Displaying items by tag: live theatre

The Goodman wraps its 2025/2026 Centennial Season, an unprecedented line-up marking the 100^th anniversary of Chicago's flagship not-for-profit theater, as the most successful in its history. Today, the theater released its "A Century of Impact" report, detailing milestone programming and attendance figures (a full annual report, including audited financials, will be published at year's end).  Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, the season drew more audiences than ever, topping 300,000—with 57% attending The Goodman for the first time—to 4,000 performances and events. The works in the 15-production season, curated by Booth, earned widespread critical and audience acclaim: 11 extended productions, 290 sold-out performances, while the world-premiere musical Iceboy! Or, The Completely Untrue Story of How Eugene O'Neill Came to Write The Iceman Cometh became the theater's all-time best-attended, best-selling production. Attendees hailed from 61 countries beyond the U.S. with audiences from 5,837 unique zip codes.

In addition, the Goodman broke new ground transforming a 15,000 square-foot, in-the-raw space for Theater of the Mind, Academy, Grammy and Tony Award-winning artist David Byrne's immersive work, drawing 63% first-time Goodman attendees. Chicago resident magician Dennis Watkins continued into his third year at The Magic Parlour, in partnership with The Goodman and Petterino's, hosting 163 sold-out performances and expanding his roster by welcoming nine guest artists. Beyond the stage, The Goodman offered 100 Free Acts of Theater—a year-long collaboration with 48 community partners at creative organizations in all 50 Chicago wards—drawing more than 20,000 people, presented in partnership with the Department of Cultural Affairs and Special Events (DCASE). Expanded Theater for the Very Young programming drew nearly 5,000 children and caregivers, with nearly 13,000 people of all ages engaging in free and low-cost Education and Engagement programming. Goodman Theatre Centennial Season leadership included Chair of The Goodman Board of Trustees is Marsha Cruzan; Women's Board President is Diane Landgren; and Kelli Garcia as President of the Scenemakers, The Goodman's young professionals board.

"One hundred years ago, Chicago gave us a stage. Over the past century, this city has given us so much more—welcoming generations of artists with bold ideas, filling our theaters with laughter, applause and conversation, challenging us to tell stories that reflect who we are, who we've been and who we might yet become," said Booth and Collins in a joint statement. "There are many ways to measure success; for us, it's ultimately about impact. We're proud to have reached more audiences through more programming in more communities this year than ever before. As theater leadership, we deeply feel the gratitude and responsibility that comes with a 100-year legacy. We look to continue The Goodman's story in our second century with the greatest ambition to deepen our reach, welcome more voices, and build stronger connections."

PRODUCTIONS, EVENTS AND OFFERINGS IN THE CENTENNIAL SEASON 

ALBERT THEATRE (856-SEAT PROSCENIUM STAGE) PRODUCTIONS

Ashland Avenue 
By Lee Kirk, Directed by Susan V. Booth 
Starring Jenna Fischer 
September 6 – October 5, 2025 (extended through October 19) | A World Premiere

A Christmas Carol (48^th annual production) 
By Charles Dickens, Directed by Malkia Stampley 
Starring Christopher Donahue as Ebenezer Scrooge 
November 15 – December 31, 2025

Holiday
Adapted by Richard Greenberg, Based on the play by Philip Barry, Directed by Robert Falls
January 31 – March 1, 2026 (extended through March 8) | A World-Premiere Adaptation 

August Wilson's Ma Rainey's Black Bottom 
Directed by Chuck Smith, Associate Director and Music Director Harry J. Lennix 
March 28 – April 26, 2026 (extended through May 3)

Iceboy! or, The Completely Untrue Story of How Eugene O'Neill Came to Write The Iceman Cometh 
Music by Mark Hollman, Lyrics by Mark Hollman and Jay Reiss, Book by Erin Quinn Purcell and Jay Reiss 
Directed by Marc Bruni, Choreographed by JoAnn M. Hunter 
Starring Megan Mullally and Nick Offerman 
June 9 – July 19, 2026 (extended through August 16) | A World-Premiere Musical

OWEN THEATRE (350-SEAT FLEXIBLE STAGE) PRODUCTIONS

Revolution(s) 
By Zayd Ayers Dohrn, Music and Lyrics by Tom Morello, Directed by Steve H. Broadnax, III 
October 4 – November 9, 2025 (extended through November 23) | A World-Premiere Musical

New Stages Festival (21^st annual event) January 11 – 18, 2026 
FEAST! by Calamity West, Directed by Susan V. Booth  
Pennies by Hansol Jung, Directed by Patricia McGregor 
This Part of His Life Blooms by Christina Anderson, Directed by Malkia Stampley 
The Audience Unseen by Ike Holter, Directed by Gus Menary, Dramaturgy by Sarah Slight

The Brief Wondrous Life of Oscar Wao 
By Marco Antonio Rodriguez, Adapted from the novel by Junot Díaz, Directed by Wendy Mateo 
February 21 – April 5, 2026 (extended through April 12) | A World-Premiere Adaptation

Covenant 
By York Walker, Directed by Malkia Stampley 
May 2 – 31, 2026 (extended through June 7) | A Chicago Premiere

Raven Theatre's production of Dave Malloy's Octet 
Directed by Keira Fromm 
July 15 – 26, 2026 (extended through August 2)

TJ and Dave 
Starring TJ Jagodowski and David Pasquesi, with special musical guest Ike Reilly 
July 30-31 and August 1

THEATER FOR THE VERY YOUNG PRODUCTIONS

Splish Splash: A Day on the Lake 
Directed by Ellie Levine and Jamal Howard, created in collaboration with students from Total Child Preschool 
February 28 – March 15, 2026 (extended through March 22)

The Lizard y El Sol 
Presented as part of the Chicago Park District's Night Out in the Parks Series, supported by the Mayor's Office and the Chicago Department of Cultural Affairs and Special Events (DCASE) 
Co-Directed by Jamal Howard and Raquel Torre 
July 22 – August 9, 2026 (extended through August 15)  
Appeared at 12 Chicago Parks District locations and four (4) Chicago Public Libraries

OFF-SITE PRODUCTIONS

Theater of the Mind
Created by David Byrne and Mala Gaonkar, Directed by Andrew Scoville  
Appearing at 333 N. LaSalle in an open run (performances began March 11, 2026)

Dennis Watkins' The Magic Parlour  
Produced in partnership with Goodman Theatre and Petterino's
Appearing at 50 W. Randolph in its third season, in an open run (tickets on sale through December 31)

EVENTS AND PARTNERSHIPS

100 Free Acts of Theater  
In partnership with the Chicago Department of Cultural Affairs and Special Events (DCASE) 
Summer 2025 – Summer 2026

Sweetest Season: A Gathering of Indigenous Creativity 
In partnership with Gichigamiin Indigenous Nations Museum 
August 15

THEATER FOR A LIFETIME

The Goodman's Education and Engagement programs cater to theatergoers at every stage of life. During the Centennial Season, nearly 13,000 people participated in nearly 200 free and low-cost programs, workshops and performances—including 4,490 children and caregivers through Theater for the Very Young, more than 4,800 students and teachers through school-based programming and nearly 900 older adults through GeNarrations. Goodman Education and Engagement programs include:

For Young Children & Families – Second Saturdays; Theater for the Very Young 
Students & Teachers – Pages; School Matinee Series; Stage Chemistry 
Teens – Musical Theater Intensive; PlayBuild Youth Intensive; Teen Studio; Youth Arts Council 
Adults – ACTivation; CONTEXT; GeNarrations

CENTENNIAL SEASON SUPPORT

The Goodman hosted two major fundraisers that together raided $1.6 million in support of the theater's Education and Engagement programs. In October 2025, stage and screen star Jenna Fischer shared her thoughts about formative experiences in the arts at the annual Education and Engagement Benefit, co-chaired by Elizabeth Balthrop and Anne Van Wart; Kathleen Cowie and Melissa Donaldson were Education and Engagement Committee Co-Chairs. In May 2026, Emmy, SAG and Critics Choice Award nominee Tituss Burgess dazzled audiences with a live show, followed by dinner and dancing at the Goodman Gala. The event was co-chaired by Wendy Krimins, Heather Poladian and Heather Zimmerman with Trustee Co-Chair Troy Zimmerman and Benefits Events Leadership Chair Joan E. Clifford, Board of Trustees Past Chair and Life Trustee.

The Goodman is grateful to its Centennial Season Sponsors, including Leading Sponsors Paul M. Angell Family Foundation; Allstate Insurance Company; Helen Gurley Brown BOLD Circle; Chicago Department of Cultural Affairs & Special Events; Chicago Department of Planning and Development; Edgerton Foundation New Play Award; Julius N. Frankel Foundation; Illinois Office of Tourism; JPMorgan Chase & Co.; The Elizabeth Morse Charitable Trust; Elizabeth Morse Genius Charitable Trust; Northern Trust Bank; Alfred P. Sloan Foundation; and The Shubert Foundation. Additional Support by Abbott Labs; BMO; Illinois Arts Council; National Endowment for the Arts; Petterino's; PNC; Polk Bros Foundation; Pritzker Pucker Family Foundation; and The John D. and Catherine T. MacArthur Foundation. Individual Sponsors include Susan and James Annable; Roger and Julie Baskes; Joan and Robert Clifford; Patricia Cox; Julie M. Danis and Paul F. Donahue; Christopher C. Dewey; Shawn M. Donnelley and Christopher M. Kelly; Paul Dykstra and Spark Cremin; Albert and Maria Goodman; The Kenneth Sawyer Goodman Family; Elaine R. Leavenworth; Carol Prins and John Hart; Alice and John Sabl; and Kimbra and Mark Walter. Impact Sponsors include Marsha Cruzan and Tom McGinnis; Drs. Robert and Frances Del Boca; David and Alexandra Fox; Diane Landgren; and Lorrayne and Steve Weiss.

ABOUT THE GOODMAN

Since 1925, The Goodman has been a theatrical home for artists and a gathering space for Chicagoland, where bold stories spark connection, conversation and change. Now, as it enters its second century, The Goodman builds on that legacy with an eye toward the future. Under the leadership of Walter Artistic Director Susan V. Booth and Executive Director John Collins, the theater continues to champion new work—following hundreds of plays developed and a national reputation for commissioning and premiering original stories by living writers—while reimagining classics and produce large-scale musicals.

But The Goodman's reach today extends beyond its home in the heart of the Loop. From the intimate magic of The Magic Parlour, now in its third year, to the boundary-pushing world of Theater of the Mind—an immersive experience that blurs the lines between science, storytelling and sensation—and from citywide initiatives like 100 Free Acts of Theater to partnerships with artists and companies across Chicago and around the world, The Goodman is expanding what theater can be, and where it can live.

At its core, The Goodman is driven by a belief that a more empathetic, more connected city is built one story at a time. Generation-spanning productions and programs offer theater for a lifetime—from babies and young children to teens, adults and seniors—including Theater for the Very Young (ages 0–5) and the beloved annual A Christmas Carol, which has welcomed audiences for five decades. Education and Engagement programs, led by Clifford Director Jared Bellot and based in the Alice Rapoport Center, use the tools of theater to spark imagination, reflection and belonging—reaching thousands each year, the majority from underserved communities.

With nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman remains a defining force in American theater—and the first to produce all 10 plays of August Wilson's American Century Cycle. The theater also frequently serves as a production partner—from national and international companies to Chicago's Off-Loop theaters—to help amplify a wide range of theatrical voices.

Founded by William O. Goodman and his family in memory of playwright Kenneth Sawyer Goodman, the theater carries forward a legacy of artistic ambition and civic generosity. With the help of Mr. Goodman's descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—that spirit continues to shape its future as The Goodman expands its impact across Chicago and beyond. Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women's Board President; and Christopher Way is president of the Scenemakers Board for Young Professionals.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

Coincidentally (or not), Victory Gardens’ new play about a controversial campus speaker opens just days after the one-year anniversary of Charlie Kirk’s assassination. Returning from a lengthy hiatus, Victory Gardens once again lights up the Biograph Theater with the world premiere of Zayd Ayers Dohrn’s new play “The Humanities”.

This thrilling play takes place on an American college campus where an opinionated voice is scheduled to speak. At the top level, an intellectual battle brews between professors and the college administration, while the students openly revolt.

Jonas (Ernest Bently) is a new professor on campus, hand selected by the department chair Martin (Steve Pickering) and his professor wife Margot (Naomi Evans). Jonas is young and ambitious, unwilling to get involved in the petty troubles of students and faculty. Martin and Naomi have other ideas. When Martin invites Luka (Daniil Krimer), an ultra-right-wing speaker on campus he kicks off a series of events that could lead the college, and Jonas, to ruin.

Carole (Sabine Wan) straddles the line between education and commerce as the dean while trying to appease the students and queer professor Milta (Isa Arciniegas). On the ground, students Hampton (Derrick Sanders III) and Xander (Piper Murphy) are taking action into their own hands.

Zayd Ayers Dohrn’s script is densely packed, structured in parts much like a college lecture. Each professor has their own somewhat incomprehensible monolog that speaks to how people can say so little with so many words. That’s not to say these passages are empty, and that’s the point. What college student could actually follow these verbal gymnastics though? Perhaps these speeches say more about how some educators are afraid to share their real opinion. Afterall, feelings aren’t facts.

“The Humanities” is a riveting exploration of the cost of free speech. Of course, our first amendment protects it, but it doesn’t account for good taste. Luka is played so smooth and charmingly by Daniil Krimer that you almost forget he’s a neo-Nazi, until he starts his speech. And that’s the unsettling part; under the law he’s just as entitled to hate speech as to tolerance messaging. And that those who criticize him in this play aren’t exactly perfect themselves.

Dohrn paints a rather cynical portrait of higher education, but in other ways he has a lot of faith in youth. Without the radical intentions of Xander and Hampton, there would be no point in rehashing the systematic problems of American academic institutions. In many ways it’s what makes this play so unique.

For those wondering if Victory Gardens has been restored to its former glory under new leadership, “The Humanities” proves they’ve still got it. Edward Torres directs a great cast. While originally billed as starring SNL alum Nora Dunn, British American actress Naomi Evans seems better fit for the role. She has a sleekness about her that makes some of the sexual plotlines a bit more palatable. Steve Pickering embodies that stodgy professor in this era almost as pitifully as Albee’s George was to the 1960s. There’s a certain tragedy in his performance.

While maybe a bit of trimming could help file this play down to a finer point, Victory Gardens choosing Dohrn’s script as their season opener is a brave choice. Almost an admission of self-awareness in an ever-dividing world in which institutions are no longer held on the same pedestals.

Through October 4 at Victory Gardens Theater. 2433 N Lincoln Ave. (773) 871-3000)

Kokandy Productions’ Jekyll & Hyde, now presented by Broadway In Chicago at the Broadway Playhouse, arrives with the momentum of a bona fide Chicago phenomenon. After its run at Chopin Theatre was extended again and again - an almost unheard of feat for an intimate, homegrown musical - the show has now been picked up for a full commercial engagement, marking a major leap for the company and a testament to the production’s electric word of mouth. It is worth noting just how rare this is: Broadway In Chicago almost never transfers storefront productions, making this pickup one of the most significant Chicago theatre success stories in recent memory. Conceived for the stage by Steve Cuden and Frank Wildhorn, this staging proves how a storefront success can scale beautifully without losing its bite.

This reimagined take on The Strange Case of Dr. Jekyll and Mr. Hyde, drawn from Robert Louis Stevenson’s classic story, uses Leslie Bricusse’s book and lyrics to follow Dr. Jekyll, a brilliant yet splintering scientist whose compassion fuels his most dangerous ideas. He turns to self‑improvement experiments - attempting to isolate and remove the darker impulses that plague human behavior. Only after the town council votes down his proposal to move forward does Jekyll test his theories on himself, unleashing a violent alter ego - Mr. Hyde - that refuses to stay contained and seeks revenge on those who dismissed his ideas as reckless.

While Jekyll’s experiments drive the plot, the production grounds his unraveling in two sharply drawn relationships: his earnest, hopeful romance with Emma and his complicated, magnetic connection with Lucy. Emma represents the future he’s desperate to protect, while Lucy embodies the vulnerability and desire he can’t fully control. Together, they give the story its emotional spine, showing how Jekyll’s transformation fractures not just his identity, but the lives of the women who care for him.

Kokandy dives into the duality with sharp humor, vivid theatricality, and a pulsing score that turns the transformation into both a spectacle and a psychological spiral. As Jekyll’s world cracks - friends endangered, morality blurred, identity slipping - the production keeps the tension taut, balancing gothic thrills with a surprisingly human core.

(center) David Moreland and the cast of Kokandy Productions’ production of Jekyll & Hyde.

What makes this staging stand out is its inventiveness: clever staging, bold physicality, and a cast that commits fully to the grotesque and the gorgeous – and, wow, can they sing. It’s no surprise audiences kept returning at Chopin, pushing the run far past its original closing date. That groundswell of audience demand is precisely what caught Broadway In Chicago’s attention - a level of traction strong enough to propel a storefront musical into a full commercial engagement. Seeing it now elevated to the Broadway Playhouse feels like the rare occasion when Chicago’s storefront originality gets the larger platform it deserves. In fact, upon entering, guests are handed stickers to mark how many times they’ve seen the show. Whether it’s their first visit or their seventh - the highest number I spotted - theatergoers wear it proudly, a small but telling sign of the cult‑like enthusiasm surrounding this production.

Directed by Producing Artistic Director Derek Van Barham, this production thrives on a razor‑sharp sense of style and drive. Van Barham shapes Jekyll & Hyde with the confidence of someone who knows exactly how to blend horror and heart into one seamless theatrical rhythm. A kinetic drive and deft wit run through the score thanks to Nick Sula’s music direction, ensuring crisp transitions and character‑focused vocal work. With a rare 15‑piece live orchestra on stage, the production’s musical power hits with a fullness and immediacy that elevates every passage. Brenda Didier’s choreography is the secret weapon — precise, playful, and radiating personality, it turns the show’s physicality into storytelling and amplifies the divide at the center of Jekyll’s collapse.

Kokandy’s ensemble fires on all cylinders, creating a production that feels both wickedly fun and sharply realized. David Moreland anchors the show with a riveting, shape‑shifting performance as Dr. Henry Jekyll and Mr. Edward Hyde, his vocal work and physical transformations giving the story its ferocious pulse. Moreland delivers a performance of remarkable physical and emotional intensity, one that stands out among the strongest I’ve seen. With visceral depth and vocal heat, Ava Lane Stovall shapes Lucy Harris into a woman suspended between danger and desire, her performance threading vulnerability through every moment of volatility. She makes Lucy’s internal tug of war feel immediate, giving the role a current that’s both seductive and unsettling. Meanwhile, Emily McCormick’s Emma Carew delivers a beautifully grounded counterbalance, her warm, expressive songs reinforcing the production’s moral center and offering the steadiness Jekyll’s world so desperately lacks.

(center) Ava Lane Stovall with (left to right) Quinn Kelch and Ismael Garcia and (below) Quinn Simmons in Kokandy Productions’ production of Jekyll & Hyde.

As Simon Stride and Spider, Quinn Kech moves effortlessly between clipped propriety and feral swagger, pairing sharp character work with vocals that cut cleanly through the score. A steady moral throughline comes through in Kevin Webb’s Gabriel John Utterson, his warm baritone and grounded presence giving the story its emotional ballast. Nathan Calaranan brings a dignified, resonant authority to Sir Danvers Carew, shaping each turn with clarity and restraint. Around them, the ensemble meets the material with full‑throated commitment - singing with power, acting with specificity, and charging every scene with the kind of collective intensity that makes this production feel larger than its footprint. Led by Jeff Award winners Moreland, Stovall, and McCormick, the ensemble’s collective impact makes this Dr. Jekyll & Mr. Hyde feel vividly, thrillingly alive. The extended applause throughout the night were frequent and fully deserved.

The reimagined score is one of the production’s greatest triumphs, built on Frank Wildhorn’s music, yet reshaped into something leaner, sharper, and far more theatrical. Kim Scharnberg’s orchestrations give the music its dark, muscular edge, while Jason Howland’s arrangements sharpen its modern undercurrent. The orchestrations feel slyly contemporary and richly atmospheric, giving the story a sonic identity that matches Kokandy’s confident staging. Sula ensures every number lands with intention, whether it’s a brooding solo that tightens like a vice or an explosive ensemble sequence that floods the stage with adrenaline. And the vocal performances? They’re extraordinary – out of this world, presented with a clarity and force that elevate every musical moment.

The set evokes the grit and pressure of 1880s London without ever changing, a circular playing space with elevated risers that let the cast surround the action and heighten every moment of tension. Scenic designer Sotirios Livaditis, U.S.A., builds a world that’s intentionally fixed yet remarkably flexible, giving the ensemble multiple levels and angles to push the story forward. G. “Max” Maxin IV’s lighting and Matt Reich’s sound design sharpen that sense of immersion, shaping mood, focus, and dramatic impact from scene to scene. This talented design team gives us a unified environment that feels alive in its stillness - a single space that transforms through performance rather than mechanics.

Jekyll & Hyde comes highly recommended, not only for its inventive reworking but for the sheer theatrical command Kokandy brings to the Broadway Playhouse stage. Presented by Broadway In Chicago, the production (already extended) runs through November 8, 2026 at the Broadway Playhouse at Water Tower Place, with a runtime of 2 hours and 35 minutes including an intermission. It’s a bold, stylish, and wildly entertaining take on a classic tale - one that proves Kokandy’s storefront artistry can thrive beautifully on a commercial stage. I walked away from this production genuinely amazed, struck by how fully Kokandy has transformed a familiar title into something fresh, fearless, and alive. It’s a milestone not just for Kokandy, but for Chicago theatre itself - a reminder that the city’s most daring work can rise all the way to the downtown marquee.

https://www.broadwayinchicago.com/shows/jekyll-hyde/

Ghostlight Ensemble's production of American Son, written by Christopher Demos-Brown and directed by Ebby Offord, opens on Friday, September 18, at Friendship Community Place in Jefferson Park. 

The production is led by Ensemble Member Courtney Marie as Kendra and Ensemble Member Khenmu Menu-Ra as Lt. Stokes with Shane Novoa Rhoades as Scott and Derek Preston Ray as Larkin. Understudies are Terah Jene, Eric K. Roberts, Kyle Roth and Ryan Ken.

"American Son has been on my artistic bucket list for as long as I can remember. As a Black woman married to a white man, its themes are all too familiar, and as a GET Ensemble member, it's right on mission," Marie said. "I can't imagine a better time to tell this story."

In American Son, an estranged biracial couple must confront their feelings about race and bias after their son is detained by the local police following a traffic stop incident. 

The story unfolds over a single night as Kendra, a Black mother, desperately seeks answers about the whereabouts of her 18-year-old son, Jamal, who has gone missing after an encounter with the police. As tensions escalate, Kendra is joined by her estranged white husband, Scott, and their clashing perspectives expose deep-seated issues of race, privilege and systemic bias.

Set in a Florida police station, American Son is a gripping tale of two parents caught in our national divide, with their worst fears hanging in the balance. This tense and emotionally charged drama is a compelling exploration of contemporary social issues.

The show also ticks off a role on Menu-Ra's artistic wish list. 

"Personally, I've wanted to play a sort of no-nonsense cop since watching Andre Braugher as Lt. Frank Pembleton on NBC's cop drama Homicide back in the 90s," he said.

"It's exciting to finally step into this law enforcement role in a show as nuanced and layered as American Son. It's a pretty stark reflection of the real lives at stake in the volatile, reactionary world we're living through," Menu-Ra added. "We pose some challenging questions, and I look forward to sharing it with audiences."

The production team includes Stage Manager Hailey Piorek, Scenic and Props Designer Adri Andreolas, Sound Designer Jaden Leverett and Costume Designer Andrés Mota. The show is produced by Ensemble Members Justin Broom, Courtney Marie, Chad Wise and Holly Robison.

The production runs Thursdays, Fridays, Saturdays and Mondays at 7:30 p.m. and Sundays at 2:30 p.m. September 18 through October 4, 2026, at Friendship Community Place (5150 N Northwest Highway, Chicago, IL 60630). There will be a preview performance on Thursday, September 17 and an understudy performance on Monday, September 28. The show runs about 90 minutes with no intermission.

Friendship Community Place is a non-profit organization that serves as a hyper-local neighborhood hub on Chicago's northwest side with partnerships that promote equity, justice and provides resources and public programming. The space is fully accessible with ADA restrooms and automatic doors. 

Tickets are pay-what-you-will, with an average donation of $25. Audience members who are financially able to donate more help offset the cost for those who can't afford to give. For the preview performance on Thursday, September 17, the suggested donation is $15. Tickets are available now.

American Son is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com.

The play premiered on Broadway at the Booth Theatre on November 4, 2018. Directed by Kenny Leon, the production featured Kerry Washington, Steven Pasquale, Jeremy Jordan and Eugene Lee. In 2019, Netflix produced a film adaptation of the play with the original Broadway cast reprising their roles. 

Look for details about the entire 2026-2027 season and Ghostlight Ensemble at GhostlightEnsemble.com.

Ghostlight Ensemble is a registered 501(c)3 nonprofit theatre whose mission it is to ask questions that challenge the status quo through timeless stories, immersive environments and unconventional staging. As an ensemble-based theatre, Ghostlight is made up of individual artists who are dedicated to collaborative creation and committed to working together consistently over years to develop a distinctive body of work. We welcome you to learn more about us at GhostlightEnsemble.com.

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

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

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

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

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

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

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

TICKET INFORMATION
THE PRINCESS BRIDE will be part of the next Broadway In Chicago season, on sale next month. Group tickets for 10 or more are on sale now by calling Broadway In Chicago Group Sales at (312) 977-1710 or by emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. Individual tickets will go on sale at a later date. For more information, visit www.BroadwayInChicago.com.

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

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

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Marriott Theatre, Chicagoland's longest-running musical theatre, presents its 2027 subscription season featuring five thrilling and memorable musicals: Pippin, A Gentleman's Guide to Love and Murder, Almost Heaven, Les Misérables and The Wiz. The season also includes three Theatre for Young Audiences productions and an engaging concert lineup. Beginning in 2027, Marriott Theatre will introduce new weekend performance times, with Saturday shows at 2pm and 7:30pm and Sunday performances at 1pm and 6pm.

The 2027 season kicks off with Stephen Schwartz's iconic musical masterpiece, Pippin, directed and choreographed by Jeff Award nominee Amber Mak (Marriott Theatre: Joseph and the Amazing Technicolor Dreamcoat, Buddy – The Buddy Holly Story, Disney's Finding Nemo). With an infectiously unforgettable score from four-time Grammy winner, three-time Oscar winner, Tony winner and musical theatre giant, Stephen Schwartz (Wicked and Godspell), Pippin is the story of one young man's journey to be extraordinary. Packed with iconic songs like "Corner of the Sky," "Magic to Do," "No Time at All" and "Morning Glow." Pippin starts performances January 27. 

Next on stage is A Gentleman's Guide to Love and Murder, the knock-'em-dead, uproarious hit filled with unforgettable music and unending hilarity, directed and choreographed by Katie Spelman (Marriott Theatre: Come From Away, The Music Man). When the charming and penniless Monty Navarro discovers he's ninth in line for an earldom, he figures his chances of outliving his predecessors are slight and sets off to speed up the line of succession by using a great deal of charm... and a dash of murder. Best Musical Winner: Tony Award, Drama Desk Award, Outer Critics Circle Award, and Drama League Award. A wickedly witty romp of disguises, dalliances, and delightfully untimely deaths, starring Marriott Theatre favorite Alex Goodrich as the ENTIRE D'Ysquith Family! A Gentleman's Guide to Love and Murder starts performances April 14.

For summer, celebrate the legendary life and legacy of John Denver with Almost Heaven: Songs of John Denver, directed by James Vásquez (Marriott Theatre: In the Heights, Always Something There..., Damn Yankees). American musical icon John Denver's timeless melodies echo from Rocky Mountain highs to the Green Mountains of Vermont. Set against a backdrop of America in the late 1960s and early 1970s, Almost Heaven celebrates the life and times of this down-to-earth music man with dozens of chart-topping hits including: "Rocky Mountain High," "Sunshine on My Shoulders," "Annie's Song," "Take Me Home, Country Roads," "Leaving on a Jet Plane," "Calypso" and many more. Almost Heaven is a theatrical salute to the music that inspires us to dream of new roads and new destinations. Almost Heaven: Songs of John Denver starts performances June 16.

The epic Les Misérables takes the stage in 2027, directed by Jessica Fisch (Marriott Theatre: Beautiful: The Carole King Musical, Come from Away, Catch Me If You Can) and choreographed by Marriott Theatre Associate Artistic Director Katie Johannigman (Marriott Theatre: A Little Night Music, The Magic School Bus). Set against the backdrop of 19th century France, Les Misérables tells an enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. This epic and uplifting story has become one of the most celebrated musicals in theatrical history. The magnificent score of Les Misérables includes the songs "I Dreamed a Dream," "On My Own," "Bring Him Home," "One Day More," "Master of the House" and many more.  Packing an emotional wallop that has thrilled audiences all over the world, its powerful affirmation of the human spirit has made Les Misérables a cherished masterpiece. Les Misérables starts performances August 25.

When the holidays roll around, "ease on down the road" to the beloved Broadway gem, The Wiz, directed and choreographed by Deidre Goodwin (Marriott Theatre: director/choreographer of Heartbreak Hotel and Beehive, choreographer of Catch Me If You Can). Infusing L. Frank Baum's The Wonderful Wizard of Oz with a dazzling mix of rock, gospel and soul music, this timeless tale of Dorothy's adventures through the land of Oz is an effervescent explosion of music, dance, magic, and delight. Winner of seven Tony Awards including Best Musical, The Wiz is a fun, fresh, family-friendly musical. The Wiz starts performances November 10.

Marriott Theatre's commitment to family entertainment continues with a vibrant lineup of Theatre for Young Audiences productions throughout 2027. The season kicks off with the action-packed musical adventure The Lightning Thief: The Percy Jackson Musical, directed by Derek VanBarham and choreographed by Tommy Rivera-Vega, running February 19 through March 27. Young theatergoers will then delight in the heartwarming Lyle, Lyle, Crocodile: The Musical (a pilot production of the Theatre For Young Audiences edition), directed by Christopher Llewyn Ramirez and choreographed by Nich O'Neil, from July 9 through August 8. The final TYA production brings a fresh take on a classic fairy tale with the world premiere of Hansel & Gretel: Off The Grid, written by Johanna McKenzie Miller, Michael Mahler and Steven Strafford, directed by Miller and choreographed by Mandy Modic, running November 27 through January 9.

The 2027 Artists Lounge Live Concert Series will bring to the stage Hello Again: Eric Gutman Sings Neil Diamond on March 15-17, Good Vibrations: Michael Mahler Band Salutes The Beach Boys on September 13-14, Dream Lover: The Music of Bobby Darin and Connie Francis, starring Devin DeSantis and Anastasia Arnold on December 6-7, and Rockin' Down the Clock: 100 Years of Hits! on December 31.

Beginning Wednesday, September 16, audiences can purchase 2027 season subscriptions and single tickets to all upcoming shows and concerts. Current subscribers: your renewal packets will land in your mailbox shortly. Single ticket prices begin at $78 for mainstage productions, and $19.75 for Theatre for Young Audiences (plus tax and handling fees). For more information on Marriott Theatre or to purchase tickets to the current hit musical, Come From Away, please visit MarriottTheatre.com or follow the theatre on social media @marriotttheatre.

ABOUT MARRIOTT THEATRE

Founded in 1975, Marriott Theatre is known for presenting new and classic musicals, often direct from Broadway and has staged more than 260 productions before an estimated 12,000,000 people in its history. Marriott Theatre has received more than 600 Joseph Jefferson Award nominations and has employed more than 6,000 artists. In addition to the presentation of classic American musical theatre, Marriott Theatre has become a driving force in the development of original and re-imagined musicals.

Pippin and A Gentleman's Guide to Love & Murder are presented through special arrangement with Music Theatre International (MTI).

Almost Heaven is present by arrangement with Aruba Productions.

Les Misérables is presented through special by arrangement with Music Theatre International and Cameron Mackintosh LTD.

The Wiz and The Lightning Thief are presented by arrangement with Concord Theatricals.

Be part of a night filled with suspense, stories, and special moments this Halloween season when David Arquette goes Behind the SCREAM, a thrilling live conversation including a special 30th anniversary screening of the iconic horror film SCREAM.

Legendary actor David Arquette, who played the beloved character Dewey Riley in the franchise,  will share his insights, anecdotes and the impact SCREAM has had on his career and the horror industry. Following the screening of the iconic 1996 slasher flick, Arquette will take the stage for a live, in-depth moderated interview and Q&A. Fans will have the chance to have their burning questions answered and hear firsthand accounts from one of the film's stars.

Paramount Theatre is located at 23 E. Galena Blvd. in downtown Aurora, with easy, affordable parking and plenty of new restaurants nearby.

Don’t miss this haunting night to remember. Tickets are $41-$71*. Limited VIP Packages are on sale for $171*,  offering the best seats and an exclusive post-show photo-op with Arquette.

For tickets, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount box office Monday through Saturday, 10 a.m. to 6 p.m., or until show time on show days. For group discounts, contact Melissa Striedl, This email address is being protected from spambots. You need JavaScript enabled to view it. or (630) 723-2461. *Prices are for in-person purchases. Additional fees apply for phone and online orders.

Birds of North America, written by Anna Ouyang Moench, is a story of a father daughter relationship spanning a decade and weathering personal and worldwide conflicts while sharing their love of birdwatching.  Admittedly family relationships can be tricky at best.  Especially as children age into adulthood and make their own life choices and important decisions.  It is difficult for a parent to see them in a new light or role and the default of overly attempting to manage and advise them is not the best fit. 

In this scenario we find ourselves in a backyard of Baltimore, Maryland in a beautifully imagined set design by Morgan Laszlo.  We watch the relationship of John, the father (John Judd) and Caitlyn (Cassidy Slaughter Mason) ebb and flow throughout autumnal days and evenings on a backyard deck.  We can see that John is in the autumn of his years and struggling with an internal conflict if his life’s work has mattered, is significant or made a difference in the world.  Like many men of his generation, he prefers to keep the conflict internal.  And, Caitlyn wants to discuss deeper and more adult topics with her Dad…as long as they are not about her or his opinion of her.  Caitlyn goes through it, as they say, in the ten years of autumns of this piece.  Young love, marriage and many things that follow.  Ups, downs, disappointments, career crisis, what does it all mean?  

In the meantime, she and her Dad continue to communicate through spotting birds, hearing them, listening to their calls and determining what is a significant sighting.  All events we can march through relationships with.  There are scenes when they are hearing each other but not really listening as intently as they do for the elusive birds.  Does that mean they care about the birds more than each other? Or is it easier to tiptoe around landmines of emotion. Our two actors, Judd and Mason forge a believable poignant relationship on stage.  The pain each of them go through is palpable but not overt.  The most beautiful sort of acting that draws in an audience, especially in an intimate space that Red Orchid Theatre has to offer.

The sound design by Ethan Korvne also helps to set the scene and enhance the birding aspect of the show.  If you close your eyes for a second and listen to the bird calls it almost seems as if a fall breeze might pass by.  The pacing of the show and transitions are smooth and make the decade pass by in a credible page-turning manner giving you just enough time for thoughts of where they are headed next. It’s easy to see how this garnered seven Jeff Award nominations.

Whether or not you are a birding enthusiast (and my show companion is and loved it!) this is a piece about families, relationships, communication and remembering to listen without distraction, a tool we can all use in our lives.

BIRDS OF NORTH AMERICA, now playing at A Red Orchid Theatre in Chicago through October 4, 2026.

https://www.aredorchidtheatre.org for ticket and performance time information.

Mary Beth Euker is a founding director of Cricket Theatre Company in Lake Zurich, Illinois, has appeared in shows at Devonshire Theatre in Skokie and Woodstock Opera House and directs in Lake Zurich at various schools and for Cricket.

Want to go behind-the-scenes of Chicago’s one and only puppet haunted house?

Rough House Puppet Arts’ House of the Exquisite Corpse returns October 8-November 1 at The Merle at Steppenwolf Theatre. New this year, the company is introducing an All-Inclusive Experience that includes ALL the perks: the show, a drink ticket, a giveaway at entry and a coveted backstage tour. 

First, you’ll join a small group of puppet horror voyeurs on visits to six rooms where you’ll peer through keyholes, cracks, and hidden doors to witness the carnage and gallows humor inside. Then, after the final entry, All-Inclusive VIPs will be welcomed back into the House and invited to step inside each room for a behind-the-scenes encounter with this year’s frightful puppets.

Rough House is offering All-Inclusive Experiences Thursdays and Sundays, October 8 - October 25, last entry time only. So treat yourself to something up close and spooky and help the arts thrive. The All-Inclusive Experience, $75 plus a $3 booking fee, is ideal for hardcore puppet horror fans and anyone looking for an all-new, immersive Halloween adventure. Limited spots available, so don’t sleep on this offer. Sign up now at  roughhousetheater.com/tickets.

Back for its sixth Halloween season, House of the Exquisite Corpse is a singularly immersive puppet horror experience with a new theme for 2026 - LULLABIES - that’s sure to keep you up at night. 

Fans of immersive experiences, haunted houses, literature, puppetry and live theater are the ideal audience for Chicago’s most unique Halloween destination. As the Chicago Reader put it, “if you want to move beyond schlock and shock into an elevated horror experience this October, look no further than House of the Exquisite Corpse.”

House of the Exquisite Corpse VI: LULLABIES runs October 8 - November 1: Thursdays through Saturdays, with timed entries starting at 6:50 p.m., continuing every 15 minutes until the last entry at 9:30 p.m. New this year! Sunday matinees, starting at 1:50 p.m.

Tickets are on sale now at roughhousetheater.com/tickets. Sliding scale, Pay What You Can suggested prices are $22 to $47. Note: This production is recommended for ages 13 and over. 

Steppenwolf Theatre’s The Merle is located at 1624 N. Halsted in Chicago’s Lincoln Park Neighborhood, just steps away from the CTA Red Line stop at North and Clybourn.

For more information, visit RoughHousePuppets.org and follow the company on Instagram and Facebook, YouTube and LinkedIn.

In a world of theatrical adaptations, there really are two kinds: some reinvent their source material, becoming their own “new” art, while others understand that the real pleasure they provide is in the audience seeing some beloved thing from the past brought back to life. Dirty Dancing: The Musical falls firmly into the second category. Is it a great musical? Not quite. But that’s not its purpose. As a pop-culture ritual connecting a multigenerational audience over their shared love of a movie (which never tried to be “great” cinema, either), it is undeniably effective. And with Dancing with the Stars returning next week (surely a favorite for this musical’s audience), the timing of this particular Broadway in Chicago production’s exceptional ballroom dancing could not have been better.

With original screenplay and book by Eleanor Bergstein and direction by Lonny Price, the adaptation recreates the film largely through its familiar soundtrack, supplemented by a handful of original songs. It quickly becomes clear that the production was cast with dancing as its first priority. That choice pays off whenever the music takes over: the cast members are remarkably skilled dancers, and the show’s most kinetic sequences capture the sensuality and excitement audiences expect from Dirty Dancing. Much of that impact comes from choreographer Darrell Grand Moultrie, whose work channels the film’s sensuality and athleticism with precision.

That energy largely disappears, though, when the dancing stops. Unfortunately, dialogue is often delivered with a stiffness that makes the performances feel robotic, leaving little sense of genuine connection between the characters. The chemistry missing from Baby and Johnny’s romantic scenes is just as absent from the story’s confrontations, friendships, and family relationships.

Blake Zelesnikar (Johnny Castle) and the DirtyDancing: The Musical Company. Photo by Matthew Murphy.

Almost as noticeably, the ensemble rarely displays the tight-knit community that should exist among Kellerman’s dance staff. These characters live and work together within the same rigid system; their relationships should feel immediate and deeply established. Instead, much of the large cast feels underutilized, when not simply crowded on the stage. The exception is the final number at the end-of-season talent show, when everyone suddenly moves with the same electric energy. It sends the audience out on an undeniable high, while also revealing how much more vibrant the entire production could have felt with that sense of spirit throughout.

Vocally, the cast is professional and polished, with two extraordinary exceptions: Ethan Peterson as Billy Kostecki and Ashley LaLonde as Elizabeth. Their voices are absolutely stunning. Nearly every pin-drop emotional moment in the production comes not from the dramatic plot, but from one of them singing.

Alongside its dancing among the production’s greatest triumphs is its scenic design, which transports us to the 1960s Catskills. The work of scenic designer Brett J. Banakis, costume designer Linda Cho, and lighting designer Japhy Weideman is central to creating that world. The set does not rely on spectacle or theatrical magic but is astonishing because it’s so perfectly planned and constructed to hold every corner of Kellerman’s – from polished guest spaces to humbler staff quarters, indoors and out. Seamless transitions allow locations to shift smoothly without interrupting the story’s momentum. I only wish the choreography had taken greater advantage of that flexibility, using the architecture to create more breakout moments for an ensemble overflowing with talented dancers.

Ultimately, Dirty Dancing: The Musical succeeds at recreating the movie onstage but rarely explores what live theatre could add to it.

But despite any limitations, this production provides exactly what its audience desired: an enjoyable night powered by nostalgia, tremendous dancing, and a finale worth waiting for – even if it never becomes an exceptional musical independent of the film audiences already love.

Dirty Dancing: The Musical runs at the James M. Nederlander Theatre through September 20th. Tickets are available at https://www.broadwayinchicago.com/shows/dirty-dancing-the-musical/.