cobbler (Husband), Rich Cotovsky (Old Man with Enormous Wings), Heraldo Hermosillo (1st Neighbor/Son), Emily Lotspeich (3rd Neighbor), Laura Nelson (Wife), Keith Surney (Priest), and Gracie Wallace (Daughter of Neighbor/Spider Woman).

Location: Trap Door Theatre, 1655 W. Cortland St. Chicago, IL 60622

Regular Run: Thursday, September 3rd –Saturday, September 19th, 2026

Curtain Times: Thursdays, Fridays, and Saturdays at 8:00 pm. With a special performance on Sunday, September 13th at 7 pm including a talk back after the performance with the playwright.

Press performance: Press are encouraged to attend opening night.

Tickets: $25. Tickets are currently available at https://our.show/the-man-who-fell-with-the-rain or by calling (773) 384-0494.