Displaying items by tag: on stage

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/.

Music Theater Works is proud to announce the cast and creative team for the third production of its 2026 season, Jimmy Buffett’s Escape to Margaritaville, in the North Theatre, at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie, October 8 - November 1. Escape to Margaritaville has a book by Greg Garcia and Mike O’Malley, with music and lyrics by Jimmy Buffett. Music Theater Works’ production is directed and choreographed by Brenda Didier with co-director Sarafina Vecchio and co-choreographer Clayton Cross and music directed by Linda Madonia. Escape to Margaritaville includes a preview performance Thursday, Oct. 8 at 7:30 p.m. The performance schedule is Saturday, Oct. 10 at 7:30 p.m., Sunday, Oct. 11 at 2 p.m. (Post-show discussion), Wednesday, Oct. 14 at 2 p.m., Friday, Oct. 16 at 7:30 p.m., Saturday, Oct. 17 at 2 p.m. and 7:30 p.m., Sunday, Oct. 18 at 2 p.m. (Post-show discussion), Wednesday, Oct. 21 at 2 p.m., Friday, Oct. 23 at 7:30 p.m., Saturday, Oct. 24 at 2 p.m. and 7:30 p.m. (ASL interpreted performance), Sunday, Oct. 25 at 2 p.m., Wednesday, Oct. 28 at 2 p.m., Friday, Oct. 30 at 7:30 p.m., Saturday, Oct 31 at 2 p.m. and 7:30 p.m. and Sunday, Nov. 1 at 2 p.m. Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300. Memberships for the 2026 season are also available at MusicTheaterWorks.com and group discounts for 10 or more people are available by contacting This email address is being protected from spambots. You need JavaScript enabled to view it..

Music Theater Works presents the first professional production of Jimmy Buffett’s Escape to Margaritaville in Chicago since its pre-Broadway run. Set sail for a tropical getaway with this feel-good musical packed with island vibes and beloved Buffett classics. This lighthearted romantic comedy follows Tully, a laid-back island singer, and Rachel, a career-focused tourist, as their worlds collide at a beachfront resort. With a story about adventure, self-discovery and living life to the fullest, Escape to Margaritaville is the ultimate musical vacation for Parrot Heads and newcomers alike.

The cast of Jimmy Buffett’s Escape to Margaritaville includes Brian Acker (he/him, Tully); Kate McQuillan (she/her, Rachel); Khaki Pixley (she/her, Tammy); Chase Grabowski (he/him, Brick); Dee Kimpel (she/her, Marley); Brian James (he/him, J.D.); Matt Frye (he/him, Chadd/ensemble/U/S Brick); Rachel Thomas (she/her, ensemble/U/S Rachel); Mackenzie Furlett (she/her, ensemble/U/S Tammy/dance captain); Andrew Faggion (he/him, Ted/ensemble/U/S Tully); Mikala Curless (she/her, ensemble); Ivan James (he/him, ensemble/U/S J.D./non-equity deputy); Jacob Merschel (he/they, Jamal/ensemble); Kelcy Taylor (she/her, ensemble); Kenny Miller (any with respect, ensemble/swing) and Juliet Lopez-Gutierrez (she/her, ensemble/swing).

Jimmy Buffett’s Escape to Margaritaville’s creative team includes Brenda Didier (she/her, director/choreographer); Sarafina Vecchio (she/her, co-director); Clayton Cross (he/him, co-choreographer); Linda Madonia (she/her, music director); Amber Wuttke (she/her, intimacy and violence choreographer); Kathy Logelin (she/her, dialect coach); Mack Finklea (she/they, stage manager); Ryker Blankenship (he/they, assistant stage manager); Bob Knuth (he/him, scenic designer); Ab Rieve (they/them, props designer); kClare McKellaston (she/her, costume designer); Kristen Brinati (she/her, wardrobe head); Melanie Saso (she/her, hair, wig and makeup designer); Carl Wahlstrom (he/him, sound designer); Kalyssa Montoya (she/her, assistant sound designer); Forrest Gregor (he/him, production sound engineer); Ben Lipinski (any, technical director); Liz Brachman (she/her, assistant technical director); Keely Vasquez (she/her, casting director); Chris Chase (he/him, production manager); Katie Meine (she/her, company manager) and Kyle Dougan-LeBlanc (any with respect, producing artistic director).

Jimmy Buffett’s Escape to Margaritaville’s orchestra includes Linda Madonia (she/her, keyboard/conductor); Cara Strauss (she/her, reed); Greg Strauss (he/him, trumpet); Eric von Holst (he/him, bass); Kyle Paul (he/him, guitar 1); Mike Lockler (he/him, guitar 2); Tina Laughlin (she/her, percussion) and Lindsay Williams (he/him, drums).

Jimmy Buffett’s Escape to Margaritaville Special Events

Post Show Discussions

Behind the Curtain with Thomas M. Shea

Audiences are invited to stay after the 2 p.m. performances on Sunday, Oct. 11 and Sunday, Oct. 18 to join musical theater historian Thomas M. Shea, author of “Broadway’s Most Wanted,” for a post-show talk exploring the behind-the-scenes history of Escape to Margaritaville. Free with ticket, this engaging discussion is perfect for audiences to learn about the production, its history and more.

ASL Interpreted Performance

The Saturday, Oct. 24 at 7:30 p.m. performance will be ASL interpreted.

Escape to Margaritaville Partnerships

TicketREACH

Music Theater Works supports more than 25 local nonprofits and community organizations and 18 area public libraries through distribution of a minimum of 600 free tickets for every production. TicketREACH is sponsored by Wintrust Financial and Northbrook Bank and Trust.

Jimmy Buffett’s Foundations

Music Theater Works is pleased to be promoting two of Jimmy Buffett's foundations, Singing for Change and Save The Manatee, through informational exhibits in the inner lobby of the theater during Escape to Margaritaville. Singing for Change "turns good vibes into good deeds" by honoring Jimmy Buffett’s spirit of giving, helping others and having fun along the way by offering grant support to thousands of nonprofits across the United States, including five organizations in Chicagoland. The mission of Save The Manatee is to protect manatees and their aquatic habitats for today and for future generations.

ABOUT BRENDA DIDIER, DIRECTOR and CHOREOGRAPHER

Brenda Didier is thrilled to make her Music Theater Works debut with this fun show! Didier is a freelance director and choreographer based in Chicago. Credits: Chicago Shakespeare Theatre, The Goodman, Marriott, Paramount, Royal George Theatre, Theatre at the Center, Chicago Theatre, Theatre Wit, Porchlight Music Theatre, Mercury Theater Chicago, Second City, Theo Ubique, City Lit, Six Flags and Busch Gardens theme parks and many others. Tours: The Kenny Rogers Christmas Tour and Cirque Shanghai-Navy Pier’s Skyline Stage with engagements at the Tropicana Resort in Atlantic City, Harrah’s in Las Vegas and The New Victory Theatre in New York’s Broadway District. Didier made her TV choreography debut with T-Mobile’s national commercial “Home for the Holidays”. She is a multiple Jeff Award recipient in both direction and choreography (Equity and Non-Equity wing), Guy Adkins Award recipient and artistic director/founder of the Lincolnshire Academy of Dance, now in its 29th Season. Upcoming: Jekyll and Hyde (Kokandy Productions/Broadway Playhouse), Christmas Carol at Paramount Theatre and Dead Outlaw with Porchlight Music Theater/Theater Wit. 

ABOUT SARAFINA VECCHIO, CO-DIRECTOR

Sarafina Vecchio is thrilled to be making her Music Theater Works debut! She is a director and actor in Chicago, as well as an educator at Chicago College of Performing Arts at Roosevelt University and Acting Studio Chicago. Chicago performing and directing credits include: Chicago Shakespeare, Lakeside Shakespeare, Oak Park Festival Theatre, Metropolis, Remy Bumppo Theatre Company, Timeline, Shattered Globe, Drury Lane, Invictus, Janus Theatre, The Other Theatre Company, North Central College, Elgin Community College and CCPA. Film: “Let's Start a Cult,” “Flatchested,” “North of the 10,” “Once Upon A Christmas Wish,” “Finding Hope” and “Coyote.” TV: “Chicago Fire,” “Chicago Justice” and “Toon In With Me.” She is proud to be a member of SAG-AFTRA and is represented by Paonessa Talent. 

ABOUT CLAYTON CROSS, CO-CHOREOGRAPHER

Clayton Cross works nationwide as a choreographer, performer and dance instructor. Cross appeared in the ensemble of White Christmas at Paramount Theatre, as well as ensemble and dance captain of Rock of Ages with Mercury Theater Chicago and with Drury Lane in the ensemble and dance captain in Grease and ensemble in Evita. Cross choreographed West Side Story, Guys and Dolls and Brigadoon at Music Theater Works (MTW) and was last seen on the MTW stage as “Scuttle” in Disney’s The Little Mermaid and in the ensemble of Mamma Mia, and as choreographer for Irving Berlin’s White Christmas and Billy Elliot the Musical. He was choreographer in residence with Music Theater Works under the direction of Rudy Hogenmiller for seven seasons where he choreographed and/or performed in Joseph and the Amazing Technicolor Dreamcoat as “Benjamin;” Hunchback of Notre Dame; How to Succeed in Business Without Really Trying; Into the Woods; Anything Goes as ensemble; Pirates of Penzance as ensemble; Peter Pan as“Nana/Croc;” Gypsy as “Tulsa,” Mame as ensemble; Candide; Guys and Dolls; My Fair Lady; Die Fladermaus; The Fantastiks as “Mute” and Damn Yankees as “Eddie;” and was also in A Chorus Line as “Greg” with Porchlight Music Theatre. Cross also performed at Marriott Theatre in La Cage as “Mercedes.” Cross is an instructor and choreographer for M.A. Dance Nation, a Texas based traveling convention circuit, where he has been choreographing, teaching and judging since 1999. Cross has five times been a consultant and contributed choreography for the Capital One Bowl’s All American Halftime Show. Throughout his 25 year career as a dancer he has worked with Robert Battle, Fernando Bujones, Sherry Zunker, Paul Taylor and Anne Reinking. Cross’s television credits include “Every Dancer Has a Story,” a PBS special on the River North Chicago Dance Company, where he was a company member for 10 seasons and toured nationally and internationally. Cross is originally from Midland, TX where he received his early training from La Petite Dance Co., Coleman Academy and the Midland Community Theatre as a member of the Pickwick Players. Cross holds a double B.F.A. in ballet and modern dance from Texas Christian University.

ABOUT LINDA MADONIA, MUSIC DIRECTOR

Linda Madonia is thrilled to be back at Music Theater Works for Margaritaville where she has previously music directed West Side Story, CATS, Guys and Dolls, Shrek, Mamma Mia and Camelot. Other recent projects include Jersey Boys, Rock of Ages and Sister Act at Mercury Theater Chicago. Anything Goes, Cabaret and A Chorus Line at Porchlight Music Theatre. Madonia also serves as the contractor for the Chicago Federation of Musicians for Porchlight Music Theatre and Music Theater Works. She is the vocal coach for the master’s degree program in Music Theatre Pedagogy at Carthage College and owns American Eagle Productions, which has been at the forefront of Theatre Education in the Chicago area for the past 35 years.

ABOUT MUSIC THEATER WORKS

Music Theater Works is a resident professional not-for-profit music theater founded in

1980. During its 45-year history it has presented more than 150 productions and intimate presentations. Music Theater Works is a professional theater company whose mission is to present works for the musical stage including historic repertoire, revitalizing the Golden Age of Broadway and earlier works, celebrating the Great American Songbook and introducing modern classics. 

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

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

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

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

About The Auditorium

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

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

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

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

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

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

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

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

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

Fact Sheet | Hayward

Playwright: Gift Theatre Ensemble Member Netta Walker

Director: AmBer Montgomery

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

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

Dates: October 14 – November 15, 2026

Audio description: November 12, 2026

Captioning: November 13, 2026

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

Tickets: $45-50

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

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

About the Artists: Link to all artist bios and headshots

Netta Walker | Playwright

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

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

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

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

Special events:

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

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

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

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

ANNUAL GHOSTLIT AT GALE STREET INN

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

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

Tickets $25 online or $30 at the door

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

25th ANNIVERSARY BENEFÊTE PERFORMANCE

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

December 7, 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WHAT:

The U.S. Premiere of

A Slow Fire

by Simon Stephens

Directed by Robin Witt

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

WHERE:

Steep Theatre

1044 West Berwyn Avenue

Chicago, IL 60640

WHEN:

January 22 – February 28, 2027

Previews: January 16, 17, and 21, 2027

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

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

Accessible Performances: To be announced

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

CONTACT INFORMATION:

Web: www.steeptheatre.com

Phone: 773-649-3186

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

Steep Theatre Company

1044 W Berwyn Ave.

Chicago, Illinois 60640

Social:

Facebook: SteepTheatre

Instagram: @steeptheatre

LinkedIn: @SteepTheatreCompany

CAST

Nate Faust*

Peter Moore*

Melissa Riemer*

Omer Abbas Salem*

CREATIVE TEAM:

Director: Robin Witt*

Stage Manager: Lauren Lassus*

Production Manager: Jennifer Aparicio

Scenic Design: Sotirios Livaditis

Lighting Design: Brandon Wardell*

Costume Design: Sally Dolembo

Sound Design: Thomas Dixon*

Props Design: Spencer Diaz Tootle

Dramaturg: Jean Marie Higgins

Intimacy and Violence Consultant: Christina Gorman

Assistant Director: Spencer Diedrick

* denotes Steep Ensemble Member 

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

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

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

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

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

About the Production:

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

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

Production Details:

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

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

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

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

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

Accessible Performance Dates:

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

Education and Engagement:

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

The hilarious musical parody Menopause the Musical® is on a 25th Anniversary National Tour this fall, and Aurora’s Paramount Theatre is the only Chicago-area stop, one-show-only, Saturday, October 17 at 3 p.m.

What better way to celebrate National Menopause Awareness Month in October, than gathering your favorite gal pals to enjoy the best feel good cure-all of all: a healthy dose of comedy.

In Menopause the Musical, four women at a lingerie sale have nothing in common but a black lace bra AND memory loss, hot flashes, night sweats, not enough sex, too much sex and more. Set to classic tunes from the ‘60s, ‘70s and ‘80s, this hilarious musical parody will have audiences cheering and dancing in the aisles. 

Join the party and see what more than 15 million women and fans worldwide have been laughing about for 25 years - this uproariously funny celebration of women and “The Change.”

Paramount Theatre is located at 23 E. Galena Blvd. in downtown Aurora, with easy, affordable parking and plenty of new restaurants nearby. Tickets to Menopause the Musical are $40-$70*. 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. 

The award-winning Porchlight Music Theatre is proud to announce the cast and creative team of the first mainstage production of its 32nd season, Little Shop of Horrors, directed by Porchlight's Elaine Cohen and Arlen Ruben Artistic Director, Michael Weber with choreography by Nataki Rennie and music direction by David Fiorello. The first fully staged production presented in Porchlight's new home, the historic Biograph Theater, 2433 N. Lincoln Ave, runs November 4 - December 13, 2026. 

For more than four decades, this Tony Award-winning musical has delighted millions of fans around the world with the funny and frightening story of the shy shop assistant, his coworker crush and a mysterious, carnivorous plant. Written by the powerhouse team of Howard Ashman and Alan Menken (Disney's The Little Mermaid, Beauty and The Beast and Aladdin), Little Shop of Horrors takes audiences on a wild trip where love and world domination meet at a Skid Row floral shop.

The cast of Little Shop of Horrors features (in order of appearance) Kiana Beverly  (Chiffon), Donnalesly Fondjo  (Crystal), Aneesah Jemei  (Ronnette), Andrew Linden  (Seymour Krelborn), Steve McDonagh  (Mr. Mushnik), Alina Taber*  (Audrey), Juwon Tyrel Perry* (Audrey II - Voice), Josh Bernaski  (Audrey II - Puppeteer) and Adam Fane*  (Orin Scrivello, DDS, and Everybody Else).

Stand-by understudies are (in alphabetical order) Daryn Alexus (Stand-by Understudy Chiffon, Ronnette and Crystal), Erline Dorcy (Stand-by Understudy Chiffon, Ronnette and Crystal), Tyler Ehrenberg  (Stand-by Understudy Audrey II - Puppeteer), Niki-Charisse Franco (Stand-by Understudy Audrey II - Voice) Sam Hook (Stand-by Understudy Seymour Krelborn) and Grace Reidenauer (Stand-by Understudy Audrey).

The creative team includes Rachel West (production manager), Jonathan Berg-Einhorn  (scenic and properties designer), Gregory Graham  (costume designer), Max Maxin IV+  (lighting designer) and Matthew Chase (sound designer/sound supervisor), Kevin Barthel  (wig designer), Bill Walters*  (stage manager), Katie Nowak  (assistant stage manager) Nick Peebles  (scenic supervisor), Kristi Martens  (costume supervisor), Riley Woods (lighting supervisor), Cecelia Chan  (Assistant Properties Designer), Tristin Hall  (intimacy / violence designer) and Linda Madonia  (company manager).

*Member of Actor's Equity Association, the union of professional actors and stage managers

+United Scenic Artists (Local USA 829), the union of professional designers, artists and craftspeople in the entertainment industry.

"Bringing Little Shop of Horrors to the Biograph Theater is an extraordinary moment in the history of Porchlight Music Theatre," said Weber. "This historic space has such a rich and fascinating connection to Chicago, and we're thrilled to begin a new chapter for Porchlight by making the Biograph our home for this season. Little Shop of Horrors is the perfect show to launch this adventure: it's wildly entertaining, deliciously dark and filled with unforgettable music, while the Biograph also offers the theatrical intimacy our audiences have come to love. We're especially excited to welcome two terrifically talented leading actors making their Porchlight debuts as "Seymour" and "Audrey". We can't wait to introduce them to our audiences, welcome everyone into the Biograph and experience this beloved musical together in this comfortable and gracious new setting."

The Little Shop of Horrors performance schedule is Wednesday, Thursday and Fridays at 7:30 p.m., Saturdays at 3 and 7:30 p.m. and Sundays at 3 p.m. Little Shop of Horrors is included in Porchlight's 2026-2027 subscription series, available at PorchlightMusicTheatre.org. Single tickets are reserved seating and are on sale for $28 - $98 at PorchlightMusicTheatre.org or by calling the Porchlight box office at 773-777-9884.

ABOUT ANDREW LINDEN, "Seymour Krelborn"

Andrew Linden is thrilled to be making his Porchlight Music Theatre debut, as well as his first show in Chicago! Before moving from Madison, Wisconsin, he appeared in shows with Forward Theater, Children's Theater of Madison and Capital City Theatre. He is so excited to be in the city and wants to thank his friends, family, partner Tess, and cat Gilda.

ABOUT ALINA TABER, "Audrey"

Alina Taber is thrilled to be making her Porchlight Music Theatre debut. Recent credits include: Brokeback Mountain (Chicago Shakespeare Theater), Anthony Rapp: Home for the Holidays (Lookingglass Theatre), Picnic, Winter's Tale (American Players Theatre),  The Lord of the Rings – A Musical Tale  (International tour and original American cast; Te Civic, Auckland NZ and Chicago Shakespeare Theater), A Streetcar Named Desire (Paramount Theatre), Beautiful: The Carole King Musical (Marriott Theatre), Grease (Drury Lane Theatre), and Once (Writer's Theatre). In TV and Film, Alina was a recurring character on the One Chicago shows (Lexi Olinsky). As a cabaret singer and print model, she can be seen throughout Illinois performing or pretending to be a gambling addict on bus stop ads, billboards, and casino pamphlets. IG: @alinajeninetaber

ABOUT JUWON TYREL PERRY, "Audrey II" - voice

Juwon has always been drawn to stories that sing, surprise, and leave a mark. For more than twenty years, Little Shop of Horrors has done exactly that. Porchlight Music Theatre audiences may recognize Juwon from Spring Awakening, Broadway in Your Backyard (Seasons 1 & 2), and the Chicago Sings series. His work has also been seen at Goodman Theatre, Lyric Opera of Chicago, Chicago Shakespeare Theater, The Arkansas Repertory Theatre, Geva Theatre, and the Tony Award-winning Court Theatre, among others. Beyond the stage, Juwon's cinematic reinterpretations of beloved songs have built an audience of more than 100,000 followers across social media, with performances reaching millions of viewers worldwide. Connect with him on Instagram and TikTok @juwontyrelperry.

ABOUT ADAM FANE, "Orin Scrivello, and everyone else"

Adam is thrilled to return to Porchlight Music Theatre with this seminal classic. Porchlight credits: "Jack Dawson" in Titanique! and "Tony Elliot" in Billy Elliot. Other credits include: Disney's The Little Mermaid (MUNY); Rock of Ages (National Tour); Salome & Medea (Lyric Opera); Frozen, The Full Monty, Into The Woods and The Producers (Paramount Theatre) Jim Henson's Emmet Otter (Studebaker); Ms. Blakk for President (Steppenwolf); Shrek the Musical, Gypsy, and Ride the Cyclone (Chicago Shakes); First Date (Royal George); Sex Tips (Chicago & Edinburgh Fringe); Jersey Boys, Spamalot, Pippin, and Avenue Q (Mercury Theater). Film: Canal Street. TV: Chicago PD. IG: @almostfanemous

ABOUT MICHAEL WEBER, director

Michael Weber is a nationally recognized, award-winning director, producer, actor and educator. Previous Porchlight productions include Follies, Sunday in the Park with George, Anything Goes, Cabaret, Sunset Boulevard, Gypsy and Merrily We Roll Along. He recently directed the London premiere of Call Me Elizabeth and the Off-Broadway and European premieres of Shake it Away: The Ann Miller Story, both written by and starring Kayla Boye. Under his artistic leadership, Porchlight Music Theatre was awarded Chicago's Jeff Award for "Best Production" six times. He previously served as artistic director for the inaugural season of Chicago's Drury Lane Theatre Water Tower Place (now Broadway in Chicago's Broadway Playhouse) and at Theatre at the Center in Munster, Indiana. The recipient of two Joseph Jefferson Awards, he has been nominated for nine awards and he wrote and directed 14 Joseph Jefferson Awards ceremonies (2006-2018). Weber's regional acting credits include The Merry Widow (starring Renée Fleming) at Lyric Opera, Annie Get Your Gun and Gypsy (both starring Patti LuPone) at Ravinia Festival, The Winter's Tale and Henry V at Chicago Shakespeare Theatre and more. A board member of The League of Chicago Theatres, he is author of the play WAR of the WELLeS (about Orson Welles' infamous radio broadcast) and he is a longtime pledge host for PBS station WTTW Channel 11.

ABOUT NATAKI RENNIE, choreographer

Nataki Rennie is beyond excited to be back at Porchlight Music Theatre! Originally from Brooklyn, NY, Nataki is a graduate of the musical theatre dance concentration program at the Chicago College of Performing Arts. Recent Chicagoland theatre credits include Beautiful the Carole King Musical at Drury Lane Theater, and White Christmas at the Marriott Theatre. She was previously seen on the Porchlight stage in Anything Goes, and in previous Chicago Sings productions. In her free time, she enjoys thrift shopping, creative writing and laughing with loved ones. Nataki would like to thank all of her family, friends and teachers for their love and support. IG: @nataki__

ABOUT DAVID FIORELLO, music director

David Fiorello is an Equity Jeff Award-winning Music Director, Director, Playwright and Performer who is no stranger to Porchlight Music Theatre. His work at PMT has spanned multiple seasons of Chicago Sings, New Faces Sing Broadway, Porchlight Revisits series, ICONS galas and special events, as well as MDing the Mainstage productions of Gypsy, Blues in the Night, and most recently, The Irish...And How They Got That Way. Chicago & Regional credits include work at The Goodman, Steppenwolf, Chicago Shakes, Drury Lane, The Fulton Theatre, and Maine State Music Theatre. David is the Founder & Artistic Director of The Beautiful City Project, using the tool of musical theatre to raise funds for charity. He also heads up Fiorello Studios, a premier vocal coaching studio in Chicago, as well as the Music Theatre program with the International Lyric Academy in Vicenza, Italy. David sends continual and undying love to his warrior wife Sarah. https://www.fiorellostudios.com/

ABOUT PORCHLIGHT MUSIC THEATRE

Porchlight Music Theatre, now in its 31st season, is the award-winning center for music theatre in Chicago. Through live performance, youth education and community outreach, we impact thousands of lives each season, bringing the magic of musicals to our theatre home at the Ruth Page Center for the Arts in the Gold Coast and to neighborhoods across the city. Porchlight has built a national reputation for boldly reimagining classic musicals, supporting new works and young performers, and showcasing Chicago's most notable music theatre artists, all through the intimate and powerful theatrical lens of the "Chicago Style."

Porchlight's history over nearly three decades includes more than 70 mainstage works with 15 Chicago premieres and five world premieres.

Porchlight's education and outreach programs serve schools, youth of all ages and skill levels and community organizations. Porchlight annually awards dozens of full scholarships and hundreds of free tickets to ensure accessibility and real engagement with this uniquely American art form.

The company's many honors include 178 Joseph Jefferson Award (Jeff) nominations and 49 Jeff awards, as well as 44 Black Theatre Alliance (BTA) nominations and 15 BTA awards. In 2019, Porchlight graduated to the Large Theatre tier of the Equity Jeff Awards and has been honored with seven awards in this tier to date including Best Ensemble for Duke Ellington's Sophisticated Ladies (2019) and Best Production-Revue for Blues in the Night (2022).

Through the global pandemic, Porchlight emerged as one of Chicago's leaders in virtual programming, quickly launching a host of free offerings like Sondheim @ 90 Roundtables, Movie Musical Mondays, Porchlight by Request: Command Performances and WPMT: Classic Musicals from the Golden Age of Radio. In 2021, Porchlight launched its annual summer series, Broadway in your Backyard, performing at parks and venues throughout the city which continues this summer.

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

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

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

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

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

ABOUT ERIC COBLE, playwright

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

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

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

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

ABOUT STEVE NEEDHAM, director

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

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

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

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

ABOUT TIN DRUM THEATRE COMPANY

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

This new staging of Mean Girls the Musical, now playing at Paramount Theatre in Aurora’s downtown theatre district, brings Tina Fey’s sharp, culturally defining high-school satire to the stage with a pop-infused score and a contemporary theatrical energy that reframes the familiar story for a new generation - and they do a pretty fetch job with it. What this production captures especially well is the all-too-well-known rush of being thrown back into the fiercely competitive atmosphere of high school all over again - the crowded hallways, the shifting alliances, the way a single rumor can tilt the entire school social landscape. The staging at Paramount Theatre makes those dynamics feel immediate, almost uncomfortably recognizable, reminding audiences how quickly the desire to fit in can override better judgment. It’s funny, sharp, and just self-aware enough to let you laugh at the chaos while remembering exactly what it felt like to navigate it.

The plot follows Cady Heron (Elizabeth Stenholt), a teenager who moves from Kenya to suburban Chicago and enters North Shore High School after years of being homeschooled. She quickly discovers that the school operates on a rigid social hierarchy, narrated with biting humor by Janis Sarkisian (Lucy Godínez) and Damian Hubbard (Steven Klenk), who guide her through the cliques and warn her about the most powerful group: The Plastics. Regina George (Dariana Mullen), Gretchen Wieners (Angel Alzeidan), and Karen Smith (Julia Hope Budd) rule the school with a mix of charm, intimidation, and ruthless social strategy, and when Regina unexpectedly invites Cady into their circle, she is pulled into a world of manipulation, gossip, and carefully curated popularity. Janis, who has a long-standing feud with Regina, convinces Cady to infiltrate The Plastics and report back on their behavior, setting off a chain of choices that gradually erode Cady’s sense of self as she begins adopting Regina’s tactics and losing sight of her own values.

Paramount’s “Plastics” are played by (from left) Julia Hope Budd as Karen Smith, Dariana Mullen as Regina George and Angel Alzeidan as Gretchen Wieners.

One of the production’s most “wow” moments comes when The Plastics first appear, silhouettes poised atop the school stairway before descending like rock stars - a clever, high-impact entrance that instantly sets the tone.

Central to the musical’s conflict is the Burn Book, a scrapbook created by The Plastics and filled with photos of classmates alongside handwritten insults, rumors, and secrets. It’s a private weapon of social destruction, and when Regina discovers Cady’s betrayal, she detonates it by releasing the book to the entire school, planting a fake insult about herself so she appears innocent. The fallout sparks a chaotic riot among the junior class, forcing Principal Duvall (Austin Nelson Jr.) to intervene and leading to a school-wide reckoning. 

Mean Girls taps into something painfully recognizable: the way girls learn to measure themselves against each other, and how the need to fit in can become its own quiet form of survival. It lays bare the unspoken rules of teenage girlhood - the constant self comparison, the social performance, the fear of exclusion - and shows how easily those pressures can harden into the very behaviors that hurt others. Beneath the comedy, there’s a clear understanding of how identity gets shaped, distorted, and reclaimed in the crucible of adolescence.

At the center of the production is Elizabeth Stenholt, whose performance as Cady Heron gives the show its emotional anchor. She charts Cady’s evolution with clarity, moving from wide-eyed newcomer to reluctant Plastic with a grounded, human touch. Opposite her, Dariana Mullen delivers a sharply etched Regina George, wielding charisma and calculated menace with effortless control. Together, Stenholt and Mullen create a dynamic push and pull that fuels the show’s momentum, supported by a leading cast whose charged performances keep the story vivid and unexpectedly heartfelt. Veronica Garza (Mrs. Heron / Ms. Norbury / Mrs. George) adds versatility and grounded humor across her roles, shifting smoothly between characters and giving each one a distinct presence; among the talented cast, she stood out as one of my favorites, especially in her turn as Regina’s humorously over-the-top “cool mom.”

Director Devon Hayakawa guides the production with a steady, clear approach, keeping the story moving and giving the cast room to shape their characters. Kasey Alfonso’s choreography brings consistent energy to the ensemble, supporting the humor and helping the larger numbers land with ease. Kory Danielson’s music direction and conducting provide a reliable foundation throughout, keeping the vocals tight and the orchestra responsive to the shifts in tone. The design team adds cohesive polish: Kotryna Hilko’s costumes are full of sexy punch and humorous excitement and Greg Hofmann’s lighting is an explosion of flashing pink tones that would delight any Mean Girls fan. Adam Rosenthal’s sound design maintains balance, Erin Pleake’s video work adds many layers of reality to the already aesthetically exciting set, and Ethan Deppe’s electronic elements blend smoothly into the score.

Cady (Elizabeth Stenholt, center), the new girl from Africa who transfers to Chicago’s North Shore High, is befriended by social outcasts Damian (Steven Klenk, left) and Janis (Lucy Godinez, right) in Mean Girls.

The set is impressively immense, a sprawling expanse of pink that never feels wasted or ornamental. Every nook and cranny is smartly utilized to build out North Shore High School, with stairways, hallways, classrooms, and common spaces folding into one another in ways that keep the action fluid and visually engaging.

The musical numbers are where this production really hits its stride, pairing Alfonso’s crisp, high-energy choreography with songs that sharpen the show’s humor and emotional stakes. I wasn’t necessarily expecting the music to land as strongly as it did, assuming the humor and engaging story would carry most of the weight, but the score proves to be one of the production’s biggest strengths. Elizabeth Stenholt shows she can truly belt, delivering powerhouse vocals in both “It Roars” and “I See Stars,” while Dariana Mullen matches her intensity and range with a commanding “World Burn.” Lucy Godínez gets a standout showcase of her own in “I’d Rather Be Me,” reinforcing why Janis Sarkisian remains such a fan favorite. Steven Klenk’s Damian - the “too gay to function” best friend - lands sharp comedic lines throughout and brings infectious energy to “Where Do You Belong?” The choreography makes clever use of the revolving floor and incorporates desks, lunch tables, and trays in ways that keep the staging inventive and visually playful. Comedy lands not just in the dialogue but in the musical staging itself - the heightened high-school dramatics, the sly visual gags, and the rhythmic timing that turns social chaos into full-company spectacle. The humor comes through clearly, supported by musical numbers that are confidently staged and consistently engaging.

Based on the now cult-favorite 2004 film, the musical premiered on Broadway in 2018, adapted once again by Tina Fey with music by Jeff Richmond and lyrics by Nell Benjamin. Its theatrical form allows the story to expand emotionally, using songs to deepen character motivations and give voice to internal conflicts that the film conveyed through montage or narration. While the musical retains the film’s core plot, several notable differences distinguish it from its 2004 source: updated characterizations, modernized humor, broader representation, a stronger presence of social media, and shifts in relationships and family dynamics that reflect contemporary storytelling.

Paramount’s production of Mean Girls the Musical proves to be a smart, engaging take on the material, carried by a committed cast and a creative team that understands how to translate the story’s humor and heart to the stage. It moves with confidence, lands its character beats cleanly, and offers enough freshness to make revisiting this world worthwhile. For audiences looking for a lively, contemporary musical with sharp performances and a cohesive design approach, Mean Girls is an easy recommendation - now running through October 11, 2026 at Paramount Theatre in Aurora.

https://paramountaurora.com/events/mean-girls/