Displaying items by tag: comedy

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.

Gary Gulman brings his new tour, 7th Hour: An All New Standup Show, to The Den Theatre, offering Chicago audiences a chance to see a comic who has spent decades refining the long-form, slow-burn style that has become unmistakably his. His five sold-out shows over the weekend are being recorded for an upcoming comedy special, giving each performance an added spark as he works through material with both confidence and care. Gulman’s comedy has always lived in the space between sharp observation and gentle self-reflection, and this latest set continues that progression with a mix of wry honesty and carefully shaped storytelling. His stop at The Den feels less like a routine tour date and more like a chance to watch a veteran performer stretch into new territory while still delivering the precision that has made him one of stand-up’s most quietly dependable voices.

The evening opened with Evanston’s own Sam Froum, whose set proved to be a sharp and genuinely funny warm-up for the night. He brought an easy confidence and a quick, clever rhythm to the stage, landing jokes with the kind of timing that immediately pulls a room in. It was a strong showing, and a fitting lead-in to Gulman’s tightly built headlining act.

Across 7th Hour, Gulman moves through a wide constellation of personal history, weaving together stories that span his depression, his admiration for his father’s unwavering integrity despite the loss of friends it may have cost him, and the realities of growing up with a single mother while navigating the rough edges of two bullying older brothers. His Jewish upbringing becomes a recurring thread, most notably in an extended, delightfully overthought retelling of the story of Moses - a bit that shifts from biblical epic to neurotic character study in a way only he can pull off. From there, he wonders aloud why Jewish people didn’t simply “like” Jesus so that Christianity might have evolved into an upbeat, colorful, pastel-tinted sect of Judaism, only to immediately challenge his own premise with the kind of self-correcting logic that fuels his best material. That exploration leads him into Jesus’ Sermon on the Mount, where he zeroes in on “do unto others as you would have them do unto you,” a phrase he deeply takes to heart, breaking it down with methodical curiosity as he imagines Jesus trying it out in front of smaller crowds at "open mounts" before delivering it on the big stage. Along the way, he has fun with the apostles - especially John and “Doubting” Thomas - treating them less as distant religious figures and more as characters he can analyze, tease, and reinterpret through his own gently overthinking lens. He even slips in a detour to Christian Bale’s Batman, acting out a hilarious gravel‑voiced exchange with Gary Oldman’s Commissioner Gordon that fits seamlessly into his stream of overthought observations.

He also devotes time to the values and education he drew from PBS, especially the steady presence of Mr. Rogers, whom he references with undeniable affection. Gulman lights up when recalling – and briefly singing – the closing song, “It’s Such a Good Feeling,” along with the simple but radical reassurance Mr. Rogers offered at the end of each episode: “I like you just the way you are.” He treats that sentiment with an earnest respect that shows how deeply it shaped him, even as he wonders aloud how anyone can truly live as their full, unfiltered self outside of a very small circle of people. He folds in humorous family stories tied to pledge drives, broadening the emotional palette of 7th Hour and grounding the comedy in the cultural touchstones that helped him make sense of the world long before he ever stepped onstage.

Gulman’s humor is a distinct blend of long-form storytelling, analytical overthinking, gentle self-examination, and slow-burn observational detail. He builds jokes the way essayists build arguments - layering premises, revisiting ideas, correcting himself mid thought, and letting the comedy emerge from the precision of his logic as much as from the punchline. His style is warm, meticulous, literary, and deeply human, often turning small moments from childhood, religion, or pop culture into sprawling, carefully engineered comedic set pieces.

And in 7th Hour, he brings that entire toolkit with him - sharper, fuller, and more emotionally grounded than ever. The show feels like Gulman operating at the height of his powers, shaping personal history into comedy with a confidence that suggests he knows he’s building material worthy of an upcoming special. What stands out most is how fully he leans into that mastery; 7th Hour plays like a comic working with total clarity of purpose and delivering exactly the kind of work only he can create.

Gulman’s career has been shaped by a steady run of smart, carefully built specials that highlight his gift for long-form comedy. From Boyish Man and In This Economy? to the critically praised It’s About Time and The Great Depresh, he has assembled a body of work defined by warmth, clarity, and an almost literary sense of structure. His stand-up has also been a reliable presence on late-night television, with memorable sets on Conan, The Late Show with Stephen Colbert, Jimmy Kimmel Live, and The Tonight Show, each showcasing his ability to turn everyday frustrations and cultural quirks into slow-building, sharply observed stories. Together, these appearances have cemented him as one of the most consistent and quietly influential voices in contemporary stand-up.

If you get the chance to see Gulman live, take it. 7th Hour shows a comedian in full command of his craft, delivering work that is thoughtful, funny, and unmistakably his. It’s the kind of performance that reminds you why stand-up, at its best, feels both intimate and expansive at the same time.

Goodman Theatre’s Iceboy! arrives as a gleefully off the rails musical that blends Broadway glamour, Neanderthal chaos, and theatrical myth making into one of the most delightfully strange premises to hit Chicago in years. It’s a satire, a love letter to showbiz, and a playful reimagining of how Eugene O’Neill might have found inspiration for The Iceman Cometh - if history had taken a wildly different turn.

Set in 1939, Iceboy! or The Completely Untrue Story of How Eugene O’Neill Came to Write “The Iceman Cometh” follows Broadway superstar Vera Vimm, who purchases the newly thawed 40,000‑year‑old Neanderthal after he’s discovered in the Arctic. An orphan herself, Vera risks the last of her money because she sees in Iceboy not just a curiosity, but the possibility of a son. Once he thaws, “Iceboy” unexpectedly becomes a theatrical sensation, charming Manhattan and quickly rising to stardom. His meteoric fame threatens Vera’s own spotlight, creating a comic rivalry as she scrambles to maintain her status.

Meanwhile, playwright Eugene O’Neill - stuck in a bout of severe writer’s block - becomes fascinated by Iceboy’s sudden cultural impact. In this fictionalized retelling, Iceboy’s presence and persona inspire O’Neill to write The Iceman Cometh, intertwining the Neanderthal’s improbable celebrity with one of American theatre’s most iconic works. The musical plays as a satirical backstage romp - part showbiz fable, part absurdist comedy - where ambition, ego, and theatrical legend collide, all delivered with a cheerful, madcap sensibility that feels straight out of the Mel Brooks playbook. The tone is broad, cheeky, and joyfully irreverent, embracing the kind of anything goes comic mayhem Brooks perfected in The Producers and Young Frankenstein.

Megan Mullally as Vera Vimm and Nick Offerman as Eugene O'Neill in Iceboy! at Goodman Theatre. Photos by Todd Rosenberg.

To appreciate just how boldly Iceboy! reframes O’Neill’s legacy, it helps to remember what The Iceman Cometh actually is.

O’Neill’s future Pulitzer Prize offering inspired a four-hour film that’s essentially a parade of drunks in a dim bar, each clinging to dreams they’ll never pursue - the bar itself a metaphor for their inability to move forward, trapped in the same place both physically and emotionally. The 1973 film adaptation centers on the down and out patrons of Harry Hope’s saloon in 1912 Greenwich Village. These men - alcoholics, former revolutionaries, disgraced professionals - spend their days drowning in booze and clinging to “pipe dreams” of future redemption.

Their routine is disrupted when charismatic salesman Theodore “Hickey” Hickman arrives - sober, zealous, and determined to force everyone to abandon their illusions. Hickey’s mission to strip the barflies of their comforting fantasies leads to emotional unraveling, bitter confrontations, and ultimately a chilling confession about his own past. The story is a tragic, philosophical exploration of hope, delusion, and the brutal cost of facing reality.

All of that brooding, booze-soaked existentialism makes Iceboy!’s approach even more refreshing. Where O’Neill’s world traps its characters, this musical unleashes its own with joyful abandon - led by an ensemble so charismatic and so sharply funny that the show vibrates with life.

Guiding the production is director Marc Bruni, who shapes the show with crisp timing and a clear sense of comic architecture, keeping its wild premise buoyant without letting it unravel. The music by Mark Hollmann gives the story a light, upbeat foundation, and the lyrics by Hollmann and Jay Reiss add steady humor throughout. The book by Erin Quinn Purcell and Reiss keeps the tone approachable, offering just enough structure for the characters to play within. Joann M. Hunter’s choreography provides simple, well‑placed movement that supports the show’s comic rhythm without calling attention to itself.

It certainly helps that Iceboy! is powered by an outrageously talented and instantly likeable ensemble. Husband and wife duo Nick Offerman and Megan Mullally make a dynamite team - Offerman is superb, bringing his signature deadpan charm to Eugene O’Neill, the same understated precision and dry, unflappable humor that’s made him beloved in Parks and Recreation, Devs, and The Last of Us. Mullally, best known for her Emmy winning turn as Karen Walker on Will & Grace, her unforgettable Tammy II opposite husband Nick Offerman on Parks and Recreation, and her Broadway run in How to Succeed in Business Without Really Trying, delivers a riotously funny, razor sharp performance as Broadway titan Vera Vimm. She tears into the role with fearless comic bravado and vocal firepower that reminds you she’s a true musical theatre pro - her belt is thrilling, her phrasing wickedly playful, and her comedic musicality is a show in itself. Few performers can time a sharp aside with Mullally’s precision.

(L-R) Melanie Brezill, Shawn Pfautsch, Megan Mullally, SarahStiles and Grey Henson in Iceboy!

Cedric Yarbrough, best known for Reno 911! and Speechless, is terrific as Floyd Richards, Vera’s devoted lover and perpetually stressed playwright. He brings a warm, rumpled charm to the role, layering Floyd’s desperation with impeccable timing, sly vocal humor, and a steady stream of perfectly landed one-liners. His presence gives the show a grounded comic pulse that keeps the chaos humming - and his baritone is impressive.

Chicago favorite Alex Goodrich is a delight as Frankenstein, one of Vera’s long-suffering caretakers, layering the role with buoyant physical comedy and a wonderfully off-kilter energy that fits the show’s boisterous comic verve.

As Iceboy or “Jeff,” Grey Henson is a revelation - wide eyed, instinctive, and musically explosive. He plays the Neanderthal with such innocence and uninhibited theatrical gusto that the audience can’t help but root for him. He’s a genuine surprise as well, offering several scene-stealing moments that deepen the show’s comic momentum and give its wild energy an extra spark.

And Sarah Stiles, as Lambert, Vera’s whip‑smart, perpetually overwhelmed assistant, makes every appearance count with her explosive comedic instincts and razor‑precise delivery. Her timing is immaculate - every flustered aside, every clipped retort, every moment of mounting panic lands with such clarity and control that she elevates even the smallest beat. Stiles has a way of shaping a line so it hits with both intelligence and impact, turning Lambert’s exasperation into one of the show’s most consistently funny throughlines.

Together, this ensemble - Offerman, Mullally, Yarbrough, Henson, Stiles, Goodrich, and a bench of other strong players rounding out the cast - forms an ecstatically silly comedy machine, a group so talented and irresistibly likeable that the laughs never let up and every performer feels essential to the show’s delirious momentum.

The musical numbers are wonderfully fun. Songs like the opening number “Historic Find,” the gloriously unhinged “Can You Call Me ‘Mama’?,” and the full company showstopper “Hooray for Iceboy!” set the tone for the musical’s raucous spirit. Each one is packed with sharp wit, big Broadway energy, and the kind of gleeful absurdity that keeps the audience laughing long after the button. “Historic Find” opens the show with a clean burst of discovery‑driven momentum, “Can You Call Me ‘Mama’?” makes full use of Mullally and Henson's sharp comic instincts, and “Hooray for Iceboy!” brings the full company together for a lighthearted, good‑natured celebration. This sample size of songs highlights how musically nimble and consistently funny Iceboy! is - a score that shifts easily between cleverness, silliness, and moments of heightened theatrical play.

One of the funniest musical numbers in the show is “Marry Me,” sung with perfect comic contrast by Grey Henson and Sarah Stiles. In it, Iceboy proposes to Lambert with disarming sincerity, offering what he believes are tender declarations of affection - only to fold in a series of prehistoric “courtship traditions” drawn from his caveman understanding of romance. Throughout the song Iceboy sings to her, “I want to take you from behind,” his way of saying he'd like to marry her. The result is a wonderfully off‑balance duet that lands as one of the show’s most genuinely hilarious moments.

Adding to the show’s irresistible charm is the fantastic Art Deco set designed by Paul Tate Depoo, which instantly places us inside Vera Vimm’s lavish living room - all gleaming lines, bold geometry, and glamorous period detail. Depoo’s design captures the theatrical excess of 1939 Broadway while giving the actors a playground of visual delight. On each side of the stage, Eugene O’Neill’s writing desks sit like dueling stations of inspiration and frustration, a clever touch that keeps his presence woven into the action. And, true to O’Neill’s legacy, there’s always a bottle within reach, a sly nod that becomes both a running joke and a thematic anchor. It’s a smart, stylish environment that supports the comedy while grounding the show in a richly imagined world.

Iceboy! or The Completely Untrue Story of How Eugene O’Neill Came to Write “The Iceman Cometh” is an outrageously inventive, joy-charged burst of musical comedy that proves Goodman Theatre can still surprise us in the best possible ways. With its fearless cast, sharp writing, and deliriously fun score, it’s the kind of show that sends you out grinning and grateful for the sheer imagination on display. Iceboy! runs through August 9th at Goodman Theatre and stands as one of the most riotously entertaining nights out you’ll find this summer.

Very highly recommended.

Now extended through August 16th. For tickets and/or more show information, click here.

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

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

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

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

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

Nate Bargatze’s Big Dumb Eyes tour made its stop at the Allstate Arena in Rosemont with the steady, understated presence that has become central to his appeal. Bargatze continues to draw humor from the small missteps and everyday confusions that shape his storytelling, easing the audience into his rhythm rather than pushing for big moments. His unhurried delivery works surprisingly well in a venue of this size, creating a sense of shared focus that settles over the room as he builds each joke with quiet precision.

This powerhouse comedy tour is anchored by host Julian McCullough, whose easygoing charm and quick-hit crowd work set the tone for the night before the headliner ever steps onstage. He’s joined by a sharp trio of comics - Greg Warren, Gary Vider, and Jonnie W - each bringing a distinct comedic style that keeps the momentum building from set to set. Warren’s dry, story-driven humor, Vider’s understated oddball delivery, and Jonnie W’s musical-comedy flair create a well-balanced undercard that feels like a full evening of stand-up on its own. Together, they form a tightly assembled lineup that primes the audience perfectly for the main event.

Julian McCullough, Greg Warren, Gary Vider, and Jonnie W will all be making upcoming appearances at Zanies Rosemont, giving Chicago-area comedy fans several chances to catch them live. McCullough returns to the club on June 5–7, while Greg Warren is scheduled for a special event weekend on May 22–23. Jonnie W will headline Zanies Rosemont on July 26, and Gary Vider’s next Chicago-area dates are at Zanies Chicago on March 27–28, offering multiple showtimes across both nights.

Bargatze has been performing in arenas for some time now, and the format suits him more naturally than one might expect. The in-the-round staging keeps him accessible from every direction, while the large video screens ensure that even the most subtle expressions read clearly throughout the space. It is an effective setup for a comedian whose style relies on nuance rather than volume. In a venue as large as Allstate, laughter does not always erupt all at once - it spreads gradually, section by section, until the entire arena is moving with the same steady momentum.

A significant portion of Bargatze’s material continues to revolve around his family, with stories about parenting, marriage, and the everyday negotiations that come with trying to make sense of the world alongside the people closest to you. But he also branches into the absurdities of modern life, touching on everything from AI to self-driving cars to couples therapy - and even the baffling challenge of buying a horse, because, as he points out, who actually knows the price of a horse? These moments are not exaggerated or heightened for effect. Instead, he treats them with the same calm, observational tone that defines his work. The humor comes from the honesty of the situations and the quiet recognition they spark, especially for audiences who see their own households and daily frustrations reflected in his.

His Rosemont appearance is one stop in a long stretch of dates as the Big Dumb Eyes tour continues across major arenas nationwide. The upcoming schedule includes cities throughout the Midwest, East Coast, and South, each offering a chance for audiences to experience how his understated approach translates to rooms of this scale. At this point, Bargatze stands among the strongest stand-ups touring at the arena level, not because he relies on spectacle, but because his material remains consistent, grounded, and effective no matter the size of the venue.

In the end, the Allstate Arena stop underscored why Bargatze’s rise has felt so steady and assured. His comedy does not demand attention - it earns it through clarity, timing, and a genuine connection to the everyday experiences he describes. For a comedian whose style is built on understatement, filling an arena might seem counterintuitive, yet he makes the space feel surprisingly intimate. It is a testament to his craft and a clear sign that his place on the arena circuit is well deserved.

BrightSide Theatre’s The Producers storms into Meiley Swallow Hall with the kind of swagger only Mel Brooks can inspire: brash, brazen, and blissfully unconcerned with good taste. From the moment the lights rise, the show charges ahead with a manic momentum that feels both affectionately old school and sharply self-aware. It knows exactly what it’s here to do: go big, go bold, and never apologize for the mayhem.

Under the confident direction of Artistic Director Jeffrey Cass, this staging taps directly into Brooks’ outrageous, boundary-poking sensibility and never loosens its grip. Cass understands that The Producers thrives when its humor teeters on the edge, and he captures that gleeful imbalance with remarkable control. The original film premiered in 1967, the musical exploded onto Broadway in 2001, and if anyone wonders whether that brand of audacity still lands in 2026, the answer is an unequivocal yes. The Naperville audience laughed steadily from the first scene to the curtain call, proving that Brooks’ anarchic wit remains timeless.

BrightSide’s version brings the show’s wild premise to life with full comic force: washed-up Broadway producer Max Bialystock (Scott Kelley) and anxious accountant Leo Bloom (Michael Metcalf) concoct a get-rich-quick scheme to stage the biggest flop in theatre history. If the show collapses on opening night, they can pocket the investors’ money and disappear. Their hunt for guaranteed failure leads them to the worst script imaginable, the most misguided director in town, and a cast so spectacularly wrong that success seems impossible. But in classic Brooks fashion, the plan detonates in the most unexpected way, turning their surefire disaster into an accidental triumph and leaving the pair scrambling to survive the fallout.

That spirit of intentional ruin pulses through the musical numbers, each one another attempt to engineer catastrophe. “Springtime for Hitler,” the show-within-the-show’s notorious centerpiece, is crafted as an overblown, tasteless pageantry meant to repel audiences instantly. “Der Guten Tag Hop Clop” and “Haben Sie gehört das Deutsche Band?” push the absurdity even further, spotlighting a playwright and director whose delusions should have doomed the project. Even “Keep It Gay,” with its flamboyant insistence on excess, is part of Max and Leo’s strategy to stack the deck with choices so misguided they can’t possibly succeed. Ironically, the songs are so bold, so shamelessly theatrical, and so cleanly executed that the very elements meant to sink the show end up turning it into the hit they never wanted.

Scott Kelley’s Max Bialystock and Michael Metcalf’s Leo Bloom make a terrific duo, striking a lively balance between showmanship and panic. Kelley barrels through the role with larger-than-life bravado, while Metcalf’s tightly coiled nervousness plays off him beautifully. Their timing is crisp, their rapport effortless, and together they elevate every scheme, meltdown, and misstep.

Max Bialystock (Scott Kelley) and Company.

Amelia Tam is outstanding as Ulla, the blonde bombshell Max hopes to lure to his “casting couch”. She is an amazing dancer with an equally outstanding voice, commanding attention the moment she steps onstage with a blend of radiant charm and razor-sharp comedic instinct. Her Ulla rises far above the familiar Swedish ditzy-blonde trope, becoming a spark of vitality who shifts the temperature of every scene she enters. Tam mixes wide-eyed innocence with sly intelligence, making each line land with extra bite. Whether stretching a vowel for comedic payoff or launching into “When You Got It, Flaunt It” with fearless gusto, she turns Ulla into a character who is not only irresistible but essential to the show’s rhythm.

The supporting cast is uniformly strong, powered by an ensemble that moves with clarity (credit to choreographer Mary Grace Martens), hits its jokes cleanly, and fills the stage with infectious confidence. Cheryl Newman shines as one of Max’s elderly ‘investors,’ delivering sharp comedic work while also contributing behind the scenes as costume designer - a pair of responsibilities she handles with impressive finesse. Michael John Lynch brings delicious flair to Carmen Ghia, the impeccably mannered yet cutting assistant whose every gesture blends elegance and threat. Myles Mattsey is memorable as Franz Liebkind, the unhinged playwright whose patriotic fervor is both alarming and hilarious, while John B. Boss transforms director Roger DeBris into a gleaming spectacle of theatrical excess. Together, they form a gallery of eccentrics who keep the show’s momentum high and its humor constant.

All the while, Phil Videkis provides excellent musical leadership, guiding the orchestra with crisp pacing and keeping the score bright, tight, and perfectly attuned to the show’s comic sensibility while supporting Thomas Meehan’s book with well-judged musical choices.

The staging makes clever use of an economical but highly effective set designed by Ariel Mozes, shifting smoothly from location to location without ever feeling limited. What the physical scenery lacks in large-scale opulence, it compensates for with smart configuration and adaptability, allowing the story to move quickly while keeping the focus on the performers. Enhancing that versatility is a programmable LED backdrop that becomes one of the production’s most dynamic tools, transforming into windows, rainbows, bursts of color, or even spelled-out words that heighten key moments. Together, Mozes’ resourceful design and the vivid LED wall create a surprisingly rich visual world that expands far beyond the modest footprint.

BrightSide Theatre once again demonstrates a sharp eye for material, adding The Producers to its growing list of savvy, crowd-pleasing selections. This staging delivers everything a Mel Brooks musical should: big laughs, confident performances, and a joyful sense of mischief that never lets up. It’s a lively, high-spirited evening that embraces the show’s outrageous personality while still finding its own clever touches along the way. This musical comedy is highly recommended, playing through June 28th at the Theater at Meiley Swallow Hall, an ideal summer outing for anyone craving a night of bright, unapologetic fun.

For tickets and/or more show information, visit https://brightsidetheatre.com/producers/.

Spamalot rides into the Windy City courtesy of Broadway In Chicago, inviting theatergoers to join King Arthur’s quest now through May 31 at the CIBC Theatre. Fans of Monty Python and the Holy Grail - the 1975 cult classic - will find plenty to adore in this musical, which, as its subtitle proudly declares, is “lovingly ripped off” from the film.

Written by Python member Eric Idle, with music co-written by John Du Prez, Spamalot follows King Arthur as he assembles his “very round table” and sets off in search of the Holy Grail. Along the way, we meet a parade of quirky knights: the brash, homicidal Sir Lancelot; the argumentative, hair-flipping Sir Galahad; the cowardly, weak-bowelled Sir Robin; and even Sir Not Appearing in This Show. Arthur’s greatest ally is the Lady of the Lake, a glittering, full-throttle diva armed with riffs and costume changes for days. After a bit of plot and a bounty of silly songs, the hapless heroes finally secure their grail and send audiences out humming the show’s signature tune, “Always Look on the Bright Side of Life.”

Interestingly, Spamalot had its world premiere in Chicago back in 2004 before heading to Broadway the following year, where it earned fourteen Tony nominations and won three, including Best Musical. This touring revival, directed and choreographed by Josh Rhodes, stays true to the original while injecting the production with fresh energy and a steady stream of contemporary pop-culture nods.

Spamalot’s target audience is, unsurprisingly, die-hard Python fans. Several scenes are lifted almost verbatim from the film, so expect the Black Knight losing limb after limb, the Knights Who Say “Ni,” the cow catapult, a hilarious - and genuinely ferocious - killer rabbit puppet, and more. For those less steeped in the British comedy canon, a few gags linger a beat too long, stretching to honor the movie’s rhythms even when the stage version might benefit from a quicker pivot.

Still, there is no end of splashy musical numbers, big set pieces, and dynamic, eye-catching projections. The cast pulls out all the stops as they don flashy costumes, dance their hearts out, and throw friendly meta-jabs at other Broadway musicals like Wicked and Fiddler on the Roof.

(L-R) Leo Roberts and Amanda Robles in the North American Tour of SPAMALOT.

Leading the charge as King Arthur is Major Attaway, who wears the crown well. Attaway is best known for his time on Broadway playing the Genie in Aladdin and his off-Broadway stint voicing Audrey II in Little Shop of Horrors - two roles that showcase his vocal dexterity, a talent he uses to full effect in this production. Along with golden pipes, Attaway voices Arthur with a stoic authority or a comedic twist, whichever the moment calls for. He is the perfect straight man for the zaniness that surrounds him - and there’s a lot.

Another standout is Amanda Robles, making her national tour debut as the Lady of the Lake. Robles tears into the role with gleeful abandon, spoofing Liza Minnelli and other prima donnas with razor-sharp precision. Numbers like “Diva’s Lament” and “The Song That Goes Like This” - both affectionate send-ups of classic Broadway tropes, from the obligatory second-act solo to the formulaic love ballad - are lifted even higher by her vocal prowess, impeccable comedic timing, and undeniable glamour.

Spamalot also boasts a vibrant ensemble, with actors juggling wildly different roles and giving each character distinct voices and mannerisms. Sean Bell steals multiple scenes - both as Sir Robin, a knight who has no idea what knighthood entails, and as an oddball priest with sharp, staccato delivery. From line readings to goofy facial expressions, it’s clear every performer is having an absolute blast, and that infectious joy radiates through the entire production.

As riotously funny as Spamalot is, parents should know that it isn’t especially kid-friendly. Younger audiences may laugh at the fart jokes and bits of bathroom humor, but the show also leans into cruder gags, sexual innuendo, and one very random - and entirely unnecessary - bare backside. It’s probably best suited to teens and adults rather than little ones, landing somewhere in that PG-13 neighborhood.

Spamalot, in a word, is silly - and proudly so. If you’re up for a night of unabashed absurdity, it’s an irresistibly fun choice. It has no interest in plumbing the depths of plot; its mission is pure fan delight. And judging by the uproarious laughter from the audience around me, the cult film’s devotees were more than satisfied. Others who aren’t as familiar with Monty Python or don’t favor dry or crude British humor might choose to seek to find their holy grail elsewhere.

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

While many of my classmates were signing up for Spanish classes, I thought it would be terribly useful to sign up for French. French? In Southern California? What good would that possibly do? A degree and several trips to French-speaking countries later, and I’m proud to say French is not only useful, but I also find it in use in the very theatres I now have the privilege to patronize. Unbeknownst to many, theatre is deeply rooted in French, and French words span everything from the venue to the play’s structure and how we, as audience members, engage with the play. We often enter through the foyer (hearth or lobby), take seats in the balcony (borrowed via the French balcon), to become part of the audience (from Old French audience, meaning the act of hearing), to watch a drole (from the French adjective meaning amusing, or comical) production with witty repartee (from the French repartie, which means "to reply quickly.”) The French also gave us hundreds of pieces of work, none more famous than the master of modern comedy himself, Molière, with plays such as Tartuffe, or, The Charlatan, now playing at Stars & Garters Theatre.

Photo by Logan and Candice Conner, Oomphotography. 

Tartuffe, or The Charlatan’s is a story that takes place in the home of the wealthy Orgon, where Tartuffe - a fraud and a pious charlatan - has insinuated himself. He succeeds in winning Orgon’s respect and devotion, then attempts to marry his daughter, seduce his wife, and seize the deed to his property. Tartuffe nearly gets away with it, too, but an emissary from THE KING arrives in time to recover the property, free Orgon and haul Tartuffe off to jail. The charlatan’s duplicity is finally exposed and punished, but not before the author mercilessly skewers the evil that men can commit with the right cult following. Tartuffe, or The Charlatan, is a comedy about the dangers that imperil those who would believe only what they choose to believe despite a mountain of evidence to the contrary. 

Photo by Logan and Candice Conner, Oomphotography. 

It’s easy to see why director Wm. Bullion chose to stage such a farce (borrowed from the Middle French word farce, meaning "to stuff", referring to short comic sketches that were “stuffed” between the scenes of serious religious plays). It’s a satirical piece written in rhyming couplets, which makes the play fast-paced, with an easy-to-follow storyline that has an almost musical, sophisticated quality. Despite being written in 1664, the story is not only relatable but humorously relevant today; a charlatan pulling the wool over a single man’s eyes who ignores everyone’s warnings and fact-based evidence to the contrary of what he believes, eerily and frustratingly relevant today. Hundreds of years after the controversial play was written, it still makes for a hilarious performance, and The Conspirators managed to stage a punk-esque (from the French suffix -esque denoting "in the style of" or "resembling") production that would make Molière himself proud, so long as The King was in good spirits.

(L-R) Anthony Soto with Tucker Privette. Photo by Logan and Candice Conner, Oomphotography. 

Whether you catch a matinée (from the French matinée, meaning morning or daytime) or an evening show, don’t commit a Chicago faux pas (French meaning "false step”) and miss your opportunity to see this play. Tartuffe, or The Charlatan, is now playing at Stars & Garters (3914 N. Clark St., Chicago), through June 7. Tickets are $30 and may be purchased online at Humanitix.com. For more information about The Conspirators, please visit ConspireWithUs.org. J'espère que vous avez appris un ou deux mots de français. Maintenant, allons au théâtre!

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

Direct from an acclaimed run at Edinburgh Fringe and two sold-out Off-Broadway engagements, Steppenwolf Theatre is pleased to present Laura Benanti: Nobody Cares, a one-woman comedy show from the mind of Tony Award winner Laura Benanti, playing five performances only August 6 – 9, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Tickets ($79* – $125*) are now on sale at steppenwolf.org or by calling the Box Office at (312) 335-1650. *includes $10 processing fee

Known for her dazzling Broadway performances and razor-sharp wit, Benanti takes the stage to share her hilarious, heartfelt and sometimes brutally honest takes on motherhood, people pleasing and the joys of aging. Blending side-splitting storytelling with original songs, New York Times Critic's Pick Nobody Cares is a love letter to recovering people pleasers, mothers and anybody working on themselves.

Nobody Cares is created by Laura Benanti with songs co-written by Todd Almond and direction by Annie Tippe. The Steppenwolf presentation marks the first stop on a national tour for the project following a summer run at London's Underbelly Soho this July, with further stops to be announced. For more information, visit nobodycaresisacomedy.com.

Performance Schedule:

Thursday, August 6 at 7:30 pm
Friday August 7 at 7:30 pm
Saturday, August 8 at 3 pm & 7:30 pm
Sunday, August 9 at 3 pm

About the Artists

Laura Benanti (Star and Creator):

"The divine Laura Benanti appears to have reached a point where there's nothing she can't do..."

–Hollywood Reporter

Tony Award winner Laura Benanti is a highly celebrated stage and screen actress. Ms. Benanti debuted her critically acclaimed comedy show Laura Benanti: Nobody Cares at the Minetta Lane Theater in NYC. Ms. Benanti created, wrote (songs co-written with Todd Almond) and starred in the show, which earned rave reviews and was chosen as a New York Times Critics' Pick. The show then had a sold out run at the Edinburgh Fringe Festival in 2025 with encore performances in London and Berkeley. 

Ms. Benanti can currently be seen as a series regular in the role of 'Cindy' on the acclaimed Paramount+ series Mayor of Kingstown, starring opposite Jeremy Renner. Ms. Benanti co-starred in the hit comedic film No Hard Feelings with Jennifer Lawrence and Matthew Broderick. Ms. Benanti's iconic impression of Melania Trump on The Late Show with Stephen Colbert has earned praise from across the industry. Other comedic work includes regular appearances on Elsbeth and Inside Amy Schumer. In television, Ms. Benanti has played dynamic characters in Younger, The Gilded Age, Nashville, Supergirl and Gossip Girl. Ms. Benanti earned rave reviews for her portrayal of a grieving widow in Netflix's film Worth, starring opposite Michael Keaton, Stanley Tucci and Amy Ryan.

In the theater, Ms. Benanti has been nominated for 5 Tony Awards. She took Broadway by storm at the age of 18 as Maria in The Sound of Music and has subsequently starred in ten more Broadway shows (musicals, straight plays, comedies and dramas), including Into the Woods, Nine, (opposite Antonio Banderas), Gypsy (for which she won a Tony Award), She Loves Me, My Fair Lady and Steve Martin's Meteor Shower opposite Amy Schumer and Keegan-Michael Key.

Todd Almond (Songs Co-Writer) is an acclaimed performer, songwriter and playwright. His solo show I'm Almost There was hailed by The New York Times as "a work of wonder," and his recent Broadway performance in Girl from the North Country was praised as "stunning" by The Washington Post and "roof-raising, uplifting, and invigorating" by The Hollywood Reporter. Almond co-wrote the songs for and music-directed Audible's hit comedy Laura Benanti: Nobody Cares, and also appeared opposite Ms. Benanti as Gideon Wolfe in the HBO Max reboot of Gossip Girl. His musical adaptation of The Odyssey, produced at Shakespeare in the Park's Delacorte Theater in Central Park, was hailed by The New York Times as "brash, funny and heart-stirring." Todd recently toured the U.S. in his original musical Kansas City Choir Boy, co-starring rock icon Courtney Love; Rolling Stone called the piece "awesome, slyly punk rock." He also starred in three of his original musicals at the Delacorte Theater in Central Park: The Tempest, The Winter's Tale and The Odyssey. His musical Girlfriend, based on the Matthew Sweet album of the same title, has become a perennial favorite for theater companies across the U.S. and in Japan. His past collaborators include Sarah Ruhl (Melancholy Play: A Chamber Musical), Jenny Schwartz (Iowa), Laura Benanti (In Constant Search for the Right Kind of Attention), Sherie Rene Scott (Piece of Meat), Kelli O'Hara (Live at Carnegie Hall) and Andrew Rannells (Live from Lincoln Center). As a composer and orchestrator, Almond has written and arranged music for Noises Off on Broadway, Iowa at Playwrights Horizons, Fcking A* at Signature Theatre, How to Transcend a Happy Marriage at Lincoln Center Theater and the film adaptation of Michael John LaChiusa's Hello Again. Other New York acting credits include Stage Kiss by Sarah Ruhl at Playwrights Horizons, People Are Wrong at the Vineyard and Law & Order: SVU.

Annie Tippe (Director) is an award-winning director and creator of new work, music theater and film. Off-Broadway: Octet (World Premiere; Signature. Lortel Award: Best Direction, Best Musical), Three Houses (World Premiere; Signature. Lortel Award: Best Musical), Ghost Quartet (World Premiere; Bushwick Starr. Norton Award: Best Visiting Production), Magnificent Bird / Book of Travelers (Playwrights Horizons), Your Own Personal Exegesis (LCT). Regional: HUZZAH! (World Premiere; Old Globe), Life After (Ed Mirvish CAA; Goodman, Jeff Award Nom), COWBOY BOB (World Premiere; Alley), Cult of Love (World Premiere; IAMA), POTUS (Berkeley Rep). Film: Help Me Mary (Lower East Side Film Fest; Best Narrative Short), Egg Timer (Austin Film Fest). Former Ars Nova Director-in-Residence, Drama League Directing Fellow, Williamstown Directing Corps. Upcoming: Cyrano at Old Globe; Babysitters Club with Mark Sonnenblick and Kate Weatherhead. annietippe.com

Nobody Cares is produced by rigor + ruckus, Jenny Gersten and Ashley Melone & Nick Mills in association with LD Entertainment, Avadon Broadway LLC, Creative Partners Productions and Steve and Cindy Chao. To learn more about other cities to see Nobody Cares, visit nobodycaresisacomedy.com.

Based on Laura Benanti: Nobody Cares, an Audible Original.

Accessibility:

Steppenwolf is committed to making the theatergoing experience accessible to everyone. Assistive listening devices are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access. If you have questions or would like to make a specific request, email This email address is being protected from spambots. You need JavaScript enabled to view it. or call our box office at (312) 335-1650.

A show somewhere between a play, standup act, memoir, and PowerPoint presentation. A show so chaotic you think it could never work. A show only Brendan Hunt could so perfectly pull off. Hunt’s solo performance is as hilarious as it is unexpectedly emotional, striking a balance between humor and trauma that only a child of divorce could pull off.

Hunt begins in 2022 with the story of the impromptu opportunity he had to meet Paul McCartney. Despite getting the opportunity by virtue of being a celebrity himself, Hunt – a lifelong, second-generation Beatles fan – was starstruck and wanted to tell Paul everything. He refrained, however, and thus The Movement You Need was born: a show where, instead, Hunt tells you everything he wanted to tell Paul. What unfolds is less a traditional narrative and more a kind of extended, often chaotic, and retrospective confession that uses that near-miss encounter as a framing device. It’s a clever but risky structure that gives the show both direction and elasticity, allowing Hunt to bounce between stories, timelines, and emotional registers (as well as lean into his personal neuroticism) without ever letting us forget that he’s fangirling to Sir Paul McCartney.

Loosely structured like a memoir, the show traces Hunt’s life from his earliest memories through adulthood and into fatherhood. Along the way, he paints a picture of growing up as a child of divorce and the son of an addict, filtering those experiences through humor that feels both self-aware and disarmingly honest. The performance leans into its rough edges in a way that works in its favor – featuring remarkably bad impressions, authentically cringey home videos, and stories that range from deeply processed to intentionally brushed past. Often, the line between curated and embarrassing is difficult to walk well (and such is the risk of making art) but as both a writer and performer, under the incredible direction of Ashley Rodbro, Hunt does so perfectly.

The evening, however, actually included more than one Brendan: Brendan Hunt, an avid Beatles fan, and an audience member who we will refer to as Brendan #2 – the lone, brave audience member who admitted to not being a Beatles fan at all. Centering a play around a fandom, even one of the largest of all time, is a premise that, on paper, might seem limiting. And yet, while Hunt’s love for the Beatles is the backbone of the piece, it’s not the barrier to entry you might expect. The show ultimately isn’t about encyclopedic knowledge of the band; it’s about memory, identity, and the stories we carry with us, as well as the way that we use something – anything – to form connections with those around us, even in the hardest of circumstances.

Technically, the production is just as thoroughly considered as the writing. The set strikes a careful balance between cozy realism and subtle nostalgia, creating a space that feels lived-in without becoming cluttered. Design elements – from Meredith Ries’s scenic work to Nick Solyom’s lighting, Kate Marvin’s sound, and Stefania Bulbarella’s projections – support the storytelling without overpowering it. Under the direction of Ashley Rodbro, everything feels intentional, giving Hunt the space to carry the show while ensuring the world around him remains fully realized and reflects his theatrical background, but never overpowering his performance.

Brendan Hunt’s one-man play-comedy-memoir hybrid is, from its writing to acting to production, one of the most cohesive and well-executed pieces of art I have seen in a long time. One big creative risk, the result is a show that feels less like something you watched and more like something you experienced alongside him. It’s funny, yes, and often wildly so – but it’s the emotional honesty underneath that gives it weight, turning what could have been a niche concept into something far more universal.

The Movement You Need: An Evening with Brendan Hunt is running at Steppenwolf Theatre through May 10th. More information and tickets are available at https://www.steppenwolf.org/tickets--events/seasons-/2025-26/the-movement-you-need/.

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