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Idle Muse Theatre Company continues its 20th anniversary season with Witch, September 10 – October 10, written by Jen Silverman, directed by Idle Muse Ensemble Member Libby Beyreis, at The Edge Off-Broadway Theater, 1133 W Catalpa Ave. Previews are Thursday, Sept. 10 and Friday, Sept. 11 at 8 p.m. The performance schedule is Thursdays, Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m., with an added Wednesday performance on October 7 at 8 p.m. General admission tickets are now on sale for $20 and $30, with $50 “pay it forward” tickets that assist in subsidizing tickets for those who may not be able to access the production otherwise. Student, senior and group discounts are also available at IdleMuse.org or at the Idle Muse Theatre Company Box Office, 773.340.9438.

A charming devil arrives in the quiet village of Edmonton to bargain for the souls of its residents in exchange for their darkest wishes. Elizabeth should be his easiest target, having been labeled a “witch” and cast out by the town, but her soul is not so readily bought. As the devil returns to convince her – and then returns again – unexpected passions flare, alliances are formed and the village is forever changed. An inventive retelling of a Jacobean drama, this sharp, subversive fable debates how much our souls are worth when hope is hard to come by.

The Witch cast includes Mara Kovacevic~ (she/her, Elizabeth); Nathaniel Kohlmeier (he/him, Scratch); Cameron Austin Brown (he/him, Cuddy); Xavier Lagunas~ (he/him, Frank); Stephen Dunn (he/him, Sir Arthur); Caty Gordon~ (she/her, Winnifred); Elise Soeder (she/her, u/s Elizabeth); Dryden Zurawski (they/he, u/s Scratch); Phillip Heflin (he/him, u/s Cuddy); Noah Lash (he/him, u/s Frank); Andrew Bosworth (he/him, u/s Sir Arthur) and Sofia Mohta (she/her, u/s Winnifred).

The creative team includes Libby Beyreis~ (she/her, director); Jo Chalhoub (they/them, stage manager); Kati Lechner~ (she/her, Idle Muse managing director, production manager, health and safety officer); Erin Alys (she/her, intimacy director); Richard Gilbert (he/him, violence director); Vic Bayona (he/him, violence director); Alexandra Schooling (she/her, dance/movement choreographer); Jeremiah Barr (he/him, technical director, master carpenter); Laura J. Wiley~ (she/her, lighting & projection designer); L.J. Luthringer~ (he/him, sound designer and composer); Vicki Jablonski (she/her, costume designer); Jennifer Mohr~ (she/her, assistant costume designer); Breezy Snyder~ (she/they, scenic painter); Tristan Brandon~ (he/him, props designer, health and safety officer); Mara Kovacevic~ (she/her, house manager); Caty Gordon~ (she/her, marketing & social media); Michael Dalberg~ (he/him, Idle Muse literary director) and Evan Jackson~ (he/him, Idle Muse artistic director).

~ Denotes Idle Muse Company Member

ABOUT JEN SILVERMAN, PLAYWRIGHT

Jen Silverman is a playwright, novelist and screenwriter. Silverman is a three-time MacDowell Fellow, a two-time Blackburn Prize finalist, a grateful alum of New Dramatists and a Scholar of Note at the American Library in Paris. Honors include fellowships from the New York Foundation for the Arts, the Lower Manhattan Cultural Council, the National Endowment for the Arts and the Guggenheim.

ABOUT LIBBY BEYREIS, DIRECTOR

Libby Beyreis has been fighting on stage and in film since 1994. She is a proud emeritus company member of Babes With Blades Theatre Company and very happy to have Idle Muse as her current artistic home, where she has served as the assistant director for five productions and served regularly as a violence director for more than 14 years. She has designed violence for companies around Chicago including Idle Muse, The Conspirators, Strangeloop, The DIVISION, Prop, Focal Point Theater Company, Chase Park and Free Street.

ABOUT IDLE MUSE THEATRE COMPANY 

Idle Muse Theatre Company’s (IMTC) mission is to produce theatre that is transporting, timely and true. The company was established in 2006 by theatre artists interested in exploring the relationship between individuals and the worlds they inhabit. Seeking to create production opportunities, they established a modern ‘guild’ of players and an environment where theatre artists of different experiences and backgrounds could develop their craft. Today, IMTC remains focused on the following core values:

Transporting: We believe that great theatre removes both audience members and artists from their respective reality and transports them to another world.

Timely: We believe that human connection can be accomplished through meaningful, relevant, and accessible storytelling here and now.

True: We believe in unflinching honesty in the playing and storytelling.

Since 2022, Idle Muse Theatre Company has instituted a profit share model with artists and team members for each production. In addition to any stipend or payment for services, a full 50% of all box office revenue is reserved and divided evenly among the cast and production team.

Idle Muse Theatre Company continues its 20th anniversary season with Witch, September 10 – October 10, written by Jen Silverman, directed by Idle Muse Ensemble Member Libby Beyreis, at The Edge Off-Broadway Theater, 1133 W Catalpa Ave. Previews are Thursday, Sept. 10 and Friday, Sept. 11 at 8 p.m. with the press opening Saturday, Sept. 12 at 8 p.m. The performance schedule is Thursdays, Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m., with an added Wednesday performance on October 7 at 8 p.m. General admission tickets are now on sale for $20 and $30, with $50 “pay it forward” tickets that assist in subsidizing tickets for those who may not be able to access the production otherwise. Student, senior and group discounts are also available at IdleMuse.org or at the Idle Muse Theatre Company Box Office, 773.340.9438.

Broadway in Chicago’s latest offering at the Auditorium Theatre, & Juliet, bursts onto the stage with the kind of vibrant confidence that makes it clear this isn’t your high school Shakespeare. The production arrives as a full-throttle pop spectacle, gleefully mashing up Elizabethan trappings with late ’90s and early 2000s chart-toppers from Max Martin’s hit factory. It’s a show that knows exactly what it is: a glitter-soaked, self-aware remix of a classic that wastes no time inviting the audience into its playful rebellion against the tragic ending we’ve all been taught to accept. Since its 2019 world premiere in Manchester, & Juliet has evolved into an international hit, and this touring production carries that same electric swagger.

So, what is & Juliet? The musical tosses out the tragic final pages of Romeo and Juliet and launches into a sparkling, beat-driven alternate timeline where Juliet decides her story isn’t over. Shakespeare strides in ready to unveil his masterpiece, only to be challenged by his wife, Anne Hathaway, who argues that Juliet deserves more than a death scene. Their creative tug-of-war becomes the show’s framing device, with the couple rewriting the narrative in real time as Juliet, newly widowed, furious, and independent, sets off for Paris. Joined by the steadfast Nurse, Angélique, and May, a tender, nonbinary friend navigating their own romantic complications, Juliet begins carving out an identity that isn’t tethered to Verona’s star-crossed expectations.

Once Juliet arrives in Paris, the musical fully embraces its jukebox identity. Max Martin’s catalog - Britney Spears, Backstreet Boys, Katy Perry, Robyn, and more - becomes the emotional architecture of the plot, each anthem amplifying Juliet’s bursts of confidence, heartbreak, and rebellion. A new love interest, a handful of identity mix-ups, and the inconvenient reappearance of a very alive Romeo keep the story spinning with lively drive. Beneath the glossy sheen, the show’s core is Juliet’s reclamation of her narrative: she challenges every man, myth, and playwright who tries to script her life. Much like Greta Gerwig’s Barbie, & Juliet reframes a familiar figure by handing her the agency she was never originally given. By the final number, the musical has transformed a centuries-old tragedy into a neon-bright celebration of autonomy, reinvention, and the exhilarating freedom of choosing your own ending.

Fabiola Caraballo Quijada and the company of the North American Tour of & JULIET - Photo Credit Evan Zimmerman for MurphyMade.

Riding the show’s high-voltage spark, Joey Fatone slides into the role of Lance with an easy, self-aware charm that fits perfectly with & Juliet’s playful spirit. As a founding member of *NSYNC and a frequent Max Martin collaborator, Fatone is woven into the DNA of the musical’s soundtrack, giving his performance an extra layer of authenticity. His résumé stretches from Broadway to television to his memorable turn in My Big Fat Greek Wedding, but it’s his work here that stands out: he brings crisp, confident vocals and an easy comedic charm that consistently lifts the charge onstage. Fatone proves he’s far more than a nostalgic casting choice, emerging as one of the production’s most charismatic assets.

Fabiola Caraballo Quijada leads the company with a performance that feels like the show’s beating heart, delivering Juliet with a thrilling mix of vocal firepower and emotional nuance. She tears into Max Martin staples like “...Baby One More Time” and “Since U Been Gone” with bright, commanding vocals, then pivots into moments of vulnerability that make Juliet’s journey feel genuinely earned. Her presence centers the production, funny, fierce, and fully in control.

The supporting cast matches her drive with sharp, engaging work across the board. CJ Eldred’s Shakespeare brings a sly, lightly exasperated charm, leaning into the playwright’s ego without overplaying it, while Crystal Kellogg’s Anne Hathaway counters him with warmth, clean comic timing, and an easy wit. Together, they turn their marital back-and-forth into a steady, engaging thread that helps anchor the show’s driving rhythm and provides some of its funniest moments. Nico Ochoa’s May delivers one of the evening’s most affecting performances, especially in “I’m Not a Girl, Not Yet a Woman,” sung with disarming honesty. Joseph Torres dives gleefully into Romeo’s chaotic bravado, Noah Marlowe’s François adds irresistible comedic sparkle, and Kathryn Allison’s Angélique unleashes powerhouse vocals that stop the show in its tracks. Together, they form a tight, dynamic ensemble that amplifies Juliet’s story and keeps the production pulsing with life.

The show also finds touching emotional beats in Fatone’s Lance, whose scenes with Marlowe’s François carry a gentle, fatherly warmth that echoes the same kindness in François’s growing bond with Ochoa’s May.

Fatone and Allison’s duet on “Overprotected” is a standout, giving Lance and Angélique’s reunion a burst of humor and genuine warmth, and it’s just the start of Fatone’s musical impact throughout the night. His biggest showcase, “Teenage Dream,” becomes a warm, gently comic surprise as he embraces the Katy Perry hit with earnest, velvety vocals that give the number a sweetness you don’t see coming. Fatone may play Lance as the show’s affable comic relief, but his pop pedigree shows; every musical moment feels relaxed, lived in, and delivered with the kind of easy charisma that lifts the entire stage. It would have been nice to hear another number or two from him, especially since he proves he can still bust a move in the big ensemble dance feature “Everybody (Backstreet’s Back).”

The ensemble deserves its own praise, offering crisp harmonies, sharp choreography, and a lively spirit that keeps the show’s force surging. They match Fatone’s charisma beat for beat, creating a lively backdrop that makes each of his musical moments land even more effectively. Their collective precision and enthusiasm elevate the production, giving the score the full, joyful lift it needs.

The company of the North American Tour of & JULIET (1) - Photo Credit Evan Zimmerman for MurphyMade.

If there’s anything I’d tweak, it’s that a few of the show’s narrative threads resolve a bit quickly in Act II, especially once Romeo crashes back into the story and the plot starts juggling multiple character arcs at once. The momentum never falters, but you can feel the show accelerating to tie up loose ends, which leaves certain beats landing faster than they need to. Like many jukebox musicals, a handful of emotional moments feel shaped more by the song than the situation, and a couple of supporting journeys wrap up a bit neatly compared to Juliet’s richer, more fully realized arc. These aren’t flaws so much as brief soft spots in an otherwise confident production, but they do create moments where the storytelling feels slightly compressed next to the show’s usual clarity, wit, and spark.

Even with those brief pacing dips, the production stays remarkably unified, and much of that cohesion comes from the creative team’s razor-sharp vision and assured hand. With a book by David West Read, the Emmy-winning writer behind Schitt’s Creek, the show’s humor lands with a cheerful, contemporary snap that is clever without ever feeling smug and heartfelt without tipping into sentimentality. Luke Sheppard’s direction keeps the pace brisk and the tone delightfully self-aware, guiding the audience through rapid-fire shifts between Shakespearean parody and pop-musical exuberance. Jennifer Weber’s Emmy-winning choreography is the engine that keeps the whole thing pulsing, layering crisp, high-impact movement over Max Martin’s hits in ways that feel both nostalgic and freshly inventive. Together, they shape a production that is as smart as it is spectacular, proving that & Juliet succeeds because its creative foundation is every bit as strong as its glittery, radio-hit exterior.

What I love is how much the show feels like a full-tilt party. Throughout the night, the musical keeps slipping into irresistible, disco-bright bursts of celebration - confetti, fireworks, and bouncy dance numbers - the kind that wash over the Auditorium Theatre with a buoyant, communal energy. Even the live band, tucked out of sight, delivers with such punch that the show takes on a concert-like charge at times. By the end, the audience is on its feet, cheering as if they’ve been part of the celebration all along.

The design team behind & Juliet gives this touring production its glossy, high-octane finish, each element snapping together with precision. Soutra Gilmour’s scenic design provides a playful, ever-shifting backdrop, while Howard Hudson’s lighting drenches the stage in radiant color and concert-style intensity. Paloma Young’s costumes amplify the show’s turn-of-the-millennium exuberance, blending Shakespearean silhouettes with modern pop flair to mirror the musical’s playful collision of eras, and Gareth Owen’s sound design keeps Max Martin’s hits punchy and impeccably balanced. Add Andrzej Goulding’s video and projection work, and you get a production that feels polished, cohesive, and irresistibly alive.

& Juliet continues to light up Chicago with glitter, heart, and high-voltage joy, and this touring production proves itself an outright delight. Running July 22 through August 2, 2026, the Broadway in Chicago engagement at the Auditorium Theatre delivers a vibrant, tightly crafted experience that never loses sight of its emotional core. With a knockout lead performance, a dynamic ensemble, and a creative team working at peak imagination, this tour shows exactly why & Juliet has become one of the most irresistible modern musicals. It is a jubilant, neon-bright celebration of rewriting your own story and absolutely worth catching before it dances out of the city.

Highly recommended.

https://andjulietbroadway.com/

https://www.broadwayinchicago.com/shows/and-juliet/

Following its critically acclaimed productions of Sweeney Todd and Into the Woods, Kokandy Productions once again celebrates the great Stephen Sondheim with a revival of his stunning masterpiece Sunday in the Park with George, playing August 13 – November 1, 2026 in the intimate Chopin Downstairs Studio, 1543 W. Division St. in Chicago. Tickets are on sale now at kokandyproductions.com or bit.ly/SundayChicago. 

This beloved musical will feature Kevin Webb (Sweeney Todd, Into the Woods) as George and Missy Wise Vanderzee (Bonnie & Clyde) as Dot/Marie with an ensemble including Nick Arceo as Boatman, Danny Andrew Bennett as Jules, Rachel Carreras as Nurse, Ella Carson as Louise, Emily Holland as Celeste 1, Lauren Miller as Old Lady, Z Moore as Franz, Samantha Ringor as Celeste 2, KyraJo Petit-Walla as Frieda, Nathe Rowbotham as Yvonne, Jack Saunders as Soldier and Abraham Shaw as Louis. Swings include Brittney Brown, David Gordon-Johnson, Gabriel Levi, Brady Magruder, Halli Morgan, Sarah Seidler and Elexis Selmon.

The first Chicago storefront production Sunday in the Park with George in over 15 years is directed and choreographed by Producing Artistic Director Derek Van Barham with music direction by Nick Sul, book by James Lapine and music and lyrics by Stephen Sondheim.

About the Production

Inspired by the painting, "A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat, Sunday in the Park with George merges past and present into beautiful, poignant truths about life, love and the creation of art. One of the most acclaimed musicals of our time, this moving study of the enigmatic painter, Georges Seurat, won a Pulitzer Prize and was nominated for an astounding ten Tony Awards, including Best Musical.

"Sunday in the Park with George was one of the first shows I pitched to direct when interviewing to join the company back in 2018," says Producing Artistic Director Derek Van Barham. "It's almost a decade later and we're finally visiting this astonishing masterpiece. It feels like the right time. The show offers us a chance to reflect on what we've been creating and to look forward at what we still hope to achieve – both as a company and as individual artists. Sunday reminds us not to linger too much on the future or the past, but to focus on the present moment, to connect with each other in real space and time. What a gift that will be. What a gift it is to be together in a room, taking in a piece of art, having communal and singular experiences at the same time."

The production team includes G "Max" Maxin IV (Scenic and Lighting Design), Rachel Sypniewski (Costume Design), Matt Reich (Sound Design), Julian Weslander (Properties Design), Syd Genco (Makeup Design), Keith Ryan (Wig and Hair Design), Stone TeSelle (Associate Scenic Design), Shane Roberie (Casting Director), Nicholas Reinhart (Production Manager), Amelia Osborn (Associate Production Manager), Kendyl Meyer (Stage Manager), Ethan Colish (Assistant Stage Manager), Michael Coppola (Stage Management Intern), Scot Kokandy (Executive Producer) and Derek Van Barham (Producing Artistic Director).

PRODUCTION DETAILS:

Title: Sunday in the Park with George

Book: James Lapine

Music & Lyrics: Stephen Sondheim

Director and Choreographer: Producing Artistic Director Derek Van Barham

Music Director: Nick Sula

Cast (in alphabetical order): Nick Arceo (Boatman), Danny Andrew Bennett (Jules), Ella Carson (Louise), Rachel Carreras (Nurse), Emily Holland (Celeste 1), Lauren Miller (Old Lady), Z Moore (Franz), KyraJo Petit-Walla (Frieda), Samantha Ringor (Celeste 2), Nathe Rowbotham (Yvonne), Jack Saunders (Soldier), Abraham Shaw (Louis), Kevin Webb (George) and Missy Wise Vanderzee (Dot/Marie).

Swings: Brittney Brown, David Gordon-Johnson, Gabriel Levi, Brady Magruder, Halli Morgan, Sarah Seidler and Elexis Selmon

Location: Chopin Downstairs Studio, 1543 W. Division St., Chicago

Dates: Previews: Thursday, August 13 – Friday, August 28, 2026

Regular run: Sunday, August 30 – Sunday, November 1, 2026

Curtain Times: Thursdays, Fridays and Saturdays at 7 pm; Sundays at 5 pm.

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

Sunday in the Park with George is presented through

special arrangement with Music Theatre International (MTI).

About the Artists

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

Nick Sula (Music Director) is an award-winning pianist and music director, proud to return to Kokandy Productions and the Chopin Theatre where he served as music director for the Jeff Award-winning productions of Jekyll & Hyde (Jeff Award for Outstanding Music Direction), Sweeney Todd (Jeff Award for Outstanding Music Direction), Into the Woods (Jeff Awards for Outstanding Music Direction and Orchestrations) and the Chicago Musical Theatre Festival. Other Chicago theatre music direction credits include: Octet (Raven Theatre); Anything Goes (Porchlight Music Theatre); Ghost Quartet (Black Button Eyes Productions). As a professor of musical theatre he serves as a music director, instructor and vocal coach at the Chicago College of Performing Arts at Roosevelt University.

About Kokandy Productions

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

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot Kokandy (Executive Producer) and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot T. Kokandy, Danielle Sparklin and Katie Svaicer. 

For additional information, visit kokandyproductions.com. 

Chicago Tap Theatre (CTT) is proud to announce its Founder and Artistic Director Mark Yonally has been selected by the Preservation Committee for the American Tap Dance Foundation to receive the 2026 Hoofer Award. Yonally will accept the honor at the Tap City Awards, Friday, Sept. 11 at 7 p.m. at the Bruno Walter Auditorium at the New York Public Library for the Performing Arts at Lincoln Center, 111 Amsterdam Ave, New York City. The annual Hoofer Award recognizes prominent tap artists as leaders in the community for their unique contributions to the form and for inspiring future generations. For more information on Yonally and upcoming Chicago Tap Theatre events go to ChicagoTapTheatre.com.

As part of the Tap City Awards, Yonally was given the opportunity to have a performance honoring him. He selected Chicago Tap Theatre, the company he founded, to perform, with guest artist Lisa LaTouche.

The night before the award Yonally, with CTT Artistic Associate Sterling Harris and Rehearsal Director Molly Smith, will present a two hour event, "The Chicago Tap Theatre Connections Lab: Sharing the Repertory and Rhythm of CTT with the NYC Community" at the Rhythmic Arts Center in Harlem, 175 E. 105th St. in New York City.  The class will be followed by an hour-long "Connection" for the NYC tap dance community to learn more about Chicago Tap Theatre, their processes, values and open Company and Apprentice positions.

The Hoofer Award was created in 2001 with the presentation of the inaugural award to the late Gregory Hines. Since then, Hoofer Awards have been presented to fellow Chicago-artists M.A.D.D. Rhythms Bril Barrett, Dean Diggins, Reginald McLaughlin, "Reggio the Hoofer," Ted Levy as well as Ayodele Casel, Lynn Dally, Derick K. Grant, Sarah Petronio and the late Ernest "Brownie" Brown, Buster Brown, Jimmy Slyde and other notable members.

The Tap City Awards honors recipients of the American Tap Dance Foundation's Hoofer, Tap Preservation and International Tap Dance Hall Of Fame Awards. The evening will include surprise guests, archival film clips and live performances, celebrating the rich legacy and vibrant future of tap dance. Yonally, as well as Ali Bradley from Michigan will receive the Hoofer Award. In addition, Buddy Bradley, LaVaughn Robinson and NYC Tapworks will be joining the Tap Dance Hall of Fame and Thelma Goldberg will receive the Preservation Award.

"I am beyond thrilled to have been selected to receive the prestigious Hoofer Award," said Founder and Artistic Director Mark Yonally. "I am still trying to find words that truly express my feelings as I join this list of former Hoofer Award-winners including mentors, idols and contemporaries. My sincerest gratitude goes to the American Tap Dance Foundation for honoring me."

ABOUT MARK YONALLY

Mark Yonally is the founder and artistic director of Chicago Tap Theatre (CTT), a critically acclaimed dance company in Chicago, performing an annual three-show season and touring in America and Europe. CTT's performances have been recognized by the Chicago Tribune, Chicago Sun-Times, SeeChicagoDance.com and Windy City Media, with the 2016 show "TimeSteps" named Best New Production by Dance Magazine Reader's Poll. Yonally is renowned internationally, performing solo in cities like Chicago, Helsinki, Barcelona, New York, Amsterdam and Paris, and has worked with mentors such as Sam Weber and Dianne Walker. He has performed with the Bill Evans Dance Company and Especially Tap Chicago at prestigious festivals, including the St. Louis Tap Festival and the Royal Opera House in Helsinki. His choreography has been commissioned by various dance companies and he collaborates with Valérie Lussac and Guillem Alcalay, teaching annually in Toulouse and Barcelona. He teaches and judges at dance conventions across the United States and is an educator at Oklahoma City University and Hope College. He has published in Dance Spirit, Dance Teacher and Dance Magazine and hosts "The Tea on Tap," featuring interviews with noted tap dancers.

ABOUT CHICAGO TAP THEATRE

Founded in 2002, Chicago Tap Theatre is a growing and vibrant dance company dedicated to preserving the quintessentially American dance form of tap while taking it to the next level of creativity, innovation and quality. CTT performs exclusively with live music provided by some of Chicago's finest musicians playing everything from Duke Ellington to David Bowie and many artists in between. Under the dynamic direction of master teacher and performer Mark Yonally, CTT has gained a loyal and sizable following in Chicago and continues to tour both nationally and internationally. Having pioneered the "tap opera" format, which tells stories with compelling characters and intriguing plots, CTT has used the language of tap dance, live music and narration to move audiences for more than 20 years.

 ABOUT AMERICAN TAP DANCE FOUNDATION

The American Tap Dance Foundation (ATDF) is a non-profit 501c3 organization committed to establishing and legitimizing Tap as a vital component of American dance through creation, presentation, education and preservation.  ATDF is recognized as a local, national and international leader in the field and continues to further three main objectives:

•  to perpetuate Tap as a flourishing contemporary art form on a national and international level,
•  to provide a basis for the growth of tap dance by teaching new generations through comprehensive educational programs and
•  to preserve the artistry of the early generations of tap masters.

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.
 

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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.

Kokandy Productions’ HAIR revival lets the sunshine in this summer at the Chopin Theatre. Directed and choreographed by Brennan Urbi, this remount is a fresh, funky and poignant riff on the classic 1960s tribal love-rock musical by Galt MacDermot. The large cast of new and returning Kokandy faces bring this musical out of its time capsule and into the 21st century with incredible vocals and unwieldy energy. In short, this cast is having a blast and so will you.

HAIR is one of the rare musicals whose songs actually crossed over into mainstream pop/rock. Perhaps most notably by way of The 5th Dimension’s iconic medley of ‘Aquarius’ and ‘Let the Sunshine In’ from 1969. However, one doesn’t have to look far to find songs like ‘Good Morning, Starshine’ and the title track ‘Hair’ used throughout pop culture. Re: Simpsons did it. Most people who have never seen HAIR the stage musical, or its film adaptation are at least somewhat familiar with its refraining choruses.

That said, by now HAIR has been lampooned as a shallow hippie fever dream known for simulated pot smoking and full-frontal nudity. Some elements of the musical might support the stereotype, but Urbi digs deeper into the lyrics and book by Gerome Rangi and James Rado and creates a much more cohesive and contemporary production than even the renowned 2009 Broadway revival.

(left to right) Diana Marilyn Alvarez, Joshua Emmanuel, Chosen Mitchell, Kijani Xand Caitlin Dobbins in Kokandy Productions’ revival of HAIR. Photo by Michael Brosilow.

While HAIR might lack an immediate plotline, it instead spends the first third of the show exploring the themes of the 1960s counterculture through conceptual songs that don’t quite further the action but are incredibly catchy. Claude, Berger and Sheila emerge as the show’s main protagonists, which is where things get more interesting.

Berger is the tribe’s ringleader, a young sexually charged dropout played by Zac Richey. His main concern is certainly the “free love” element of hippy culture and not much else. Claude serves as the show’s moral compass–another dropout who questions the ethics of dodging the draft and whether hippie culture is as altruistic as it claims. Sheila, played by Catherine Rodriguez O’Connor, is an activist caught between the two male leads. Her voice is showstopping throughout, especially during the arresting finale.

Style is an essential component of HAIR. While it’s impossible to stray far from the 1960s given its direct references to the Vietnam War, costume designer Rachel Sypniewski and lighting designer G “Max” Maxin IV, bring a certain modern rave aesthetic to Kokandy’s production. Those who choose to sit on scenic designer Eleanor Kahn’s conversation pit-flavored set will be richly rewarded by all the trippy lights and wild action happening around them.

HAIR is a largely ensemble-driven show and they’re doing their job well here. The character Dionne begins the show with a stirring version of ‘Aquarius’ impeccably sung by Chosen Mitchell. Honestly, any production of HAIR is only as good as its Dionne. You won’t be able to take your eyes off Mitchell whose vocal gymnastics throughout the show will make the hair on your arms stand up. Styled perfectly against the club lighting, Mitchell proves to be the show’s hidden gem. It’s a hard bar to clear as this ensemble is giving some of the tightest harmonies Kokandy has ever produced.

This revival of HAIR is one for the Chicago books. It captures the spirit of the 1960s, but with the frustrations of 2026 youth culture it begs the question, how on Earth are we still singing about more or less the same societal ills?

Through September 13 at Kokandy Productions at the Chopin Theatre. 1543 W Division St. 773-278-1500

https://www.kokandyproductions.com/

Dave Malloy’s Octet is a musical with daring aspirations, currently gracing the stage in a powerhouse co-production between the Raven Theatre and the Goodman Theatre. This staging, directed by Keira Fromm, first debuted at the intimate Raven Theatre, where it enjoyed a highly successful run before its move to the Goodman - a transition that proves the project is as robust as it is ambitious. Octet stands apart as a completely a cappella experience, relying entirely on the human voice to build its intricate, immersive, and haunting soundscape.

Malloy’s imprint is everywhere in this piece. He wrote the music, lyrics, book, and even the intricate vocal arrangements, crafting a score constructed without a single instrument to generate its tension, beauty, and emotional architecture.

Set in a sparse, church-basement style meeting room, the play introduces us to the “Friends of Saul,” a support group for people struggling with internet addiction. Their relationship to the online world is so fraught that they refuse to say its name, calling it only “the monster” to avoid giving it more power. Throughout their time together, the eight participants take turns sharing fears of being canceled, pornography, gaming, the pull of incel communities, and the inability to connect with others. Their discussions are brutally honest, darkly comedic, laced with expletives, and at one point offer an especially disturbing illustration of just how grotesque the monster can be. It’s unlike anything before.

The show threads each character’s intimate, emotionally charged account into sweeping ensemble passages that rise like contemporary hymns, the group joining voices to confront and grieve the “monster” that binds them. The interplay creates a pulse that feels communal and ritualistic, as though every personal admission is carried forward and reshaped by the collective.

The performances are nothing short of a whirlwind. The talent onstage is beyond belief. The ensemble showcases astonishing vocal mastery, blending with precision to create rich, enveloping music.

Sam Shankman in Dave Malloy's Octet at Goodman THeatre in collaboration with Raven Theatre. Photo by Joe Mazza. 

Neala Barron, as Jessica, is phenomenal with powerhouse vocals and a dynamic stage presence. Her rendition of “Refresh” is delivered with the intensity of a tiger trapped in a cage, perfectly capturing the visceral feeling of being humiliated online and the subsequent rage against the world. Along with dramatic chops, she makes her comedic lines sizzle.

Sam Shankman plays the comedy perfectly as Henry. His portrayal of a tone-deaf, slightly dorky addict is both identifiable and deeply empathetic. His song “Candy” is a standout that demonstrates how this ensemble can craft story using only a cappella sound and how their movement reinforces the narrative.

Teressa La Gamba, as Paula, the group’s moderator, brings a gentle strength and compassion that helps root the show. But when she sings, it feels as if the roof will fly off. She commands the stage with perfect vocal precision, whether in a solo or complex ensemble passages.

The set is intentionally sparse and open, which functions perfectly for the show’s focused format, a choice scenic designer Milo Bue shapes with thoughtful restraint. The lighting design, crafted by Maximo Grano de Oro, is similarly impressive. Overhead lights shift deftly from the feel of a bland meeting room to the vibrant, chaotic interior of a Candy Crush interface or the dark corners of a character’s mind. In an instant, you can be transported to an entirely different plane and lost in its overwhelming atmosphere.

As the plot unravels, the staging seems intent on exploring where hope can or cannot be found, and it makes clear that faith-based religion is not where it looks. The script often approaches Christian belief with a skeptical edge, sketching certain “believer” archetypes in broad, unflattering strokes. The structure of “Friends of Saul” reinforces this orientation, lightly echoing the format of Alcoholics Anonymous. AA, one of the most widely recognized recovery communities, is often described as spiritual in nature, while many participants experience it as rooted in a faith-guided model, as it was originally intended. “Friends of Saul,” by contrast, operates with a more nonreligious bent, occasionally running out of pamphlets for “Steps for Agnostics and Atheists,” a detail made all the more ironic given that their meetings take place in a church basement - a space that pointedly distances itself from the faith‑oriented tradition AA is often associated with.

That contrast deepens in “Little God,” one of the staging’s more unusual songs. Here, Marvin (Jordan Golding), a committed atheist, describes an encounter with an all-powerful being represented onstage by a small girl and reflects on his compulsion to debate creationists about evolution. The moment is very much Malloy’s choice, framing Marvin’s fixation as a kind of intellectual loop: the irresistible pull of trying to reason through the idea that something as vast as existence might emerge from nothing at all, a purposeful artistic angle that shapes the show’s worldview.

Given these choices, the staging’s perspective may not resonate as strongly with audiences who hold traditional Christian views, which seems intentional, reflecting a deliberate direction in Malloy’s overall vision. In contrast, the show places greater emphasis on new age spirituality and tarot, treating these elements with notable sincerity. Each character has direct parallels to tarot cards, and Velma (Joryhebel Ginorio) finds her spiritual awakening through them. In fact, she is the only member of the group who speaks the monster’s true name, “internet,” throughout the night. Ultimately, the musical suggests that a blend of new age spirituality and human connection is the most viable path to inner peace.

Although these elements may pose challenges for certain audiences, Octet remains a triumph of vocal performance. These actors represent the highest caliber of Chicago talent, and when their voices come together, the result is breathtaking and inspiring. If you are looking for choral artistry, Octet delivers. For some audiences, Octet’s philosophical stance may feel more contemplative than corrective, raising more questions than answers about our relationship to the online world - but its musical brilliance makes the journey more than worthwhile.

Recommended.

Venue: The Goodman Theatre – The Owen 170 N. Dearborn Street, Chicago

Run Dates: Through August 2

Performance Schedule:

• Wednesdays: 7:30 p.m.
• Thursdays: 2:00 p.m. & 7:30 p.m. (No evening performance on July 30)
• Fridays: 7:30 p.m.
• Saturdays: 1:00 p.m. & 7:30 p.m.
• Sundays: 2:00 p.m. (Additional 7:30 p.m. performance on August 2)

Running Time: 1 hour, 35 minutes (no intermission)

Box Office: 312-443-3800

Tickets: https://www.goodmantheatre.org

The timeless magic of Arnold Lobel’s beloved children’s book series comes to life in the Marriott Theatre’s delightful production of A Year with Frog and Toad. With book and lyrics by Willie Reale and a score by Robert Reale, this whimsical musical adaptation perfectly captures the endearing spirit that resonates with children young and young-at-heart.

Directed by Elizabeth Romero, the production finds its heart in the friendship between the jovial Frog and the temperamental Toad. Told through a series of lighthearted vignettes, the duo navigates an embarrassing swimsuit mishap, a baking conundrum, a spooky story, and a bumpy sled ride. Despite these ups and downs, the amphibians hold fast to one another, offering a poignant lesson that kindness is the foundation of a lasting relationship. 

Callan Roberts is a standout as Frog, serving as the production's steady, joyful anchor. Roberts possesses a fantastic physicality that imbues the character with a fun-loving nature that elevates the role beyond the page. His clever use of inflection and vocal intonation brings the humor to life; with his expressive range and infectious energy, one could easily imagine him as an excellent Willy Wonka. 

Opposite him, Karl Hamilton offers a fascinating interpretation of Toad. Rather than leaning into a one-note “grumpy” persona, Hamilton makes the creative choice to play Toad with a sensitive, child-like disposition. He portrays the character as someone easily overwhelmed by confusion or sudden emotional disruption, which adds depth to their dynamic.

The ensemble cast deserves immense credit for their versatility, seamlessly juggling multiple roles. Their high-energy performances effectively propel the story through the changing seasons, keeping the audience engaged from start to finish.

The vibrant stage design is equally playful, featuring giant flowers, leaves, and bubbles. 

The cast portrays various forest animals with costumes that lean into abstraction, transforming bird wings into shawls and turtle shells into backpacks. While these conceptual choices are creative, they occasionally feel slightly underdone. Characters like the mouse and the birds would have benefited from a few additional flourishes to fully accentuate the ensemble’s flair.

For parents bringing their children, this production does an excellent job of being accessible for children. The story provides a gentle exploration of emotions—such as anger, sadness, and loneliness - offering a format for children to see how characters process and overcome negative experiences. The narrative encourages community and kindness, demonstrating the power of working together.

In many ways, Frog assumes a protective, almost parental role toward Toad, calming him during tense circumstances and actively seeking opportunities to encourage him—a touching lesson that young audience members are sure to notice.

The production also features a post-show question-and-answer session. This is a wonderful addition, allowing children to engage directly with the cast and learn about the behind-the-scenes nature of theater, from the mechanics of props to the process of putting a musical together. 

Ultimately, A Year with Frog and Toad is a heartwarming reminder of the value of friendship, making it a perfect outing for families. Kids of all ages are sure to enjoy the wholesome entertainment and take away valuable lessons.

https://www.marriotttheatre.com/

A bold story about the controversial creation that reshaped women’s lives is the focus of The Birth of the Pill, a world premiere play launching TimeLine Theatre’s 30th Anniversary season in September. 

The Birth of the Pill —by playwright Jessica Huang, based on the book by Pulitzer Prize-winning Chicago author Jonathan Eig (King: A Life), directed by Sandra Marquez—is an eye-opening story about science, power, and the women who paid the price for progress. Commissioned and developed by TimeLine Theatre, this highly anticipated world premiere is the opening production of the company’s inaugural, four-show season at its new home in Chicago’s Uptown community.

Previews of The Birth of the Pill start September 2. Performances run through October 4 at TimeLine Theatre, 5035 N. Broadway (at Argyle) in Uptown. Single tickets go on sale July 21. For tickets and information, call the TimeLine Box Office at (773) 281-8463 x1 or visit timelinetheatre.com.

TimeLine looks forward to bringing this chapter of global history to its stage and is ready to probe the play’s urgent questions about consent, sacrifice, and the complicated cost of social change. The Birth of the Pill begins in the mid‑20th century as a radical dream begins to take shape: a simple pill that would give women full control over their reproductive futures. Championing this groundbreaking idea are feminist activist Margaret Sanger, scientist Gregory Pincus, gynecologist John Rock, and philanthropist Katharine McCormick—visionaries working under intense secrecy amid legal, scientific, and religious roadblocks. Meanwhile, in Puerto Rico, clinical trials place the burden of experimentation on women like Ramona Delgado, whose lives and bodies become entangled in the quest for scientific advancement.

Audiences will be hard-pressed to recall another play that interacts with its source material quite like The Birth of the Pill. Huang calls it “a play in conversation with the book by Jonathan Eig,” offering a fresh, critical look at how the book holds up 14 years after publication, after the overturning of Roe v. Wade in 2022, and amidst the current cultural and political climate of the United States.

“I’m excited almost beyond words to see The Birth of the Pill on stage,” said Eig. “Jessica Huang’s play is a whole new thing—not so much an adaptation as a reinvention. I feel like the book had a baby, and the child is more brilliant and beautiful than I ever could have dreamed. I can’t wait for everyone to see it.”

Published in 2014 by W. W. Norton, Eig’s book The Birth of the Pill was hailed as “one giant leap for womenkind” by The Guardian and named a “Best Book of 2014” by the Chicago Tribune. Eig’s subsequent biography of Martin Luther King Jr., King: A Life, won the 2024 Pulitzer Prize for biography. His biography of Muhammad Ali, Ali: A Life, won the PEN/ESPN Award and inspired a documentary by Ken Burns, for which Eig served as consulting producer. Other literary works include Get Capone, Opening Day, and The Luckiest Man. Eig (jonathaneig.com) confirms this is his first involvement in theatre since he played trumpet in the pit orchestra for Brigadoon at Spring Valley High School. He and his wife, Jennifer Tescher, are longtime TimeLine Theatre subscribers.

“Befitting TimeLine’s mission, The Birth of the Pill is a story that transcends time—exploring the quest to invent the birth control pill, the struggles, controversies, and harm caused by its creation and clinical trials, and all the history that continues to unfold since. We can’t wait to bring this play to Uptown to launch the inaugural season in our new home,” said TimeLine Theatre Artistic Director PJ Powers.

“We’ve been great admirers and friends of Jonathan Eig for many years, and I began talking with him more than a decade ago about adapting one of his many tremendous books into a play,” Powers added. “The Birth of the Pill quickly became that passion project for TimeLine, among his lauded body of work, and we were thrilled to commission Jessica Huang, a playwright whose skill, craft, and unique voice had already captured our great interest. The pairing of Jessica and Jon—and the invaluable leadership of director Sandra Marquez—has been one of the most inspiring collaborations I’ve witnessed in TimeLine’s 30 years. Jon has been a generous contributor, sharing his depth of research, while also being an enthusiastic cheerleader for Jessica to create a piece of theatre in her own voice, and for this moment, distinct from when and how the book was first written.”

“The play is an adaptation, but also an addition to Jon’s book,” agreed Huang. “For me, the story of the Puerto Rican women who were coerced to participate in clinical trials is not only a crucial piece of our history, it is actually the center of this story. So while the play is a faithful adaptation, it is also a retelling that challenges his book, adds to his book, and collaborates with it. Sort of like my friendship with Jon, which became a part of the play as well.”

The commission and development of The Birth of the Pill was supported in part by the Joseph and Bessie Feinberg Foundation.

PERFORMANCE SCHEDULE

Previews of The Birth of the Pill are Wednesday, September 2; Thursday, September 3; and Friday, September 4 at 7:30 p.m.; Saturday, September 5 at 2 p.m. and 7:30 p.m., Sunday, September 6 at 2 p.m.; and Tuesday, September 8; and Wednesday, September 9 at 7:30 p.m. Opening Night is Thursday, September 10 at 7:30 p.m. Regular performances continue through October 4: Wednesday, Thursday, and Friday at 7:30 p.m.; Saturday at 2 p.m. and 7:30 p.m.; and Sunday at 2 p.m. Exception: No 7:30 p.m. on Saturday, September 12.

BUYING TICKETS

Single tickets to The Birth of the Pill, priced $40–$100, go on sale July 21. For tickets and information, visit timelinetheatre.com or call the TimeLine Box Office at (773) 281-8463 x1. 

Preview tickets are $40 - $63. Single tickets to regular performances are $65 - $100. Prices vary based on performance date and seat location. 

Pay What You Will pricing is available for these previews: Thursday, September 3 at 7:30 p.m.; Friday, September 4 at 7:30 p.m.; and Saturday, September 5 at 7:30 p.m. Student discount to all performances is 35% off regular price with valid ID. TimeLine is also a member of TCG’s Blue Star Theatre Program and is offering $30 tickets to U.S. military personnel, veterans, first responders, and their spouses and family. 

All listed prices are inclusive of fees.

Ticket buyers ages 18-35 may join TimeLine’s free MyLine program to obtain access to discounted tickets, special events and more. Discounted rates for groups of 10 or more are also available. Visit timelinetheatre.com/discounts for more about available discounts.

LOCATION/PARKING/TRANSPORTATION

TimeLine’s new home is located at 5035 N. Broadway (at Argyle) in the heart of Chicago’s Uptown community.

TimeLine Theatre is easily reached via public transportation, located steps away from the CTA Red Line stop at Argyle. The #36 Broadway bus stops at Broadway and Argyle, the #151 Sheridan stops three blocks east at Argyle, and the #81 Foster stops at Broadway and Foster, just two blocks north.

Convenient parking is a new hallmark for TimeLine Theatre. The self-park garage at 5051 N. Broadway, two doors north of the theatre, offers up to 6 hours of parking for $10, with validation. Ask for a validation sticker from TimeLine’s Audience Services staff. The self-park surface lot at 5017 N. Winthrop in the heart of Asia on Argyle also offers discounted parking for up to 6 hours for just $7 via an app and QR code.

Nearby street and metered parking is available but limited. Please note some streets are zoned for resident parking only. Visit timelinetheatre.com/venues/timeline-theatre for additional information, including driving directions and nearby dining recommendations.

DISCUSSIONS

Pre-Show Discussions: Starting one hour before the performance, a 30-minute introductory conversation will be hosted by a TimeLine Company Member and the dramaturg on Wednesday, September 16.

Post-Show Discussions: A brief, informal post-show discussion hosted by a TimeLine Company Member and featuring the dramaturg and members of the production team on Thursday, September 17; Sunday, September 27; and Thursday, October 1.

Company Member Discussion: A post-show discussion with the team of artists who choose TimeLine’s programming and guide the company’s mission on Sunday, September 13.

Sunday Scholars Panel Discussion: A one-hour panel discussion featuring experts on the themes and issues of the play in a moderated discussion, following the performance on Sunday, September 20.

All discussions are free and open to the public. 

ACCESSIBILITY

Captioned Performances: Open-captioned performances with a text display of words and sounds heard during performances are Friday, September 25 at 7:30 p.m. and Saturday, September 26 at 2 p.m.

Performances featuring audio description and ASL interpretation are to be announced.

TIMELINE’S INAUGURAL 2026-27 SEASON AT ITS NEW HOME IN UPTOWN

Following The Birth of the Pill, TimeLine Theatre’s 30th Anniversary, four-show season continues with:

• The Chicago premiere of the Olivier Award-winning Home, I’m Darling by Laura Wade, directed by TimeLine Company Member Mechelle Moe—a sharp, dark comedy examining nostalgia, marriage, and the seductive fantasy of a “simpler” past (November - December 2026).

• The Chicago premiere of The Far Country by Lloyd Suh, directed by TimeLine Company Member Helen Young—a sweeping immigration epic and 2023 Pulitzer Prize finalist exploring identity, sacrifice, and generational resilience in the shadow of exclusionary U.S. policy (February - March 2027).

• Merrily We Roll Along, music and lyrics by Stephen Sondheim, book by George Furth, based on the original play by George S. Kaufman and Moss Hart, directed by TimeLine Associate Artistic Director Nick Bowling with music direction by Otto Vogel—a Tony Award–winning musical unfolding in reverse, tracing the shifting relationships and ambitions of three friends over two decades (April - May 2027)

See it for yourself … from the best seats in the house! Save up to 25% off regular ticket prices and enjoy ultimate flexibility, priority access, and preferred reserved seating with a TimeLine FlexPass. Four options, priced from $189 to $389, are now on sale. MyLine FlexPasses (exclusively for patrons age 18-35) are also available for $85 (after enrolling in TimeLine’s free MyLine program). For more information and to purchase, call (773) 281-8463 x1 or visit timelinetheatre.com.

IT’S TIME: ABOUT TIMELINE’S NEW HOME

In 1997, six graduates of The Theatre School at DePaul University each pitched in $50 to launch a new theatre company focused on plays inspired by history that connect to today’s social and political issues. Over 30 years, largely operating out of a modest, 99-seat black box theater in a Lakeview East church, TimeLine grew to be a vital force in Chicago’s arts scene.

Building on this legacy, after nearly eight years of preparation including approximately 18 months of construction, TimeLine Theatre successfully repurposed a 1910s Reebie and Brother warehouse in Chicago’s Uptown community into a vibrant new cultural destination and the city’s newest live theater space.

TimeLine Theatre’s new home spans five stories and 33,600 square feet, combining 21,000 square feet of new construction with 12,600 square feet of adaptive reuse of portions of the former warehouse. Today, 5035 N. Broadway is home to a new, flexible, intimate 250-seat black box theatre that can be re-imagined for every show; exhibit galleries that enhance the production experience; dedicated space for Living History students, education programming, and community gathering; expanded social spaces, including a bar and café with patio; a spacious and visible rehearsal room that invites a view of the art as it’s being made; and office and production space for TimeLine’s growing staff.

TimeLine’s sleek facade brings new visual excitement to the Broadway streetscape with a 40-foot vertical blade marquee inspired by historic marquees in the neighborhood, including the Uptown Theatre and Aragon Ballroom. A green storefront canopy nods to nearby Uptown landmarks including Sun Wah BBQ and the Green Mill. A prominent glass curtain wall completes the Broadway facade, providing dramatic views into interior spaces that highlight the cultural activity inside.

Since launching It’s Time: The Campaign for TimeLine’s New Home, TimeLine has successfully raised more than $43 million toward the approximately $46 million project cost, including $12.9 million in public support ($2.9 million from the State of Illinois, $10 million from the City of Chicago), and funds from more than 200 generous individual donors. 

ABOUT TIMELINE THEATRE COMPANY

TimeLine Theatre Company, recipient of the 2016 MacArthur Award for Creative and Effective Institutions, was founded in 1997 with a mission to present stories inspired by history that connect to today’s social and political issues.

Now celebrating its 30th Anniversary Season, TimeLine has presented 98 productions, including 16 world premieres and 44 Chicago premieres, and launched the Living History Education Program, which brings the company's mission to life for students in Chicago Public Schools. Recipient of the Alford-Axelson Award for Nonprofit Managerial Excellence and the Richard Goodman Strategic Planning Award from the Association for Strategic Planning, TimeLine has received 64 Jeff Awards, including an award for Outstanding Production 11 times.

TimeLine is led by Artistic Director PJ Powers, Executive Director Mica Cole, and Board President Anne Voshel. TimeLine Company members are Will Allan, Nick Bowling, Janet Ulrich Brooks, Behzad Dabu, Charles Andrew Gardner, Lara Goetsch, Juliet Hart, Anish Jethmalani, Mildred Marie Langford, Mechelle Moe, David Parkes, Ron OJ Parson, PJ Powers, Maren Robinson, and Helen Young.

Major corporate, government and foundation donors providing season support via TimeLine’s Annual Fund include Abe and Ida Cooper Foundation, Bayless Family Foundation, Crown Family Philanthropies, HGA, John D. and Catherine T. MacArthur Foundation, Joseph & Bessie Feinberg Foundation, Laughing Acres Family Foundation, Lloyd A. Fry Foundation, Paul M. Angell Family Foundation, Polk Bros. Foundation, The Service Club of Chicago, The Shubert Foundation, Van Dam Charitable Foundation, and Walder Foundation. Major supporters of TimeLine’s Sustainability Fund include The Madge Goldman Foundation, The Passionflower Foundation, The Pritzker Traubert Foundation, and Anonymous. TimeLine also acknowledges support from the Illinois Arts Council Agency and the Illinois Department of Commerce and Economic Opportunity.

For more information, visit timelinetheatre.com, or Facebook or Instagram (@TimeLineTheatre on both platforms).