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).

Over the course of one night, through a haze of tequila, texting, and Taylor Swift, three teenagers banter, bicker, and push each other to the edge of danger — with consequences that could prove lethal. 

Theater Wit presents the Chicago premiere of Adolescent Salvation, L.A. playwright Tim Venable’s audacious new play that dares to portray adolescence in all its abundance of contradictions: sloppy, raw, and deeply human. Performances are August 14-October 3.

Adolescent Salvation begins light and funny, then shifts into something far darker, its tonal shifts as natural as the mood swings of youth. Critically acclaimed in its L.A. world premiere in 2025, Stage and Cinema wrote Adolescent Salvation "lurches, it burns, it contradicts itself — alive in ways most new plays are not." StageScene LA called it “one humdinger of a stunner.”

Adolescent Salvation marks the Chicago debut for playwright Tim Venable. Originally from Iowa, and a graduate of Illinois State University, he is an L.A. writer/ director/actor/producer. His other plays include Baby Foot, The Beautiful People, Blue Roses and Crystal Gayle is a Beautiful Lady. 

Guillermo Cienfuegos (the directing pseudonym of L.A. actor Alex Fernandez) staged the world premiere of Adolescent Salvation at Rogue Machine Theatre, where he is Artistic Director, in November 2025. Under both names, he has had an extensive 30-year career as a director and actor in theater, television, feature films and voice over. Cienfuegos returns to helm this second staging of Adolescent Salvation.

Theater Wit’s cast features Brandon Joseph Acosta as Taylor (M), Piper Jean Bailey as Natasha, Jordan Levene as Taylor (F) and Maura Kidwell as Victoria.  Designers include Jonathan Berg-Einhorn (set), Josephine Everett (costumes), Ellie Fey (lights), AnnaMae Durham (props), Daniella Brown (sound) and Sarah Scanlon (intimacy).  Drew Donnelly is production stage manager. Matthew R. Chase is production manager.

Adolescent Salvation is another Theater Wit production sure to spark conversation and linger long after the curtain. Previews are August 14-23: Thursday, Friday and Saturday at 7 p.m.; Sunday at 2 p.m. Press opening is Monday, August 24 at 7 p.m. Performances run through October 3: Thursday, Friday and Saturday at 7 p.m.; Sunday at 2 p.m. Exception: No show Thursday, August 27. Tickets are $18-$46. Run time is ninety minutes, no intermission. Purchase tickets at theaterwit.org, by calling (773) 975-8150, or in person at the Theater Wit box office. Be advised: Adolescent Salvation contains material that might be challenging for some viewers. For more, look for a link to spoilers on the show web page.

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

Following Adolescent Salvation, Theater Wit’s four-play, 2026-27 season continues with the return of its holiday season smash hit Who’s Holiday!, and the Chicago premieres of Dead Outlaw, book by frequent Wit collaborator Itamar Moses, in a co-production with Porchlight Music Theatre, and Joshua Harmon’s latest work, We Had a World. Purchase tickets at theaterwit.org, call (773) 975-8150, or purchase in person at the Theater Wit box office. 

Better yet, a great way to support Chicago’s storefront theater scene is to purchase a Theater Wit Membership. The monthly fee is just $35, often less than the price of a single ticket, $25 for students and $62 for a dual membership. For that, members see as many shows as they want on the company’s three stages – Theater Wit productions, resident, and visiting companies – year round. Sign up at theaterwit.org/boxoffice/membership.

In addition to Adolescent Salvation, visiting companies opening shows soon at Theater Wit include Nova Entertainment’s Hail Mary/Maria, August 14-22; Black Cat Theatre’s Elephant in the Room, August 28-September 13; and Water People Theatre’s Muses, September 1- 27.

About Theater Wit, Chicago’s “Smart Art” theater

As a production company, Theater Wit is the premier smart art theater in Chicago, producing humorous, challenging, and intelligent plays that speak with a vibrant and contemporary theatrical voice. As an institution, Theater Wit seeks to be the hub of the Chicago neighborhood theater scene. Led by Artistic Director Jeremy Wechsler, Wit brings together Chicago’s best storefront theater companies in its three, 99-seat spaces, where audiences find a smorgasbord of excellent productions, see the work of a parade of talented artists, and mingle with audiences from all over Chicago.

In Fall 2025, Theater Wit received a three-year, $600,000 grant from the Paul M. Angell Foundation in support of Theater Wit’s Shared Spaces program, which empowers the artistic work of independent itinerant theater producers through subsidized, affordable space rentals and tailored production, accessibility and administrative support.

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

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

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

MORE FROM OIL LAMP THEATER:

I Love You Because

August 14 – September 13, 2026

Book and Lyrics by Ryan Cunningham

Music by Joshua Salzman

Directed by Scott Shallenbarger

Music Directed by Aaron Kahn

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

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

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

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

Dial M for Murder

October 2 – November 1, 2026

Adapted by Jeffrey Hatcher from the original play by Frederick Knott

Directed by Daniel King

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

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

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

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

It’s A Wonderful Life: A Live Radio Play

November 20 - December 27, 2026

Adapted by Joe Landry

Directed by Becca Holloway

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

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

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

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

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

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

ABOUT OIL LAMP THEATER

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

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

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

Oscar Wilde’s The Importance of Being Earnest is one of the greatest farces ever written. His wordplay caricatured high society, and clever pay-offs are hilarious when executed properly. The play was first performed on February 14, 1895 (Valentine's Day). The premiere took place at the historic St James's Theatre in London. Wilde famously subtitled the work “A Trivial Comedy for Serious People,” a reminder that its brilliance lies in treating absurdity with absolute sincerity. Unfortunately, No Dogs in the Kitchen Theatre Company’s recent production, directed by Genevieve Corkery, misses the mark when bringing this beloved play to the stage.

For those unfamiliar, the classic comedy follows two high-society bachelors, Jack Worthing and Algernon Moncrieff, who invent secret personas to escape the boredom of everyday life. Trouble arises, however, when Jack (going by the name of “Ernest”) proposes to Gwendolen, who is intent on only marrying a man with that specific name. Matters are complicated further when the carefree, mischievous Algernon also dons the moniker “Ernest” to woo Jack’s ward, Cecily, who shares the exact same romantic obsession with the name. To find happiness, the lovers must quickly untangle a web of ridiculous misunderstandings and mistaken identities. The true brilliance of Wilde’s script lies in its wordplay and sharp societal satire, taking the audience on a wild, hysterical ride where the utterly absurd is treated with the utmost importance.

Founded in 2023, No Dogs in the Kitchen is still a young company, and a certain learning curve is both natural and expected as they continue shaping their artistic identity. Their past work has already shown a clear interest in bold, unconventional staging, often embracing heightened physicality and playful absurdism. That adventurous spirit is a defining part of their aesthetic, and it’s evident the ensemble values experimentation and a willingness to push familiar texts in unexpected directions. While this production didn’t always find harmony between those impulses and Wilde’s finely tuned verbal wit, the company’s enthusiasm, imaginative framework, growing technical confidence, and emerging vision suggest they have the tools to grow into a distinctive and compelling presence within Chicago’s storefront theatre scene.

The cast of No Dogs in the Kitchen’s “The Importance of Being Earnest” at Facility Theatre.Photo: Alex Albrecht

That said, where this production struggles is in its apparent distrust of the script, adding jumbled and superfluous elements that only serve to undercut the humor it tries so hard to generate. It is as if the creative team didn't believe the script was funny enough on its own, choosing instead to pile on unnecessary subtext that needlessly deviated from - and was unsupported by - Wilde’s text.

This staging regularly undermines its own comedic timing with added, cartoonish sound effects that reduce wit to silly gags. From boinging springs to breaking plates, it felt as if someone was trying to use every button on a soundboard. Furthermore, a heavy hand of physical humor frequently distracts from the brilliant dialogue. During several monologues, cast members distracted the audience with routines like fighting on a sofa. Another oddity occurred in the final act when multiple cast members broke the fourth wall to deliver lines - a trick they hadn't used up until that point. It’s unclear why there was such distrust in the source material, and why a surplus of additions was believed to be the solution.

The performances also suffered from this same directive, often relying on over-the-top delivery. Mitch Karmis, who played two different butlers, mugged for the audience and utilized an almost cartoon-like physicality. David Lovejoy portrayed Lady Bracknell as a Mommie Dearest caricature instead of the formidable, sophisticated society matriarch who delivers scathing lines with dry, icy wit. The performance moved between widely contrasting vocal registers, creating an uneven tone that often felt out of step with Lady Bracknell’s traditionally controlled presence. It was also unclear why, in the final act, Lady Bracknell suddenly transformed into a flirtatious aggressor who growled at Jack and threw herself at the butler. Another odd decision was to have Dr. Chasuble played by Sara Corkery in a rubber race mask.

Amidst these choices, there was a bright spot in Garret Weigel’s Jack. For the most part, Weigel found the right balance between inventive character choices and a respect for the script. Jack could easily be played as a boring straight-man when up against the whimsical Algernon, but Weigel added a distinct flair to his interpretation without straying too far from the original play.

It is genuinely unfortunate that the production chose to deviate so drastically from the text. When done faithfully, The Importance of Being Earnest is a true theatrical gem. While there were moments that elicited genuine laughter, they occurred when the text was allowed to speak for itself, rather than being buried under extraneous gags.

While this hyper-stylized, over-the-top version might appeal to theatergoers seeking a radical, alternative spin on a classic, those looking for a faithful, witty adaptation of Wilde’s masterpiece will likely find this production is not the one.

The Importance of Being Earnest runs through July 26th at Facility Theatre. For more information and/or tickets, visit https://nodogsinthekitchen.org/.

Full cast and production team have been announced for City Lit's season-opening production of SHANE, Mark Pracht's World Premiere adaptation of the classic Western novel by Jack Schaefer. The story, which richly depicts the transition of the American frontier from individualism to community, has been an enduring favorite ever since the novel's publication in 1949 and its 1953 Academy Award-winning film adaptation. Pracht, a Jeff Award-nominated writer (for his play THE HOUSE OF IDEAS, produced by City Lit in 2024) and one of City Lit's first class of Artistic Associates, will direct. SHANE will play through Sunday, October 4.
 
Michael B. Woods, a Jeff Award winner for Performer in a Principal Role - Play for his title role in BoHo Theatre's  2018 production of CYRANO, will take on the title role of the mysterious outsider who rides into a Wyoming Valley and takes a job as a farmhand. The homesteading family who hires him – Joe and Marian Starrett and their son Bob – will be played by Josh Odor, Whitney Minarik, and Bruce Holtman. Odor won a Jeff Award earlier this year as Performer in a Supporting Role – Play (Short Run) for his performance as the villainous father in the American Premiere of GANGSTA BABY with Open Space Arts. In SHANE, he will play the much kinder father and husband Joe. Minarik has appeared in NETWORK and THE TRAGEDY OF MACBETH with Invictus Theatre. Holtman was last seen at City Lit in SHERLOCK HOLMES AND THE CHRISTMAS CLOWNS and also appeared in Theo Ubique's THE BEST LITTLE WHOREHOUSE IN TEXAS. City Lit Artistic Associate Sean Harklerode, whose City Lit work includes roles in NIGHT OF THE HUNTER, MURDER IN THE CATHEDRAL, and all three entries in THE FOUR-COLOR TRILOGY, will play Fletcher – the cattle baron who tries to scare the Starretts off their land. The ruthless professional gunslinger Stark Wilson, who threatens to kill the homesteaders who refuse to leave, will be played by Jay Donley, whose experience with violence includes creating fight and intimacy design for Chicago productions as diverse as CAROUSEL (Music Theater Works) and ANGELS IN AMERICA (Invictus).
 
Also in Pracht's SHANE cast are Brandon Boler (Ernie Wright), Ross Childs (Curly), Chuck Munro (Grafton), Frank Nall (Shipstead), and Andrew Pappas (Chris). Understudies are Anthony Augustin (Curly/Shipstead U/S), Marshall Kious (Joe Starrett/Fletcher U/S), Zach Kunde (Grafton/Wright U/S), Payton Nesci (Bob/Chris U/S), Chase Wheaton-Werle (Shane/Ledyard-Wilson U/S), and Mary Eliza Willingham (Marian Starrett U/S).

The SHANE production team will include Jeremiah Barr (Scenic Designer/Technical Director), Beth Laske Miller (Costume Designer), Petter Wahlbäck (Sound Designer/Composer), Josiah Croegaert (Lighting Designer), G. "Max" Maxin IV (Projection Designer), Jim Terry (Projection Artwork), Jeff Brain (Props Designer), Vic Bayona and Richard Gilbert of R & D Choreography (Violence Designers), Courtney Abbott (Intimacy Director), Michael Lesko (Stage Manager), Leigh Barrett (Assistant Director), Mateo Gutierrez   (Production Manager).
 
All performances will be at City Lit Theater, 1020 W. Bryn Mawr Avenue, Chicago, on the second floor of the Edgewater Presbyterian Church. City Lit Season 46 subscriptions are available at $112.00, good for all performances, or $88.00 for preview performances. Subscriptions may be ordered online at www.citylit.org or purchased over the phone by calling 773-293-3682. Single tickets for Season 46 are priced at $32 for previews and $40 for regular performances and are on sale now. Senior prices are $5 off the applicable ticket prices. Students and active military are $22.00 for all performances.

SHANE 
Based on the novel by Jack Schaefer
Adapted and directed by Artistic Associate Mark Pracht 
World Premiere Adaptation of the classic Western. 
August 21 - October 4, 2026
Previews August 21 – 28, 2026
Regular run August 29 - October 4, 2026
Fridays and Saturdays at 7:30 pm, Sundays at 3 pm

Plus two Mondays, September 21 (Understudy show) and September 28 at 7:30
Tickets $32 for previews and $40 for regular performances. Seniors $5.00 off all prices. Students and active military are $22.00 for all performances. Groups are $30 per person. Prices include all fees and taxes.
Tickets available online at www.citylit.org or by phone at 773-293-3682.
All performances at City Lit Theater, 1020 W. Bryn Mawr, on the second floor (accessible via elevator) of the Edgewater Presbyterian Church.
 
In this World Premiere adaptation of the classic western, Shane, a mysterious stranger, shows up at the Starrett homestead in the Wyoming Territory in 1889. Though he seems to be hiding a dangerous past, he's offered a job as a farm hand and settles in with the Starretts: Joe, his wife Marian, and his son Bob, our narrator. When Joe refuses to sell his land to open range rancher Fletcher, it sets up a deadly showdown that alters the fates of everyone involved. 

Overshadowed Theatre Productions brings fresh energy to one of musical theatre’s most enduring classics, offering a spirited and thoughtful take on My Fair Lady. This production leans into the story’s sharp contrasts - class and aspiration, control and independence - and invites audiences to see Eliza Doolittle’s transformation with new clarity. It’s a familiar tale, but Overshadowed’s staging makes it feel newly engaged and unexpectedly resonant.

Taking place in 1912, Edwardian London, My Fair Lady is the story of Eliza Doolittle (Kimberly Nicolosi), a resilient young woman who sells flowers for tuppence and whose Cockney accent marks her as invisible to the upper-class Londoners who pass her by. When she crosses paths with Henry Higgins (John Hacker), a brilliant but insufferably arrogant linguist, he boasts that he can remake her into someone society will accept - someone who can pass as a duchess at an embassy ball. What begins as a bet between scholars becomes a transformation that neither fully anticipates.

As Eliza endures Higgins’ relentless drills and dismissive temperament, she begins to outgrow the very mold he tries to force her into. Her ascent exposes the absurdity of class performance, the fragility of male ego, and the uncomfortable truth that respectability often demands erasing the people who need it most. By the time Eliza steps into high society, she is no longer Higgins’ creation but her own person - one who refuses to be spoken for, spoken over, or spoken down to.

The musical’s enduring tension lies in the question it never answers neatly: whether transformation is liberation or simply another form of confinement. My Fair Lady may dazzle with its elegance, but its heart beats in Eliza’s insistence that dignity is not something granted by others - it’s something claimed.

Lerner and Loewe’s My Fair Lady entered the musical theatre canon in 1956, following its development in 1955–56 and a Broadway premiere led by Julie Andrews and Rex Harrison. The story later reached an even wider audience with the 1964 film adaptation, starring Audrey Hepburn as Eliza and Rex Harrison reprising his stage role as Higgins, released on October 21, 1964.

Overshadowed’s current production of this defining musical is anchored by Kimberly Nicolosi, whose Eliza Doolittle grows with steady assurance and a clear emotional arc that makes her transformation feel genuinely earned. Nicolosi is an absolute whirlwind of conviction, with vocals that match her intensity beat for beat, and a charm that makes her Eliza impossible to resist. Opposite her, John Hacker offers a thoughtfully restrained Henry Higgins, capturing both the character’s intellectual rigidity and the subtle shifts that reveal his dependence on Eliza, and his performance brings a compelling, understated complexity to the role. They shape the show’s strongest and most engaging dynamic. Surrounding them, Glen Lindemann brings gentle dignity to Colonel Pickering, while Madeline Frederick’s composed Mrs. Pierce adds welcome stability to Higgins’ household. Brad Holloman provides lively humor as Alfred P. Doolittle, and the Eynsford-Hill family - Sharon Lindemann as Mrs. Eynsford-Hill and Aren Dawson as Freddy - adds a touch of sweetness and refinement. Anita Silvert’s poised Mrs. Higgins offers a calm counterbalance to her son’s bluster, and she delivers a few of the play’s most pointed one-liners with crisp, knowing precision. Under Reba Hervas’ direction, the ensemble works together with easy cohesion, and Hervas guides the production with a steady, confident hand that keeps the storytelling clear, warm, and consistently engaging.

Though wrapped in Edwardian charm, My Fair Lady carries a clear feminist undercurrent, rooted in Eliza’s fight for self-determination. Her journey is not simply one of refinement but of agency - choosing to reshape her life, challenge the limitations imposed by class and gender, and ultimately assert her independence from Higgins’ control. The production highlights how her transformation belongs to her alone, not to the men who presume to mold her, allowing the story’s critique of patriarchal entitlement and its celebration of female autonomy to resonate beneath the musical’s elegance.

The production’s musical backbone shines through beloved highlights such as “Wouldn’t It Be Loverly,” “The Rain in Spain,” “I Could Have Danced All Night,” and “On the Street Where You Live,” each handled with care under Karen Archbold’s attentive music direction. The staging moves with an easy flow thanks to Katy Smith’s well-shaped choreography, which keeps the transitions light and the ensemble well-coordinated. These elements honor the classic craftsmanship of Alan Jay Lerner, who penned the book and lyrics, and Frederick Loewe, whose score remains one of musical theatre’s most enduring treasures.

The set design stands out as one of the production’s most impressive achievements, delivering a level of polish that will surprise audiences unfamiliar with Overshadowed’s work. Thoughtfully constructed and visually cohesive, it creates an environment that supports the storytelling without ever overwhelming it. This marks the first production by the company to utilize a massive video board, and its use is highly successful - enhancing the world of the play with vivid, effective projections that expand each location with striking clarity. The video board works in concert with well-crafted props and scenic pieces that are seamlessly brought in when needed, creating transitions that feel both fluid and purposeful. The scenic and projection work by Yohannan Lee adds depth and atmosphere, giving each setting a sense of place and intention. Complementing the world onstage, Megan Wilburn’s costume design brings the period to life with authenticity, from the tailored silhouettes to the women’s elaborate Edwardian picture hats, which add a flourish of social detail and visual charm. All of these design choices elevate the production with a craftsmanship that feels both ambitious and warmly inviting.

(from left) - Al Gorr, Brad Holloman and Tony Lopez in My Fair Lady.

Stepping back from the production itself, Overshadowed Theatre reveals a company with a purpose that complements the kind of storytelling seen on their stage. I was struck by how deeply rooted their mission is in creating a welcoming, family-friendly space where storytelling and community go hand in hand. Their history reflects a commitment to mentorship and faith-centered values, with an emphasis on giving young performers a place to grow while offering audiences productions that uplift rather than overwhelm. Overshadowed cultivates an environment built on encouragement, accessibility, and shared experience. The company resides within Jubilee Bible Church in Medinah, IL, and the theatre is fully ADA accessible, with vast and easy parking, spacious corridors, and plentiful concessions that make the audience experience comfortable from the moment you arrive.

Audiences can also look forward to a whimsical shift in tone as the company prepares to stage A Midsummer Night’s Dream, bringing Shakespeare’s mischievous magic, tangled romances, and fairy-filled forest to life. Following that, their upcoming season offers a wide range of titles: Flame of Fire (Sep 18–Oct 10, 2026), an original play written and directed by Artistic Director Reba Hervas. Based on the true 1956 story of Operation Auca, the production recounts the lives of missionaries Jim Elliot, Nate Saint, Pete Fleming, Ed McCully, and Roger Youderian, who were killed while attempting peaceful contact with the isolated Huaorani tribe in Ecuador. The play also explores the extraordinary aftermath, as their wives chose to return to the jungle to forgive the tribe and continue living among them. The season continues with It’s a Wonderful Life (Nov 27–Dec 19, 2026), James and the Giant Peach (Jan 22–Feb 6, 2027), The Stranger by Agatha Christie (Mar 12–20 and Apr 1–10, 2027), and Titanic the Musical (July 9–31, 2027). It’s an ambitious slate that blends classic storytelling, family favorites, and dramatic intrigue, promising a season with something for every kind of theatre-goer.

Overshadowed Theatre’s My Fair Lady emerges as a thoughtful production with a clear point of view, delivered with care both onstage and behind the scenes.

Recommended.

For more show information and tickets, visit https://www.overshadowed.org/.

In the sharp-tongued world of Sarah Burgess’s Dry Powder, presented by Gwydion Theatre Company at the Greenhouse Theater Center, the pursuit of money is a blood sport. The play centers on a high-stakes private equity firm caught in a massive public relations nightmare after laying off thousands of grocery store workers the same week its co-founder threw a flashy engagement party featuring an elephant – but it was just one elephant!

All hope isn’t lost for their reputation, however. A potential way out comes thanks to a struggling, American-made luggage company that believes the firm can save them. Of course, as the firm weighs the acquisition, their definition of “help” may not align with the company’s. At the helm is Rick, the ultimate decision-maker, who has two distinct angels on his shoulders: Seth, the optimistic partner who brought the deal to the table, and Jenny, his cold-hard-cash counterpart. From Seth’s perspective, the deal is a perfect fit; they can rescue an American brand without layoffs and emerge as heroes. For Jenny, this luggage company is just baggage—unless it can be downsized, moved overseas, and engineered into something it once stood against.

Directed with precision by Ellie Thomson, Dry Powder completes Gwydion Theatre’s season, which has explored themes of class, money, and power, and how all three can entangle the soul. The production asks what happens to our humanity when everything is reduced to a column on a balance sheet.

The production thrives on the electric, friction-filled chemistry of its cast, anchored by a series of standout performances.

Carol Kelleher delivers a masterclass performance as Jenny. Playing the de facto villain of the piece, Kelleher crafts a remarkably complex and compelling performance that is utterly enjoyable to watch. She doesn’t just play the role; she completely becomes the character, infusing Jenny’s brutal, unrelenting perspective of greed with a sharp humor. Her performance ensures that even at Jenny’s most calculating, you cannot look away.

As the firm’s head, Rick Yaconis turns in a powerful performance, deftly striking the balance between a paternal mentor and a greasy titan. He shifts effortlessly between a ruthless opponent and a pat-you-on-the-back salesman. 

Grayson Kennedy, a founding member of Gwydion Theatre, brings immense depth to Seth, the firm’s supposedly earnest, morally grounded partner. His clean-cut delivery fits the role perfectly. 

Tommy Thams, co-founder of the theatre company, rounds out the dynamic as Jeff, the CEO of the targeted luggage company. Thams infuses Jeff with the relaxed, easygoing charm of an old buddy, making the audience root for the company’s success and feel genuinely betrayed by what unfolds in the final act.

Burgess’s script is complex, mining dark humor from the shifting dynamics and war of words between these characters. 

Ultimately, Dry Powder leaves the audience reflecting inward. It might be easy to dismiss this play if we aren't personally in a position to dismantle - or attempt to save - a multimillion-dollar company, but the narrative transcends the boardroom. The play holds up a mirror and forces us to look closely at ourselves: Are we good or are we just being nice?

As Jenny pointedly notes, she never lies to the client. Her emotions, her greed, and her hawkish nature are never disguised. Seth, conversely, hides behind a comforting “nice guy” persona, genuinely believing he occupies the moral high ground. But in trying to appease both sides – a greedy firm and a company that needs help – is he actually better or just deceiving himself?

It’s these thought-provoking questions that make Gwydion Theatre’s production a gripping triumph that lingers long after the final blackout.

Dry Powder plays at the Greenhouse Theater until July 26. Tickets and show information here.