Displaying items by tag: Chicago plays

Nearly fifty years after its groundbreaking premiere, Ntozake Shange's for colored girls who have considered suicide / when the rainbow is enuf remains one of the most important works ever written for the American stage. Neither conventional play nor musical, Shange called her work a "choreopoem," a seamless fusion of poetry, dance, music, and theatrical ritual that forever changed the landscape of Black theatre.

When the work premiered in 1976 it shattered theatrical conventions. The original production gave Black women something rarely afforded on the American stage: the authority to tell their own stories without apology, through language that was lyrical, raw, sensual, political, and deeply personal. At a time when Black women were often relegated to supporting roles in theatre, Shange centered their voices, their pain, their joy, and ultimately, their survival. The production earned multiple Tony Award nominations and cemented itself as a cornerstone of the American theatrical canon.

Its relevance today is perhaps even more striking. In an era shaped by conversations surrounding gender-based violence, mental health, reproductive autonomy, identity, and the ongoing struggle for Black women to be fully seen and heard, Shange's words continue to resonate with astonishing clarity. The emotional truths embedded in her poetry refuse to age.

ETA Creative Arts Foundation's production, directed by Donn Carl Harper, wisely understands that the strength of for colored girls lies in trusting Shange's language. Harper resists the temptation to over-direct or impose unnecessary concepts upon the material. His direction is careful, respectful, and largely unobtrusive, allowing the poetry to remain the undeniable centerpiece.

The production, however, begins on an unfortunate note. Opening night started approximately thirty minutes late, a delay that inevitably affected the audience's energy. Compounding that issue was the decision to open with Nina Simone's haunting "Four Women." While Simone's anthem is unquestionably a masterpiece and shares thematic kinship with Shange's work, its placement here felt somewhat gratuitous. After already waiting half an hour, the audience was asked to spend another five minutes listening to a recorded song while nothing occurred onstage. Rather than heightening anticipation, the extended prelude tested the audience's patience before the choreopoem had the opportunity to speak for itself.

Once the production settles into Shange's text, however, it finds its rhythm.

Levi Wilkins' abstract scenic design provides an uncluttered visual landscape that allows the performers to inhabit both literal and emotional spaces. His lighting effectively supports the shifting moods of the evening, although both scenic and lighting concepts occasionally seem content to complement the material rather than challenge it. Given the limitless theatrical possibilities inherent in a choreopoem, I wish he would have made bolder visual choices that embrace the work's dreamlike qualities.

Markene Peavy's costume designs honor the play's iconic color symbolism, a safe choice, but it doesn't distinguish each woman as individuals, a missed opportunity.  Peavy's choreography becomes the production's most compelling storytelling device. Rather than serving as decorative movement between monologues, the choreography extends Shange's language into the body, allowing emotion to continue flowing.

Among the ensemble, Madison Savannah (Lady in Purple) emerges as an exceptional physical storyteller. Her dancing possesses remarkable precision, grace, and emotional transparency, making every movement feel deeply connected to the poetry. She consistently commands attention without disrupting the ensemble's collective balance.

The performances throughout demonstrate a clear understanding that these women are not individual characters so much as facets of a shared experience.

Tina Marie (Lady in Red) delivers her poetry with commanding authority and emotional maturity. Margo Harper (Lady in Blue) brings quiet dignity and introspection, while Deborah Ross (Lady in Green) grounds her moments with warmth and humanity. Tracey Renee (Lady in Orange) finds welcome humor amid the heartbreak, providing necessary moments of emotional release. L.A. Holts (Lady in Yellow) infuses her work with youthful vitality and infectious spirit. Kennedi Coleman (Lady in Brown) offers moments of thoughtful restraint that contribute beautifully to the ensemble's collective voice.

Opening night also presented an increasingly familiar frustration that falls outside the production itself but nonetheless affected the theatrical experience. The persistent glow of cell phones and repeated audience distractions proved difficult to ignore. Theatre remains one of the few art forms built upon a shared agreement between artists and audience to be fully present in the moment. When that agreement is repeatedly broken, everyone in the room loses something.

Even with its uneven opening and a few missed opportunities for greater theatrical imagination,

ETA's production succeeds where it matters most: it trusts Shange.

That trust is ultimately enough.

Nearly fifty years after its premiere, for colored girls who have considered suicide / when the rainbow Is enuf continues to remind audiences that Black women's stories are not peripheral to the American experience - they are central to it. Their pain, laughter, sensuality, vulnerability, resilience, and joy remain as urgent today as they were in 1976.

Shange did more than write a play. She created a language for survival.

ETA Creative Arts Foundation honors that legacy with sincerity, sensitivity, and respect, reminding us that some masterpieces require no reinvention- only artists willing to listen deeply enough to let them speak.

Recommended

When:   thru August 31
Where: 7558 South Chicago Ave Chicago
Tickets: $30 - $50 general admission

Info: www.etacreativearts.org

Remy Bumppo Theatre Company is pleased to announce the cast, creative and production teams for the first production in its 2026 - 2027 season, Mud Row, written by Dominique Morisseau and directed by Malkia Stampley, October 15 - November 15, in Theater One at Theater Wit, 1229 W. Belmont Ave. Previews are Thursday, Oct. 15 through Saturday, Oct. 17 at 7:30 p.m. and Sunday, Oct. 18 at 2:30 p.m. Regular performances are Thursdays and Fridays at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m. and Sundays at 2:30 p.m. Subscriptions for the 2026 - 2027 season and single tickets are on sale now at RemyBumppo.org. Groups of 10 or more may call the Theater Wit Box Office at 773.975.8150 to receive group discounts and make reservations. 

Set in the historically Black neighborhood of Mud Row in West Chester, Pennsylvania, two generations of sisters protect and defy the legacy of their foremothers in this surprisingly funny, thrilling and ultimately hopeful play from Tony Nominee and MacArthur “Genius” Grant Recipient Dominique Morisseau. Mud Row deftly shifts between past and present exploring themes of identity, belonging and the complexities of heritage through the lives of several Black women and men, each with their own struggles and aspirations. 

“Mud Row invites such a timely conversation about home, identity, family obligations and the reminder that the choices we make and the narratives we hold onto can last for generations,” said Director Malkia Stampley. “There’s always something to pass on to the next generation, including the choice to heal. I am thrilled to make my Remy Bumppo Theatre Company debut and to work with some of Chicago’s finest artists. I am grateful to the Remy Bumppo family for trusting me with Dominique Morisseau’s beautiful work.”

The cast of Mud Row includes Ayanna Bria Bakari* (she/her, Regine); Toccara Castleman (she/her, Frances); Alexis Janae (she/her, Elsie); Tiffany Renee Johnson+* (she/her, Toshi); Jabari Khaliq (he/him, Tyriek); Jamaque Thomas (he/him, Davin); Maureen Azzun (she/her, Toshi U/S); Quenna Barrett (she/her, Regine U/S); Emefa Dzodzomenyo (she/her, Elsie U/S); Reginald Hemphill (he/him, Davin U/S) and Solomon Langley (he/him, Tyriek U/S).

The creative and production team for Mud Row includes Malkia Stampley (she/her, director); Lo Williams (she/her, associate director); Jean E. Compton* (she/her, stage manager); Matthew R. Chase (he/him, production manager); Jyreika Guest (she/her, violence & intimacy designer); Abhi Shrestha (they/them, dramaturg); Shadana Patterson (she/her, voice & text coach); Sydney Lynne (she/her, scenic designer); Amanda Herrmann (they/them, properties designer); Levi Wilkins (he/him, lighting designer); Christopher Kriz (he/him, composer & sound designer); Evelyn Danner (she/her, costume designer); Aubrey Pierce (she/her, scenic supervisor); Nicholas Chamernik (he/him, lighting supervisor); Gabriela Carrillo (she/her, wardrobe supervisor); Adelina Feldman-Schultz, Tertulia Creative Solutions (she/her, casting director); Marti Lyons (she/her, artistic director); Margaret McCloskey (she/her, executive director); Christina Casano (she/her, creative producer); Missy Preston (they/the, development manager) and John Craig (they/he, operation manager).

~ denotes member of Stage Directors and Choreographers Society

+ denotes Core Ensemble Member

^ denotes Associate Artist 

* denotes member of Actors Equity Association 

Cast and creative team members are subject to change. 

ABOUT DOMINIQUE MORISSEAU, playwright, Mud Row

​​Dominique Morisseau is the author of The Detroit Project (A 3-Play Cycle): Skeleton Crew (Atlantic Theater Company/Broadway, Tony Award nomination for Best Play), Paradise Blue (Signature Theatre) and Detroit ’67 (Public Theater, Classical Theatre of Harlem and NBT). Additional plays include: Bad Kreyòl (Signature Theatre and Manhattan Theatre Club), Confederates (Signature Theatre), Pipeline (Lincoln Center Theatre), Sunset Baby (LAByrinth Theatre), Blood at the Root (National Black Theatre) and Follow Me To Nellie’s (Premiere Stages). She is the Tony Award-nominated bookwriter on the Broadway musical Ain’t Too Proud – The Life and Times of the Temptations (Imperial Theatre) and is currently working on her latest, Hippest Trip – The Soul Train Musical (ACT). TV/Film: co-producer on “Shameless” (Showtime), the film adaptation of the documentary “STEP” (Fox Searchlight) and consultant on the Netflix animated feature, “Tunga.” Awards include: PoNY Fellowship, TEER Trailblazer Award, Steinberg Playwright Award, Audelco Awards, NBTF August Wilson Playwriting Award, Wyndham Campbell Prize, Edward M. Kennedy Prize for Drama, OBIE Award (two), Ford Foundation Art of Change Fellowship, one of Variety’s Women of Impact for 2018 and a MacArthur Genius Grant Fellow. In 2022, Dominique was awarded the key to the city by the Mayor of Detroit.

ABOUT MALKIA STAMPLEY, director, Mud Row

Malkia Stampley makes her Remy Bumppo Theatre Company debut directing Mud Row. Currently, she leads producing at Goodman Theatre as the BOLD Artistic Producer since 2021. Stampley is also a facilitator with Court Theatre’s Civic Actors Studio and teaching artist. She co-founded Bronzeville Arts Ensemble in 2013 and the Milwaukee Black Theater Festival in 2020. She is a Black Excellence Award Recipient for Directing (Primary Trust at the Goodman), twice Jeff nominated and a BOLD Artist with the BOLD Women’s Leadership Circle. Theater directing credits include Goodman Theatre, Rivendell, Kansas City Rep, Northern Sky Theater, TimeLine, Shattered Globe, Raven Theatre, Black Arts MKE, First Stage, Skylight Music Theater, American Players Theater, Milwaukee Rep, Chicago Shakes, Milwaukee Black Theater Festival, Farmers Alley Theatre and Milwaukee Fringe Festival. She is a member of SDC and a LORT Mentorship Committee member.

ABOUT REMY BUMPPO THEATRE COMPANY

Remy Bumppo Theatre Company expands and enriches their community’s view of the world, and their own, by producing both the great plays of the past and the important plays of today. As an ensemble-driven theater company, Remy Bumppo authors a more humane culture that listens to, and seeks to understand, the voices, the ideas and the stories of one another. 

Since its inception in 1996, Remy Bumppo has produced a blend of modern classics and complex contemporary works, presented in an intimate setting with clarity, wit and passion. We invite audiences to engage directly with the art through conversation with the artists.

PRODUCTION DETAILS:

Mud Row

October 15 - November 15 

Written by: Dominique Morisseau 

Directed by: Malkia Stampley 

Website link: RemyBumppo.org

Location: Theater One, Theater Wit, 1229 W. Belmont Ave., Chicago, IL 60657

Previews: Thursday, Oct. 15 - Saturday, Oct. 17 at 7:30 p.m. and Sunday, Oct. 18 at 2:30 p.m.

Estimated Total Run Time: 90 minutes with no intermission

Regular Run: Thursdays and Fridays at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m. and Sundays at 2:30 p.m.

BLACKOUT Night: Thursday, Oct. 29 at 7:30 p.m. 

Remy Bumppo hosts a performance specifically dedicated to serving Black-identifying theatergoers and the Black community at large. Patrons may use the code BLACKOUT for $30 tickets when purchasing online, by phone or in person.

Open Caption Performance: Saturday, Oct. 31 at 2:30 p.m. 

At the Open-Captioned performance, a TV monitor will present dialogue and sounds in text that is in sync with the performance. 

Patrons may use the code RBTCACCESS for $5 off tickets when purchasing online, by phone or in person.

Remy Bumppo’s Between the Lines: Sunday, Nov.1 at 2:30 p.m. 

Remy Bumppo’s Between the Lines performances include a pre-show lecture led by a Chicago luminary who will discuss the themes of the play, the performance, and a post show talkback with the artists.

ACCESS PERFORMANCES:

Audio Description/Touch Tour Performance: Thursday, Nov. 5 at 2:30 p.m., Touch Tour at 1 p.m. 

Listeners will hear a description of actions, body language, lights, costumes, scenery and other aspects of the production not conveyed by voices and sounds from the stage.This service allows blind and visually- impaired patrons to hear a description of the visual elements taking place on stage. 

Touch Tours are 45-minute artistic conversations and tactile explorations of costumes, props and set pieces for patrons who are blind or low-vision

Patrons may use the code RBTCACCESS for $5 off tickets when purchasing online, by phone or in person.

Previews: $34.00 - $38.00

Regular Run: $38.00 - $58.00

Industry Tickets: $20.00, available for Thursday and Friday performances using

code INDUSTRY

Student Tickets: $15.00, available for all performances using code STU15

Group Discounts: For groups of 10 or more, call the Theater Wit Box Office at

773-975-8150.

Victory Gardens Theater (2433 N. Lincoln Avenue), an historic incubator for new play development, proudly announces the World Premiere staging of The Humanities, a contemporary new work by acclaimed playwright Zayd Ayers Dohrn, directed by veteran Chicago talent Eddie Torres. The Humanities is a provocative, ripped-from-the-headlines story that explores the events after a controversial speaker is invited to lecture at an elite American university. Performances of The Humanities begin Thursday, September 10, and continue through Sunday, October 4, 2026; the official Opening is Sunday, September 13, at 6 p.m.

The all-Chicago cast of The Humanities includes Nora Dunn, Al’Jaleel McGhee, Steve Pickering, Isa Arciniegas, Daniil Krimer, Devaughn Asante Loman, Piper Murphy, William Anthony Sebastia Rose II, and Sabine Wan with understudies Alexander Chance, Naomi Evans, Avery-Slade Fountain, and Clara Imon Pedtke, while the creative team includes Edward D. Richardson (Stage Management), Jayce Lewis (Assistant Stage Management), David Woolley (Fight Choreography), Julie Granata-Hunicutt (Intimacy Direction), Maren Rosenberg (Production Management), Brian Sydney Bembridge (Lighting/Scenic Design), Myron Elliott (Costume Design), and Johnny Johnathan (Sound/Production Design).

“I wrote The Humanities years ago, thinking about the forces that seemed to be tearing America apart and leaving the country vulnerable to an authoritarian takeover,” said Ayers Dohrn. “If anything, the themes of the play – identity, race, protests on college campuses, and political violence – have only become more relevant, and this feels like the perfect moment to premiere a new play about the impulses that divide us and about our collective search for a more perfect union.”

“For over 50 years, Victory Gardens Theater has nurtured and produced relevant, new work that reflects the diverse stories of the community and contributes to the vitality of American theater.  Hiring an all-Chicago cast to perform The Humanities further reinforces Victory Gardens’ commitment to investing in the city’s exceptional artistic talent and elevating Chicago voices,” added Torres, also Victory Gardens Interim Artistic Director.

Zayd Ayers Dohrn is the author of the acclaimed national bestselling memoir Dangerous, Dirty, Violent, and Young and creator of the hit podcast Mother Country Radicals. His plays include Revolution(s) (the Goodman), The Profane (Playwrights Horizons), Outside People (The Vineyard), and Reborning (The Public/SPF). Ayers Dohrn is the Daniel Hale Williams Professor and Director of the MFA in Writing for Screen + Stage at Northwestern University. The Humanities was developed by Ayers Dohrn during a residency at the Eugene O’Neill Theater Center’s National Playwrights Conference in 2019, under Preston Whiteway, Executive Director, and Wendy C. Goldberg, Artistic Director, and in partnership with the Goodman Theatre, Chicago, in the 2019 New Stages Festival, under Robert Falls, Artistic Director, and Roche Schulfer, Executive Director. 

Eddie Torres is an acclaimed director & performer. He has won five Jeff Awards, notably for Best Director for the premiere of The Elaborate Entrance of Chad Deity, a Latin ACE Award, and an ATI Award. He is a professor at the University of Illinois Chicago, the Artistic Director Emeritus of Teatro Vista Productions, and is a member of the Stage Directors and Choreographers Society.

Performance schedule & ticket pricing

The Humanities will be performed in a limited engagement Thursday, September 10, through Sunday, October 4, 2026, with its official Opening on Sunday, September 13, at 6 p.m. Performances take place on Thursdays and Fridays at 7:30 p.m.; Saturdays at 2:30 and 7:30 p.m.; and Sundays at 3:00 p.m. (with the exception of September 13). Please note, this work contains mature themes including sexual content, strong language, and partial nudity, and is not suitable for children under 17 without parental guidance. Tickets, which start at $55, are now on sale by visiting eventbrite.com. Use promo code PREVIEW to receive 25% off all Adult and Senior tickets for performances on September 10, 11, and 12. For information about group rates and discounted ticket packages, please contact the Victory Gardens Theater Box Office at This email address is being protected from spambots. You need JavaScript enabled to view it..

About Victory Gardens Theater

Victory Gardens Theater serves as a sanctuary for fearless artistic exchange, producing new work that ignites the imagination and challenges the mind. Since its founding in 1974, the nonprofit theater company Victory Gardens Theater has produced more world and Chicago premieres, worked with more living playwrights, and exported more new plays for production elsewhere than any other theater in the region. Victory Gardens Theater strives to be a national leader in bringing stories to the stage that ignite social change and strengthen community, creating a more just and compassionate world. Victory Gardens Theater is currently under the direction of Interim Executive Director Archana Vaidya and Interim Artistic Director Eddie Torres. For more information, please visit victorygardens.org.

Secrets, sisterhood and solving crime take center stage this fall in the world premiere co-production of Dead Girl's Quinceañera by Miami native playwright Phanésia Pharel. Director Melia Bensussen's ensemble cast includes Carmen Berkeley (Hartford Stage's Romeo and Juliet), Ariana Burks (A Christmas Carol), Andrea Ferro (Columbia Lenfest Center's Big Love) and Jacqueline Guillén (Off-Broadway, Torera). Understudies will be announced at a later date. Co-produced with Barrington Stage Company and Hartford Stage, Dead Girl's Quinceañera appears in the Owen Theatre September 26 – November 1. For tickets ($34 - $79; on sale August 7), call 312.443.3800 or visit GoodmanTheatre.org/Quince. The Goodman is grateful for the support of Conagra Brands Foundation (Corporate Sponsor Partner), The Elizabeth Morse Charitable Trust (Lead Sponsor of IDEAA Programming) and Bold Ventures (Production Support).

"Dead Girl's Quinceañera is a celebration of young women's imagination, initiative and courage," said director Melia Bensussen, who is also Artistic Director of Hartford Stage. "Although all four identify as Latina, each one arrives with a different personal experience and history.  In their collaboration and friendship, we see our own journeys reflected – as they harness their power and agency, we too, watching them, celebrate our own transformations and those of our neighbors. ¡Que feliz estar haciendo este trabajo en Chicago!" 

FACT: Maria was last seen at her Quinceañera. FACT: The party ended early due to an unknown emergency. FACT: Maria has not responded to any messages in 19 hours. Now, her three best friends—armed with confidence, questionable clues and zero adult supervision—are on the case, racing against the clock to find out what happened. The pressures of Latine girlhood punctuate the joy ride through the power and pleasure of adolescent friendships in this comic thriller. 

"I'm in awe that my play appears at The Goodman at the start of their 101^st Season and second century," playwright Phanésia Pharel said. "I wrote this play for my best friend, to celebrate how much our relationship changed my life. It's been a beautiful experience to see this coming-of-age story resonate with people who may have never been to Miami and/or who might not be of Hispanic descent. It reminds me that even at this moment where forces are hoping to divide us, theater can connect us all to our true humanity."

ABOUT THE ARTISTS

Phanésia Pharel (Playwright) is a Haitian-American playwright and screenwriter from a dragon fruit farm in Miami. She is the daughter of an immigrant teacher and farmer. She recently made her Off-Broadway debut at the WP Theater with her play The Waterfall. She is the Playwriting Fellow (2025-2027) at Emory University, where she serves as a visiting professor and has a new play produced by their repertory company. Her plays have been developed at the Eugene O'Neill Theater Center's National Playwrights Conference, New Harmony Project, Playwrights' Center, New York Stage and Film, SolFest, Thrown Stone, Shattered Globe and Echo Theater Company. She has received commissions from the Atlantic Theater, Lucille Lortel (Alcove), La Jolla Playhouse, Miranda Family Fund, Hero Theatre, City Theatre Miami and the Latinx Playwrights Circle. Pharel is a member of the Obie-winning EST/Youngblood group and The Wish Collective. As a screenwriter, she is a member of Lena Waithe's Hillman Grad Screenwriting Lab. Her honors include The Kilroys Web, five awards from the Kennedy Center and an A is For Playwriting Award recipient. She holds a BA in Urban Studies from Barnard College of Columbia University and an MFA in Playwriting from the University of California San Diego. 

Melia Bensussen (Director) is an award-winning director, teacher and artistic leader who has directed extensively at leading theaters throughout the country. The first woman to lead Hartford Stage, she has been its Artistic Director since the summer of 2019. Devoted to new work as well as to classic texts, she was appointed Artistic Director of the National Playwrights Conference at the O'Neill Theater Center in 2024. Raised in Mexico City, Bensussen is fluent in Spanish and has translated and adapted a variety of texts, including her edition of the Langston Hughes translation of Federico Garcia Lorca's Blood Wedding, published by Theater Communications Group. Among her credits developing and premiering new works, she co-conceived and directed, alongside playwright Kirsten Greenidge, the theatrical adaptation of Anthony J. Lukas' Pulitzer Prize winning Common Ground, which premiered at the Huntington Theater in Boston. A graduate of Brown University, Bensussen serves on the Arts Advisory Board for the Princess Grace Foundation, and on the executive board of the Stage Directors and Choreographers Society (SDC). Prior to her position at Hartford Stage, she was Chair of the Performing Arts Department of Emerson College, in Boston. She is the recipient of an OBIE Award for Outstanding Direction, as well as the Statue Award from the Princess Grace Foundation for Excellence in Directing. 

Company of Dead Girl's Quinceañera
By Phanésia Pharel 
Directed by Melia Bensussen
A World Premiere Co-Production with Barrington Stage Company and Hartford Stage 

Carmen Berkeley...Ensemble
Ariana Burks...Ensemble
Andrea Ferro...Ensemble
Jacqueline Guillén...Ensemble

Creative Team

Set Designer...Sara Brown
Lighting Designer...Dan Kotlowitz
Sound Designer...Salvador Zamora
Costume Designer...Raquel Adorno
Movement Choreographer...Mayte Natalio
Dialect Coach...Cynthia Santos Decure
Associate Director...Ludmila de Brito
Assistant Director...Lorenzo Rush, Jr.
Assistant Set Designer...Daniel Prosky
Assistant Lighting Designer...Emma Berry
Assistant Sound Desiger...Harper Justus
Line Producer...Malkia Stampley
Second Line Producer...Sarah Slight

Casting by Alaine Alldaffer, CSA, Lisa Donadio and Lauren Port, CSA.

ENHANCED AND ACCESSIBLE PERFORMANCES
Visit GoodmanTheatre.org/Access for more information about The Goodman's accessibility efforts. 

ASL-Interpreted...October 16 at 7:30pm – An ASL interpreter signs the action/text as played. 
Audio-Described...October 17 at 2pm; Touch Tour; 12:30pm – Action audibly enhanced via headset. 
Spanish-Subtitled...October 17 at 7:30pm – Spanish-translated dialogue via LED sign. 
Open-Captioned...October 18 at 2pm – LED sign presents dialogue in sync with the performance. 

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 Kelli Garcia 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.

Producers Kevin McCollum and Kurt Deutsch, along with Broadway In Chicago are thrilled to announce THE NOTEBOOK, a new musical based on the best-selling novel that inspired the iconic film, is now playing at Broadway In Chicago’s James M. Nederlander Theatre (24 W. Randolph St.). THE NOTEBOOK is playing for a limited engagement through August 16 only. Returning to Chicago following the world premiere in Summer 2022, audiences in Chicago are about to fall in love all over again with this beloved story.

“THE NOTEBOOK is ultimately a celebration of life, love, and the power of memory,” said producers Kevin McCollum and Kurt Deutsch . “Audiences first fell in love with this timeless story as a novel, then as an iconic film, and now they can experience it anew as a moving musical event. With multi-platinum artist Ingrid Michaelson’s unforgettable score and Tony Award nominated Bekah Brunstetter’s beautifully crafted book, THE NOTEBOOK comes to life on stage in a way that will resonate deeply with audiences across North America.”

Allie and Noah, two people from different worlds, share a lifetime of love despite the forces that threaten to pull them apart. “Full of butterfly-inducing highs and beautiful songs” (Entertainment Weekly), THE NOTEBOOK is a deeply moving portrait of the enduring power of love.

Based on the book that has sold millions of copies worldwide and a film that is one of the highest-grossing romantic dramas of all-time, the musical adaptation of THE NOTEBOOK played Broadway at the Schoenfeld Theatre from March 2024 to December 2024 following a critically acclaimed world premiere engagement at Chicago Shakespeare Theater in 2022.
 

“Absolutely gorgeous. Not to be missed.” – Chicago Tribune

THE NOTEBOOK features music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson and a book by playwright Bekah Brunstetter (writer and producer on NBC's “This Is Us,” The Cake). The production is directed by Michael Greif (Dear Evan Hansen, Next to Normal, RENT) and Schele Williams (Aida, The Wiz), with choreography by Katie Spelman (Associate Choreographer on Moulin Rouge! The Musical).
 

“Romantic, life-affirming and ingeniously adapted.” – USA Today

The creative team for the tour includes scenic design by David Zinn and Brett J. Banakis, costume design by Paloma Young, lighting design by Ben Stanton, sound design by Nevin Steinberg, hair and wig design by Mia Neal, and projection design by Lucy Mackinnon. The production’s music supervisor is Carmel Dean, who also collaborated on arrangements with Ingrid Michaelson and on orchestrations with John Clancy, and the music director is Tina Faye. Casting by The Telsey Office, Patrick Goodwin , CSA.

The production was recently recognized with three 2024 Tony Award nominations (Best Book of a Musical, Best Performance by an Actress in a Leading Role in a Musical, Best Performance by an Actor in a Leading Role in a Musical), Drama League Award nominations for Outstanding Production of a Musical, two Distinguished Performance Awards and the Founders Award for Excellence in Directing, Drama Desk Award nominations for Outstanding Featured Performance in a Musical, and an Outer Critics Circle Award nomination for Outstanding Lead Performer in a Broadway Musical.
 

“A love story for the ages.” – The New York Daily News

Atlantic Records officially released the Grammy-nominated THE NOTEBOOK (Original Broadway Cast Recording), with a score that Vanity Fair calls “strikingly beautiful” by multiplatinum singer-songwriter Ingrid Michaelson, available  HERE.

Following its release, THE NOTEBOOK (Original Broadway Cast Recording) debuted at #1 on the Top Broadway chart in Music Connect, with breakout single “My Days” now surpassing 9 million streams on Spotify alone.
 

www.NotebookMusical.com

Follow THE NOTEBOOK on X, Instagram, Facebook, and TikTok

PERFORMANCE SCHEDULE
Tuesday, August 4 – 7:00 p.m.
Wednesday, August 5 – 7:00 p.m.
Thursday, August 6 – 7:00 p.m.
Friday, August 7 – 7:00 p.m.
Saturday, August 8 – 2:00 p.m. & 7:30 p.m.
Sunday, August 9 – 1:00 p.m. & 6:30 p.m.

Tuesday, August 11 – 7:00 p.m.
Wednesday, August 12 – 1:00 p.m. & 7:00 p.m.
Thursday, August 13 – 7:00 p.m.
Friday, August 14 – 7:00 p.m.
Saturday, August 15 – 2:00 p.m. & 7:30 p.m.
Sunday, August 16 – 1:00 p.m.

TICKET INFORMATION As of August 4, based on availability and subject to change)
Individual tickets for THE NOTEBOOK are on sale now and range from $37.00 - $132.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Patrons can also participate in a digital lottery for a chance to purchase $30.00 tickets for each performance, which is inclusive of all mandatory taxes, restoration, handling, and third-party fees. In addition to the lottery, a limited number of day-of-show, in-person Rush tickets will be available for $49.00 for all performances. Click here for more info on Digital Lottery and In-Person Rush. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

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

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

From Australia to Spain, talent from around the world—including a Chicago theater favorite—comes to The Goodman for its 2026/2027 Season opening production. Performed by Montreal's multidisciplinary creative collective, The 7 Fingers, Tony Award-nominated former trapezist Shana Carroll (Broadway's Water For Elephants) debuts her new work, The Attic: Things I've Seen While Lying on My Back. Written by Carroll—who also directs and choreographs the production—the company of circus artists features Chicago's Tyler Meredith (Inherit the Wind) with acrobats Fran Alvarez, Melvin Diggs, Eduardo De Azevedo Grillo, Kalani June, Anna Kichtchenko, Nancy Luna, Santiago Rivera Laugerud, Alexandra Royer and Lucy Tan. The Goodman premieres The 7 Fingers' The Attic: Things I've Seen While Lying on My Back in the 856-seat Albert Theatre September 5 – October 4. Opening Night is September 15. For tickets ($34 - $139; on sale June 26), call 312.443.3800 or purchase online at GoodmanTheatre.org/Attic. The Goodman is grateful for the support of the sponsors of The Attic: Perelman Performing Arts Center | PAC NYC (Commissioning Partner), Conseil des arts et des lettres du Québec, Allstate Insurance Company, JP Morgan Chase, The Elizabeth Morse Charitable Trust, Northern Trust, Abbot Fund, Katten, PNC and Winston & Strawn LLP.

From the primal vista of her childhood bedroom springs Shana Carroll's wildly imaginative, ground-breaking memoir that takes theater to new heights. Inspired by Carroll's mesmerizing life story, a company of fearless performers transforms memory into daring aerial feats that are as moving as they are breathtaking. In the air, on the floor and from the heart, The 7 Fingers brings its "thrillingly modern brand of circus" (Time Out New York) to The Goodman in this moving new work that embraces the fear and courage of being human.  

ABOUT THE ARTISTS

Shana Carroll is Cofounding Artistic Director of the The 7 Fingers. Since its inception in 2002, Shana has directed, written and choreographed a dozen or so of their touring and/or resident shows, including Passengers, Cuisine and Confessions, Sequence 8 and Traces. Shana's collaborations extend beyond The 7 Fingers proper, and in 2024 was Co-choreographer and Circus Designer for Water For Elephants on Broadway, for which she received the Chita Rivera award for Best Choreography, as well as a Tony, Drama Desk and Outer Critics Circles nominations in the same category. Other notable works include: Director and Creator of Cirque du Soleil's Crystal; Acrobatic Designer and Choreographer of Cirque du Soleil's shows Iris (Los Angeles) and Paramour (Broadway); Circus Designer and Co-creator of the immersive night club experience Queen of the Night (New York City); Co-choreographer of the Medieval Segment of the Sochi Winter Olympics Opening Ceremony; Director and Choreographer of Cirque du Soleil's performance at the 84th Academy Awards. In 2023, Shana was honored as a Compagne des Arts et des Lettres du Québec, from the Conseils des Arts et Lettres du Québec, as a recognition for her contribution to Quebec culture. A former trapeze artist of 20 years, a Cirque du Soleil soloist, and an alumni of Montreal's National Circus School, Shana first got her start in San Francisco's Pickle Family Circus.  She is originally from Berkeley, California. 

Tyler Meredith makes her The 7 Fingers debut in The Attic. Chicago credits include: Inherit the Wind, The Penelopiad, The Cherry Orchard, Twilight Bowl, Graveyard Shift/New Stages (Goodman Theatre); Little Women (Northlight Theatre); Campaigns, Inc. (Timeline Theatre); Translations, Eurydice, Mystery of Love and Sex (Writers Theatre); The Tempest, A Midsummer Night's Dream (Chicago Shakespeare Theater); A Christmas Carol (Drury Lane Theatre); The Columnist (American Blues Theater). Regional credits include: The 39 Steps (Indiana Repertory Theatre/Syracuse Stage); Barefoot in the Park (Peninsula Players Theater); A Phoenix Too Frequent (American Players Theatre); At The Wedding, Miss Bennet: Christmas At Pemberley, My Father's War (TheatreSquared). TV/Film credits include Chicago Fire. Tyler is a graduate of Interlochen Arts Academy, School at Steppenwolf and the University of Illinois-Chicago. 

Company of The 7 Fingers'
The Attic
Things I've Seen While Lying on My Back
Written, Directed and Choreographed by Shana Carroll 

Cast...Fran Alvarez, Melvin Diggs, Eduardo De Azevedo Grillo, Kalani June, Anna Kichtchenko, Nancy Luna, Tyler Meredith, Santiago Rivera Laugerud, Alexandra Royer, Lucy Tan

Creative Team

Producer...Tina Diab 
Executive Producer...David Dower 
Co-Producer...Théâtre St-Denis, Montréal, QC   
Musical Director/Composer...Colin Gagné 
Scenic Designer...Ana Cappelluto 
Costume Designer...Marie Chantale Vaillancourt 
Lighting Designer...Alexander Nichols 
Projection Designer...Johnny Ranger 
Production Manager...Emanuelle Kirouac 
Director of Touring and Special Events...Kevin Bissonnette 
Associate Director...Louis Joyal 
Production Stage Manager and Tour Manager...Christelle Vitupier 
Technical Director...Delphine Quenneville 
Projection Project Manager...Dominique Hawry 
Head Rigger...Max Jouanneau 
Head of Sound...Jean-Félix Des Rochers-Lamarche 
Head of Lighting...Lorianne Foisy 
Head Carpenter...Benoît Rouillard 
Scenic Painting...Marie-Claude Pion 
Scenography Assistant...Jiyeon Lee 
Video Assistant...Nadia Agrebi 
Costume Assistant...Pascale Bassani 
Production Assistant...Louise Vicet 
Line Producer...Adam Belcuore 

Casting by Louis Bourgaut. Additional Casting by Lauren Port, CSA. 

ENHANCED AND ACCESSIBLE PERFORMANCES
Visit GoodmanTheatre.org/Access for more information about The Goodman's accessibility efforts. 

ASL-Interpreted...September 25 at 7:30pm – An ASL interpreter signs the action/text as played. 
Audio-Described...September 26 at 2pm; Touch Tour; 12:30pm – Action audibly enhanced via headset. 
Spanish-Subtitled...September 26 at 7:30pm – Spanish-translated dialogue via LED sign. 
Open-Captioned...September 27 at 2pm – LED sign presents dialogue in sync with the performance. 

ABOUT THE 7 FINGERS

The 7 Fingers (Les 7 Doigts) is an arts collective unlike any other. In 2002, the 7 founders set out to redefine circus by stripping down the spectacle to its thrilling essence. 

The contemporary company tells stories using death-defying acrobatics with a life-affirming theatricality that is unique to The 7 Fingers. Since its inception, the company has expanded from its own signature touring shows to creating theatrical experiences as diverse as the very artistic directors themselves: original productions varying from intimate one-man shows to large-scale arena performances, Broadway musicals, artistic collaborations with renowned international artists and companies, production design and direction, special events, Olympic ceremonies, televised performances, fashion, art and music events, immersive experiences and much more.  

Every one of these projects carries The 7 Fingers' unequivocal mark. The company has consistently spread its horizons by mixing genres and exploring new ways to tell stories. Fascinated by the human condition, The 7 Fingers create performances that celebrate our world, our time and our humanity. Their shows tour the globe and bring audiences to their feet wherever they go.  

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 Kelli Garcia 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.

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to launch its 51st Season with Suzan-Lori Parks' Pulitzer Prize-winning drama Topdog/Underdog, helmed by Tony Award-winning director Kenny Leon, who returns to Steppenwolf following his hit production of King James. Ensemble members Glenn Davis (Windfall, Purpose–Chicago/Broadway, King James) and Namir Smallwood (Windfall, The Book of Grace, Bug–Chicago/Broadway) go head-to-head in this highly-anticipated revival, more than two decades after the company's celebrated 2003 production.

Topdog/Underdog will play a limited engagement September 17 — November 1, 2026 in Steppenwolf's Downstairs Theater, 1650 N. Halsted St. in Chicago. Single tickets go on sale Thursday, July 9, 2026 at steppenwolf.org or the Box Office at (312) 335-1650. 

About the Production:

Brothers Lincoln and Booth, named in jest, are two Black men living in America just trying to get by. Lincoln dresses like his namesake, reenacting his assassination for money and laughs. Booth stays stuck in their apartment, working tirelessly on his three-card hustle. Sibling rivalry and a lifetime of resentment come to a head in this fast-paced and ferocious thrill ride. The deck is stacked with a Tony Award-winning director, a Pulitzer Prize-winning script and a tour-de-force showdown for ensemble members Glenn Davis and Namir Smallwood. "Take thuh cards and show me whatcha got!" 

The creative team includes Arnulfo Maldonado (Scenic Design), Dede Ayite (Costume Design), Lee Fiskness (Lighting Design), Justin Ellington (Sound Design), Patrick Zakem (Creative Producer), Elise Hausken (Production Manager), JC Clementz, CSA (Casting), Laura D. Glenn (Production Stage Manager) and Jaclynn Joslin (Assistant Stage Manager). For full cast and creative team bios, click here.

Production Details:

Title: Topdog/Underdog
Playwright: Suzan-Lori Parks
Director: Kenny Leon​ 
Cast: ensemble members Glenn Davis (Lincoln) and Namir Smallwood​ (Booth)

Understudies: Anthony Fleming III (Lincoln) and Patrick Newson Jr. (Booth)

Location: Steppenwolf's Downstairs Theater, 1650 N. Halsted St., Chicago

Dates: Previews: Thursday, September 17 – Saturday, September 26, 2026
Regular run: Tuesday, September 29 – Sunday, November 1, 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, September 22, Thursday, October 1, Tuesday, October 6, Tuesday, October 13, Wednesday, October 21 or Thursday, October 22; there will be an added 2 pm matinee on Wednesday, October 21.

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 Topdog/Underdog ($20 – $124*) go on sale Thursday, July 9, 2026 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 membership 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, October 25 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Thursday, October 8 at 7:30 pm & Saturday, October 17 at 3 pm
ASL-Interpreted: Friday, October 16 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 Membership 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. Additionally, Steppenwolf is reimagining their community engagement and will pilot new public programming, continue accessibility programming and offer opportunities for deeper explorations for audiences throughout the season. For additional information about Steppenwolf's Education and Engagement programming and to register your school for a field trip visit steppenwolf.org/education-and-engagement/steppenwolf-field-trip-series.

Artist Biographies:

Suzan-Lori Parks (Playwright) is a multi-award-winning writer and musician. She is the first African-American woman to receive the Pulitzer Prize for Drama for Topdog/Underdog, which recently won the 2023 Tony Award for Best Revival. Her other plays include Sally & Tom (2024), Plays for the Plague Year (Drama Desk Award, Best Music, 2023) and Father Comes Home From The Wars (2014). Parks' first marathon-writing "micro diary plays," 365 Days/365 Plays were produced worldwide in what was the largest grassroots collaborative theatre project to date. She is a MacArthur "Genius" Fellow, a novelist: Getting Mother's Body (Random House); and a screenwriter: Girl 6, Genius: Aretha, and The United States vs Billie Holiday. Parks also writes songs and fronts her band "SLP& The Joyful Noise," with her punk-couture medicine show, The Tune Up, world-premiering this summer. As a college student Parks is grateful to have studied creative writing with James Baldwin, who encouraged her to write for the theatre.

Kenny Leon (Director) is a Tony Award-winning director. Broadway: The Balusters, Othello, Our Town, HOME, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch, Topdog/Underdog, Ohio State Murders, A Soldier's Play, American Son, Children of a Lesser God, Holler If Ya Hear Me, A Raisin in the Sun, The Mountaintop, Stick Fly, August Wilson's Fences, Gem of the Ocean and Radio Golf. Off-Broadway: The Conversation (Astor Place Theatre), This World of Tomorrow (The Shed), King James, The Underlying Chris, Everybody's Ruby, Emergence-See! (The Public), Smart People (Second Stage). Opera: Amahl and the Night Visitors, Margaret Garner. Television: Robin Roberts Presents: Mahalia, Colin in Black & White, 4400, Amend: The Fight for America, American Son (adapted for Netflix), Hairspray Live!, The Wiz Live!, Steel Magnolias, Dynasty, In My Dreams. Author: Take You Wherever You Go. Artistic Director Emeritus: Kenny Leon's True Colors Theatre Company. Senior Resident Director: Roundabout Theatre Company. Awards: Obie, Actors Fund Medal of Honor, George Abbott Lifetime Achievement for American Theatre, Jason Robards Award for Excellence in Theatre.

Glenn Davis (Lincoln) is an actor, producer and Artistic Director of Steppenwolf Theatre Company, alongside Audrey Francis, where he has been an ensemble member since 2017. His Steppenwolf credits include Downstate, The Christians, You Got Older, The Brother/Sister Plays, Head of Passes, King James (also Mark Taper Forum), Describe the Night, Purpose and Windfall. Broadway credits include: Purpose; Bengal Tiger at the Baghdad Zoo (also Kirk Douglas Theatre, Mark Taper Forum). Off-Broadway credits include Transfers (MCC Theatre), Wig Out! (Vineyard Theatre), Downstate (Playwrights Horizons, Outer Critics Circle Nomination) and King James (MTC). Other regional credits include Moscow x6 (Williamstown Theatre Festival). International credits include Downstate (National Theatre, UK), Edward II, The Winter's Tale and As You Like It (Stratford Festival), Othello (The Shakespeare Company). Television credits include Billions, 24, The Unit, Jericho and The Good Wife. Glenn is an Artistic Associate at the Young Vic in London and at the Vineyard Theatre in New York. He is also a partner in Cast Iron Entertainment, a collective of artists consisting of Sterling K Brown, Brian Tyree Henry, Jon Michael Hill, Andre Holland and Tarell Alvin McCraney. Cast Iron is currently in residence at The Geffen Playhouse in Los Angeles. In 2021, Glenn founded The Chatham Grove Company along with his producing partner Tarell Alvin McCraney.

Namir Smallwood​ (Booth) joined the Steppenwolf Theatre Company ensemble in 2017. Steppenwolf: Windfall, Mr. Wolf, You Will Get Sick, The Book of Grace, Seagull, Bug, True West, BLKS, Monster, Man In Love, The Hot L Baltimore, Last Night and the Night Before. Broadway: Pass Over, Bug. Off Broadway: Pipeline, Pass Over (Lincoln Center). Chicago: The Lost Boys of Sudan (Victory Gardens Theater); Charm (Northlight Theatre); The Grapes of Wrath (The Gift Theatre); East Texas Hot Links (Writers Theater). Regional: Marin Theatre Company, Pillsbury House Theatre, Ten Thousand Things, Guthrie Theater. International: True West (Galway International Arts Festival). Television: Chicago Fire, Betrayal, Elementary, American Rust (Showtime/FreeVee); Power Book IV: Force (STARZ). Film: Rounding, About Time, Bailey's Blues.

Accessibility:

As a commitment to make the Steppenwolf experience accessible to everyone, performances featuring American Sign Language Interpretation, Open Captioning and Audio Description are offered during the run of each STC production. Assistive listening devices (ALDs), large-print programs and Braille programs are available for every performance and all our spaces are equipped with an induction hearing loop. Our building features wheelchair accessible seating and restrooms, push-button entrances, a courtesy wheelchair and all-gender restrooms, with accessible counter and table spaces at our bars. For additional information regarding accessibility, visit steppenwolf.org/access or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it..

Sponsor Information:

United Airlines is the Official and Exclusive Airline of Steppenwolf. Steppenwolf is also grateful for the significant season support from lead sponsors Allstate Insurance Company, Paul M. Angell Family Foundation, Bloomberg Philanthropies, Crown Family Philanthropies, Caroline and Keating Crown, Julius Frankel Foundation, Lefkofsky Family Foundation, Northern Trust, Anne and Don Phillips, John Hart and Carol Prins, Shubert Foundation, Inc, Walder Foundation, and Zell Family Foundation. Steppenwolf also acknowledges generous support from premier sponsors Anonymous, Andrew and Amy Bluhm, Michael and Cathy Brennan, Ann and Richard Carr, Chicago Community Trust, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, John D. and Catherine T. MacArthur Foundation, The Orlebeke Foundation, Polk Bros. Foundation, Sacks Family Foundation, Harold and Mimi Steinberg Charitable Trust, Thoma Bravo and Bryan Traubert and Penny Pritzker. Steppenwolf also acknowledges support from the Illinois Arts Council and the City of Chicago Department of Cultural Affairs and Special Events.  

About Steppenwolf Theatre Company:

Steppenwolf Theatre Company is the nation's premier Ensemble Theater with 50 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the early phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and more recently, the Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theatre and Chicago's cultural landscape. Founded in 1974 by Terry Kinney, Jeff Perry and Gary Sinise, Steppenwolf started as a group of friends in their teens and early 20s performing in the basement of a school in Highland Park, Illinois. Today, the company's artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its appetite for bold and innovative work. Every aspect of Steppenwolf is rooted in its Ensemble ethos, from the intergenerational artistic programming to the multi-genre performance series LookOut, to the nationally recognized work of Steppenwolf Education and Engagement which serves nearly 15,000 teens annually. While grounded in the Chicago community, more than 40 original Steppenwolf productions have enjoyed success nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Steppenwolf also holds accolades that include the National Medal of Arts, 14 Tony Awards, two Pulitzer Prize-winning commissions and more. Led by Artistic Directors Glenn Davis and Audrey Francis, Executive Director E. Brooke Flanagan and Board of Trustees Chair Keating Crown — Steppenwolf continually redefines the boundaries of live theater and pushes the limits of acting and performance.

Steppenwolf's Mission: Steppenwolf strives to create thrilling, courageous and provocative art in a thoughtful and inclusive environment. We succeed when we disrupt your routine with experiences that spark curiosity, empathy and joy. We invite you to join our ensemble as we navigate, together, our complex world. steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr.

Promethean Theatre Ensemble announced today it will stage the Chicago premiere of BLOOD OF THE LAMB, by Arlene Hutton, a gripping two-woman, Kafka-esque, thriller. In a time about two days from now, Nessa, traveling from LAX to JFK, finds herself diverted to Dallas. Trapped in a room with Val, a lawyer, Nessa just wants to leave on the next plane out. But this is Texas, and Nessa is pregnant and Val is on the phone with legislators who are pulling the strings. BLOOD OF THE LAMB premiered in 2023 at the Edinburgh Fringe Festival, where THE GUARDIAN called the 70-minute intermissionless drama "an acutely tense drama of reproductive rights." It received a 2025 Drama Desk Award Nomination for Outstanding Play for its 2024 off-Broadway premiere in 2024, which BROADWAYWORLD called "an essential must-see show." BLOOD OF THE LAMB will play at Chicago's Den Theatre following previews on September 3 and 4. It will play through October 3.

Anna C. Bahow, an ensemble member with Promethean and an Artistic Associate with Silk Road Cultural Center and the International Voices Project, will direct two alternate casts. Bahow says, "this double casting will allow us to give four great women actors a chance to show their skills in these incredibly challenging  roles that are so pertinent to the pressing concerns of women's reproductive health." One cast will feature Heather Dennis* (title role in PTE's ANTIGONE) as Nessa and Kirsten D'Aurelio as Val, and  the other cast will include Meghann Tabor* (Ismene in PTE's ANTIGONE) as Nessa and Delia Ford (emeritus member of Babes with Blades) as Val.

There will be a press opening for each cast, with Tabor and Ford performing on Saturday, September 5 at 7:30 pm and Dennis and D'Aurelio performing on Sunday, September 6 at 3:00 pm. For the remainder of the schedule, D'Aurelio and Dennis will perform Thursdays and Saturdays, and Tabor and Ford will perform Fridays and Sundays. Tabor and Ford will perform the Thursday, September 3 preview and the Tuesday, September 29 industry night performance, and D'Aurelio and Dennis will perform the Friday, September 4 preview and the Tuesday, September 22 industry night performance.

Tickets are $35 general, $25 students and seniors and are on sale at https://www.prometheantheatre.org or The Den Theatre Box Office, 773-697-3830.

BLOOD OF THE LAMB
By Arlene Hutton
Directed by Anna C. Bahow
September 3 – October 3, 2026
Previews Thursday September 3 and Friday, September 4 at 8 pm 
Regular Run: Thursdays – Saturdays at 8 pm, Sundays at 3 pm. 

Industry Night performances Tuesdays September 22 and 29 at 8 pm
The Den Theatre, 1331 N. Milwaukee Ave., Chicago 60622
Ticket Prices: $35 general, $25 students and seniors

For tickets, visit https://www.prometheantheatre.org or The Den Theatre Box Office, 773-697-3830.
 
A searing drama about bureaucratic chaos in a post-Roe America. When pregnant Nessa's transcontinental flight is diverted to Dallas, she is detained with an unexpected adversary: a court-appointed attorney assigned to represent her baby and decide her future. BLOOD OF THE LAMB is an urgent post-Roe thriller about the choices taken from us—and the choices we can still make.

INTENDED AUDIENCE This production is intended for mature audiences, ages 16 and up. The content explores intense political and medical themes surrounding reproductive rights and medical procedures. 
 
BIOS
 
Arlene Hutton (Playwright) is an alumna of New Dramatists, member of Ensemble Studio Theatre and recipient of a NYFA Fellowship. Her NIBROC TRILOGY includes the first FringeNYC production to transfer Off-Broadway, LAST TRAIN TO NIBROC (NY Drama League Best Play nomination), along with SEE ROCK CITY (In the Spirit of America Award) and GULF VIEW DRIVE (LA Weekly and Ovation Award nominations, 2018 Ovation Award for Best Production at Rubicon Theatre). Other works include ACCORDING TO THE CHORUS, RUNNING, I DREAM BEFORE I TAKE THE STAND, LETTERS TO SALA, THREE SISTERS BRONTË and AS IT IS IN HEAVEN. Her play for young audiences, Happy Worst Day Ever, was commissioned by Cincinnati Playhouse in the Park and was named winner of the 2010 Macy's New Play Prize.
 
Anna C. Bahow (Director) is a member of Promethean Theatre Ensemble. Committed to the development of new work and a diversity of voices she is an Artistic Associate with Silk Road Rising which foregrounds Asian, South Asian, and Middle Eastern artists, an Associate Artist with The International Voices Project which brings plays from around the world in translation to Chicago, and an Associate Artist at Chicago Dramatists. Bahow has received an After Dark Award for her directing, and her productions have received Chicago Jeff Awards for New Work and Use of Multi-Media. She was honored to have served as a Michael Maggio Fellow at the Goodman Theatre, is recipient of a 3ARTS WAVE Grant, and several Illinois and City of Chicago Individual Artist Grants. More about her work can be found at AnnaBahow.com
 
ABOUT PROMETHEAN THEATRE ENSEMBLE
 
Promethean Theatre Ensemble produces and develops ensemble-focused theatre with vibrant language in dynamic and purposeful storytelling. We select a service organization to support and promote with each production, bridging ideas within the play to real-world efforts to address challenges within our communities. Since its founding in 2005, Promethean has produced a body of work ranging from Shakespeare, 19th and 20th Century classics, and new work. The company was in the midst of its 14th season when the pandemic struck. ANTIGONE is Promethean's 36th production.

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

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

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

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

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

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

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

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

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

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

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

PERFORMANCE SCHEDULE

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

BUYING TICKETS

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

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

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

All listed prices are inclusive of fees.

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

LOCATION/PARKING/TRANSPORTATION

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

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

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

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

DISCUSSIONS

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

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

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

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

All discussions are free and open to the public. 

ACCESSIBILITY

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

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

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

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

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

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

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

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

IT’S TIME: ABOUT TIMELINE’S NEW HOME

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

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

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

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

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

ABOUT TIMELINE THEATRE COMPANY

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

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

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

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

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