Displaying items by tag: theatre

Paul Slade Smith’s Unnecessary Farce - a 2006 comic whirlwind that is fast becoming a modern staple of the genre - lands with full force in Buffalo Theatre Ensemble’s lively production at The McAninch Arts Center in Glen Ellyn. The show is a reminder of how exhilarating a well‑constructed farce can be when every door slam, double‑take, and spiraling misunderstanding is executed with precision.

The setup couldn’t be more straightforward: two green cops stake out a bargain‑basement motel, poised to catch a small‑town mayor admitting to embezzlement. The camera is trained on the adjoining room, the accountant is prepped to draw out the confession, and everything should go smoothly. Naturally, it doesn’t. What follows is an avalanche of mistaken identities, disappearing clothing, and panicked improvisation as characters burst through the wrong doors at precisely the wrong time.

Smith’s script operates like a beautifully rigged Rube Goldberg machine of mayhem, each beat triggering the next with wicked precision. The comedy lands not because anyone is a cartoon, but because these poor, well‑meaning souls are desperately – hilariously - outmatched by the situation. And just when the chaos feels like it can’t possibly escalate further, in stomps a thick‑accented Scottish hitman, sending the whole affair hurtling into a delirious, side‑splitting crescendo that has the audience laughing at both the gags and the sheer engineering genius behind them.

The production thrives on the strength of a sharply attuned ensemble, each performer bringing a distinct spark that fuels the play’s escalating hilarity. Lisa Dawn, as the ever‑frazzled accountant Karen Brown, and Brad Lawrence, playing the straight‑laced Officer Eric Sheridan, ignite the evening with a rhythm that blends sharp comedic timing and buoyant physicality. Their energy sets the tone long before Frank Nall ambles in as Mayor Meekly, whose beautifully understated, steady presence becomes even funnier as he’s swept - again and again - into one absurd predicament after another.

Laura Leonardo Ownby, as the ever‑eager Billie Dwyer, injects the show with a burst of quick‑witted, slightly off‑kilter energy that’s instantly endearing. There’s a touch of Julie Hagerty in her wide‑eyed charm—funny, irresistible, and just unpredictable enough to keep the audience leaning in. When she hits her big moment, she lands it so cleanly and with such delightful abandon that the crowd breaks into spontaneous applause. Stepping in for Robert Koon for this performance, David Scott Crawford takes on the role of Todd with an easy confidence and a nimble, quick‑thinking presence. He slips into the ensemble’s rhythm without a hitch, matching their pace and tone so naturally that the substitution feels entirely organic.

Doreen Dawson, as Mary Meekly, offers a warm, steady presence that subtly elevates the entire ensemble, giving every twist, turn, and impeccably timed door‑slam an extra spark of comedic payoff. And closing out the company, Bryan Burke storms in as Agent Frank - uproariously funny and armed with expertly dialed‑in bluster that sends the chaos over the top in the best possible way. He leans into the character’s bluster and bravado with such sharp comic instinct that every entrance, line, and reaction becomes its own little punchline. Burke’s presence adds a final, satisfying jolt of absurdity to the ensemble’s chaos. I remember really enjoying his performance in Buffalo Theatre Ensemble’s Native Gardens. That same sharp instinct for timing and that wonderfully unforced comedic presence show up again here.

Together, this ensemble operates like a finely tuned comic engine - fully committed, perfectly synchronized, and clearly delighted by the demands of farce. Their collective precision makes the escalating madness feel effortless, transforming the production into something that doesn’t just execute farce, but celebrates it.

Superbly directed by Kurt Naebig, Buffalo Theatre Ensemble embraces the play’s breakneck rhythm and gleeful silliness, delivering a production that feels both tightly engineered and joyfully unhinged. It’s the kind of show that rewards timing, commitment, and a willingness to lean into the ridiculous - and this staging at The MAC does exactly that.

A crowd‑pleaser from start to finish, Unnecessary Farce proves once again that when farce is done right, it’s irresistible.

For tickets and/or more show information, visit https://atthemac.org/events/unnecessary-farce/.

Back in simpler times, what seems like decades ago, during a global pandemic, I remember watching an NPR Tiny Desk Concert featuring the Broadway cast of Little Shop of Horrors. In the middle of the string of incredible songs from the show, the songs’ composer Alan Menken sat down at the piano and, before playing it, discussed how “Somewhere That’s Green” was a classic “I Want” song, one that enlists us, the audience, on a journey to fulfill a dream.

“Somewhere That’s Green.” “Part of Your World.” “Sante Fe.” Some of my favorite songs, all written by Menken and Howard Ashman. All of them, the spunky upstart in a big, bad world dreaming that the sun’ll come out tomorrow. That things’ll get better. The sort of dreamy songs and dreaming characters and dreamed up worlds that are the reason we go to the theater—the sort of theater that the Marriott Theatre always does right and certainly does in their current production of Little Shop of Horrors.

That dreaming—sweet, delusional, stubbornly human—sits at the heart of this production, anchored beautifully by Jackson Evans’ Seymour. Evans plays Seymour as a cartoonish nerd, yes, but also as an everyman in the truest sense: gentle, unsure, but never empty. His Seymour is the kind of guy you root for, because Evans lets us see the decency beneath the desperation. Even as the body count rises and the moral compromises pile up, there’s something achingly recognizable about his Seymour. He’s all of us.

Opposite him, Maya Rowe delivers a quietly devastating Audrey. “Somewhere That’s Green” lands here not as a kitschy parody of 1950s domestic fantasies, but as a heartbreakingly sincere confession—and at the end it felt and looked like she was singing it right to me. Rowe resists the temptation to overplay Audrey’s quirks, instead grounding her in a bruised realism that makes her longing feel earned. When she dreams of a life that includes frozen dinners and a plastic sofa, Rowe is reminding us that while Little Shop of Horrors may be funny and absurd, it’s also a story about people like each of us, people dreaming of something better. (Side note: A chance encounter in a theater hallway post-show found Rowe’s actual persona as sweet as her onstage Audrey—taking a moment to take a photo with my young daughter and offering words of encouragement to her about her own theatrical dreams.)

Seymour and Audrey’s grounding make the production’s comedic turns all the more effective, particularly when longtime Marriott favorites Andrew Mueller and Mark David Kaplan enter the fray. Mueller brings infectious energy and sharp comic timing—not only to Orin, the biker/dentist/villain whose portrayal by Steve Martin delighted me as a kid), but to a slew of other characters, while Kaplan once again delights with his own comedic and vocal talents. Their work fills out the Skid Row world that we inhabit for a couple of hours without ever pulling focus from its emotional center.

And then, of course, there’s Audrey II, the most iconic carnivorous plant in musical theatre history. The combination of Lorenzo Rush’s velvety, menacing voice work and the precision of the puppet operation is nothing short of thrilling. The puppeteers both sink into the background and provide their own characterizations as leafy parts of Audrey II’s anatomy. The plant feels alive in an unsettling way, its charisma as seductive as its hunger is terrifying. Rush’s performance finds the perfect balance between playful swagger and genuine menace - the audience enjoying the sound of the voice even as we recoil from what it represents. (Although Audrey II’s hilarious pre-show no-phones-or-posting warning seemed to have been unheeded by several oblivious influencers on opening night.)

Still, the beating heart of this Little Shop belongs to the trio of Crystal, Ronnette, and Chiffon. Lydia Burke, Daryn Whitney Harrell, and Miciah Lathan deliver a masterclass in ensemble performance, functioning as Greek chorus, Motown girl group, and omniscient narrators all at once. Their 60s-period-correct harmonies are immaculate, their energy is electric, and each of their vocals are utterly commanding.

All of this talent is corralled and focused by Tommy Rapley’s direction and choreography, which keep the production moving, with the intimacy and magic unique to the Marriott’s in-the-round design. The set design creates a mid-century Skid Row that’s a world where our heroes live. And all of the characters - heroes or villains - are beautifully costumed by Amanda Vander Byl, with amazing wigs and makeup by Miguel A. Armstrong being especially delightful. Meanwhile, the orchestra - so often an unsung hero at the Marriott - delivers Menken’s score with precision, swelling where it should and pulling back when restraint serves the story better.

What ultimately makes this production of Little Shop of Horrors resonate is its refusal to treat the show as a novelty. Yes, it’s funny. Yes, it’s outrageous. Yes, it involves a singing plant from outer space. And yes, the stage ending’s a bit different than the one I remember at the movie theater from my own childhood. But Marriott’s production understands that behind all of this, Little Shop of Horrors does what all great musical theater should do - take its audience on a beautiful journey through a world populated by talented artists whose dreams and desires aren’t that different from our own. Come journey with Marriott Theatre to somewhere that’s green, as Little Shop of Horrors runs now through March 15.

The Gaylord and Dorothy Donnelley Foundation (GDDF) is pleased to announce it awarded more than $1.76 million in grants to 66 of Chicago's small arts organizations and arts advocacy organizations in 2025. Twenty-seven Chicago area arts organizations received multiyear grants of $30,000 or more.

Additionally, GDDF granted $725,000 to the Arts Work Fund for Organizational Development last year, joining together with other funders to provide emergency funding and other support in response to recent challenges faced by arts organizations.

"As part of our Chicago Artistic Vitality program, the foundation, along with our arts philanthropy partners, increased our contribution to the funder collaborative Arts Work Fund," said Ellen Placey Wadey, senior program director for Chicago Arts & Collections at GDDF. "With an ability to deploy funds quickly and for immediate capacity needs, Arts Work Fund is a critical partnership in these difficult times for arts organizations."

"This has been a challenging year for many of our grantee partners, including the loss of significant sources of funding," said Arnold Randall, executive director of GDDF. "The Gaylord and Dorothy Donnelley Foundation remains steadfast in our commitment to our mission, values, and program areas, and in our support for the work of our grantees."

The Chicago arts grantees are a portion of the $7,538,880 in grants that GDDF provided to 128 organizations in the Chicago region and the Lowcountry of South Carolina across the foundation's three program areas in 2025: Artistic Vitality, Broadening Narratives, and Land Conservation. GDDF is currently funding more than 150 small arts organizations in the Chicago region through its multi-year general operating grants.

Among GDDF's 2025 Chicago arts grantees are nonprofit advocacy and support organizations Arts Alliance Illinois ($75,000) and Enrich Chicago ($60,000). Additional Chicago Artistic Vitality grantees receiving $40,500 grants include American Indian Center of Chicago, Black Arts & Culture Alliance of Chicago, Raven Theatre Company, Red Clay Dance Company, Remy Bumppo Theatre Company, Sisters in Cinema, South Chicago Dance Theatre, Theater Wit, and Trickster Cultural Center. Arts organizations receiving grants of $36,000 include Teatro Vista, The Chicago Poetry Center, and Visceral Dance Chicago.

A full list of GDDF's 2025 Chicago Artistic Vitality grantees follows at the end of this release.

"We also strive to offer support in ways grounded in trust and shared values," Randall added. "Most of our grants are multiyear general operating support. Beyond funding, we create opportunities to convene and collaborate, and we connect grantees with training and other capacity-building resources. Now more than ever it is vital to champion the power of art, conserve and protect our land, and share the stories that tell us who we are."

GDDF makes grants twice a year and prioritizes multiyear general operating support. In 2025, more than 68% of grants were for general operating support. GDDF also provides project, planning, technical assistance, and cash reserve funding. Program staff made more than 400 personal connections with grantees this year through calls, meetings, field visits, and attendance at performances.

2025 GDDF Funding by Region and Program

Chicago Region
$4,781,000 to 88 organizations

Artistic Vitality: $2,489,000

Broadening Narratives: $690,000

Land Conservation: $1,602,000

Lowcountry of South Carolina

$2,757,880 to 40 organizations

Artistic Vitality: $707,880.00

Broadening Narratives: $550,000

Land Conservation: $1,500,000

2025 Chicago Artistic Vitality Grantees

Arts Work Fund for Organizational Development ($725,000)

Arts Alliance Illinois ($75,0 00)

Enrich Chicago ($60,000)

American Indian Center of Chicago ($40,500)

Black Arts & Culture Alliance of Chicago ($40,500)

Raven Theatre Company ($40,500)

Red Clay Dance Company ($40,500)

Remy Bumppo Theatre Company ($40,500)

Sisters in Cinema ($40,500)

South Chicago Dance Theatre ($40,500)

Theater Wit ($40,500)

Trickster Cultural Center ($40,500)

Teatro Vista ($36,000)

The Chicago Poetry Center ($36,000)

Visceral Dance Chicago ($36,000)

Chicago Art Department ($30,000)

eta Creative Arts Foundation, Inc. ($30,000)

Free Street Theater ($30,000)

Fulcrum Point New Music Project ($30,000)

Griffin Theatre Company ($30,000)

Joel Hall Dancers and Center ($30,000)

Kalapriya ($30,000)

Korean Performing Arts Institute of Chicago ($30,000)

Latitude Chicago ($30,000)

Praize Productions ($30,000)

PRIDEARTS Center ($30,000)

The Gift Theatre Company ($30,000)

Theatre Y ($30,000)

Lifeline Theatre ($27,000)

Cerqua Rivera Dance Theatre ($25,500)

City Lit Theater Company ($25,500)

Jackalope Theatre Company ($25,500)

Oak Park Festival Theatre ($25,500)

Sones de Mexico Ensemble ($25,500)

Trap Door Theatre ($25,500)

Haymarket Opera Company ($25,000)

Oak Park Festival Theatre ($25,000)

Roman Susan Art Foundation ($25,000)

6018North ($22,500)

AAMPA African American Museum of Performing Arts ($22,500)

Aguijon Theater Company ($22,500)

Guild Complex ($22,500)

Khecari ($22,500)

Make-Believe Association ($22,500)

MPAACT ($22,500)

NAJWA Dance Corps ($22,500)

Redtwist Theatre ($22,500)

Rembrandt Chamber Musicians ($22,500)

Riverside Arts Center ($22,500)

Roman Susan Art Foundation ($22,500)

Rough House Theater Company ($22,500)

The Paper Machete ($22,500)

Winifred Haun and Dancers ($22,500)

La Caccina ($18,000)

Mad Shak Dance Company ($18,000)

Zephyr Dance Ensemble ($18,000)

South Side Community Art Center ($15,000)

Full Spectrum Features ($13,500)

Third Coast Percussion ($13,500)

Gender Fucked Productions ($12,000)

Piven Theatre Workshop ($12,000)

Red Theater Chicago ($12,000)

Sixty Inches From Center ($10,000)

DanceWorks Chicago ($8,500)

Heaven Gallery ($8,500)

Pegasus Theatre Chicago ($7,500)

Symphony of Oak Park and River Forest ($7,500)

The Gaylord and Dorothy Donnelley Foundation supports land conservation, artistic vitality, and regional collections for the people of the Chicago region and the Lowcountry of South Carolina. The Foundation seeks to sustain and build resilient, vital, engaged, and equitable communities in these two regions by supporting conservation, arts, and collecting organizations that broaden narratives. For more information, visit gddf.org.

Let’s face it – in today’s world, “vaccinations” are a hot-button topic. More than ever, anything around health has become highly politicized, and for some, can elicit a deeply emotional reaction. Therefore, consensus is even harder to come by, and for some, even entering the debate feels impossible.

Despite all of that, leave it to Playwright Jonathan Spector to do the impossible and turn a play about vaccinations and consensus into a laugh-out-loud comedy. If you’re anything like this Opening Night audience, you might even find yourself gasping for air as you try to work through the laughter enough to absorb whatever witty one-liner comes next.

Spector’s Eureka Day takes place at a highly progressive private school where all decisions are made by consensus. However, when a mumps outbreak takes over the school, the Executive Board is going to find that artisanal scones are not always going to provide enough band aid for differing opinions.  Chaos ensues as parents clash in opinions over vaccinations and research, leaving the community unsure of how the school will ever recover.

Directed by Lili‑Anne Brown, Eureka Day is a witty, fast‑paced production presented by TimeLine Theatre in partnership with Broadway in Chicago. The work of Brown’s talented creative team immediately transports us into an elementary school library – particularly that of Scenic Designer Collete Pollard. The combination of picture books, colorful bean bags, and small chairs is sure to leave you feeling nostalgic as you think back to a time when you perhaps inhabited spaces like this.

Brown’s production features a strong ensemble with spot-on comedic timing. PJ Powers as Don, Eureka Day’s principal, elicited great laughter at this performance through his deep need to smooth over any debate. With every sigh or pause, he had the audience in the palm of his hand – wondering how he was going to try and navigate that particular rough patch. Jürgen Hooper expertly strikes a delicate balance with his approach to Eli, a character that walks a line as he tries to embody the stereotypical “white, woke man.”  Aurora Adachi-Winter has an authentic, genuine approach to her Meiko – the mom so many of us will recognize as the one who does not want to ruffle feathers, but also only has so much farther she can be pushed before she simply has to let her anger explode.

You might find that part of the cleverness of Spector’s story is its ability to invite an audience to empathize with both sides of the vaccination debate. Much as one might expect – not every parent meets eye to eye. As the school navigates the decision on whether or not to mandate the mumps vaccine for their students, we receive a window into the personal experiences of families on both sides.

In one particular scene, it is only Suzanne (Rebekah Ward) and Carina (Gabrielle Lott-Rogers) on stage. It is clear at this point that while Carina is pro-vaccination requirements, Suzanne is very much against. There is a great deal of silence, and the discomfort can be felt in the audience. While I do not wish to give away all of the details, I can say this – both actors treat their sides of the debate with a delicate grace. There is an openness and generosity from both Lott-Rogers and Ward that allows the audience to understand where they are each coming from. Regardless of which side of the debate on which you fall, you might just find yourself moved by the scene – and the ability for both characters to let down their walls and help each other understand their side of a highly personal topic.

A witty script with a lot of heart makes Eureka Day an absolute must-see. The topic alone is timely, and the ensemble brings it to life in a way that will stick with you for days.

HIGHLY RECOMMENDED

Eureka Day runs through February 22, 2026 at Broadway Playhouse – 175 E. Chestnut Street. For tickets and information, see the Timeline Theatre website.

The Second City e.t.c. is proud to announce its next hit show Improv Supernova, a fully improvised explosion of comedy starting January 22. While Second City is legendary for both razor-sharp sketch comedy and world-class improv, Improv Supernova is all about the latter: no pre-written material, no scripts, and no safety net. Fueled by audience suggestions and inspired by the world we're living in, this show is created live by seasoned Second City artists. Every performance is entirely in the moment and never repeated - pure, high-wire improv from first laugh to final curtain call.

Directed by legendary Chicago comedy thought leader Anne Libera, Improv Supernova's electric cast features Kennedy Baldwin, Anna Bortnick, Chas Lilly, Annie Sullivan, Max Thomas, and Riley Woollen. Musical direction by John Love and stage managed by Abby Beggs.

"Chicago has always been the heart of innovative improvisation," notes director Anne Libera. "The Second City e.t.c.'s Improv Supernova takes that legacy to a new level, featuring some of the best the city has to offer, creating a different performance every night - with improvisation that's deeply human, wildly funny, and built to surprise."

Improv Supernova represents an exciting pivot for the e.t.c. stage. This production redefines the e.t.c. as the professional home for hilarious, story-driven improvisation. Unscripted, unpredictable, and unhinged. The Second City Mainstage has always been known for top-shelf satirical sketch comedy, and now The Second City e.t.c. is home to the best improv show in Chicago. No two performances are the same, and nothing is ever repeated.

Performances start January 22, 2026, and run Thursdays at 8 p.m., Fridays and Saturdays at 7 p.m. and 10 p.m., and Sundays at 7 p.m. In honor of The Second City's founding year, Thursday tickets are $19.59.

Located at 230 W. North Avenue Chicago, IL 60610. Tickets are available at The Second City Box office, by phone at 312-337-3992 or online at www.secondcity.com. 

The producing team includes Ed Wells (CEO), Elizabeth Howard (Executive Producer), Jen Ellison (VP, Creative), Jeremy Smith (General Manager), Thomas J. Troup II (Producer, Resident Stages), and Nick Solideo (Senior Producer).

About the Artists
Kennedy Baldwin (Ensemble)(She/They) is a performer born and raised in Chicago, IL. They started taking improv classes in 2016 at The Second City, CIC, iO and The Chicago Improv Den. They toured with The Second City Touring Company for 2.5 years where they had some of the best times of their life. In 2018, they became a founding member of Logan Square Improv where they produce shows and perform with their best friends.

Abby Beggs (Stage Manager & Lighting Designer) (She/Her) is happy to be back working with the Second City again! Originally hailing from Boston, she moved to Chicago in 2015 to pursue design, production management, and stage management. Her past credits include: Legendary Laughs, She the People, Deck the Hallmark. Gaslight District (The Second City); Bagatelle, Cunning Little Vixen, L'Enfant et les Sortileges, L'incoronazione diPoppea (Roosevelt University); Blue Window (Brown Box Theatre Project); Gallo (Guerilla Opera), Boeing Boeing, Barefoot in the Park, Good People, The Scene (Dorset Theatre Festival), and Fen (Whistler in the Dark,) among others.

Anna Bortnick (Ensemble) (She/Her) is so excited to join The Second City ETC ensemble! She has performed across the country with The Second City National Touring Company. Anna is also a member of the musical improv company, BABY WANTS CANDY and SHAMILTON (Edinburgh Festival Fringe, The Second City.) She received her B.F.A. from Boston University and has trained at the Eugene O'Neill National Theater Institute. She is represented by Grossman & Jack Talent.

Anne Libera (Director) (She, her) is Director of Comedy Studies at The Second City where she also serves as Artistic Consultant. She is an Associate Professor at Columbia College Chicago where she created and coordinates the Comedy Writing and Performance BA. She served as the Executive Artistic Director of The Second City Training Centers from 2001 to 2009. Directing credits include Stephen Colbert's one man show Describing a Circle, Arrivals and Departures, The Madness of Curious George, Computer Chips and Salsa, The Second City Goes to War as well as Second City multiple Second City touring productions all over the world. Her recent book Funnier: A New Theory for the Practice of Comedy is published by Northwestern University Press who also published her first book The Second City Almanac of Improvisation. She served as Director of Improv Pedagogy for the Second Science Project (Second City and UC Chicago CDR) which married the studies of improvisation and behavioral science and co-created the Improvisation for Caregivers program with Caring Across Generations. The long list of her former students who have gone on to success in improvisation and comedy includes (just to name a few): Ashley Nicole Black, Aidy Bryant, Kay Cannon, Chelsea Devantez, Jordan Klepper, Amy Poehler, Kristen Schaal, Asha Ward and Steven Yeun. Anne has presented on topics in improvisation and comedy at the Aspen Ideas Festival, Chicago Ideas Week, Twitter, Code Conference, and guest lectured at the Stanford Business School.

Chas Lilly (Ensemble) (He/Him) is originally from the Commonwealth of Kentucky, but has been living and performing in Chicago for over a decade. When not on the e.t.c. stage, you'll find him playing music with his band (@KidCopter) or improvising with his friends at Logan Square Improv.

John Love (Musical Director, Original Music & Sound Design) (He/Him) plays music. An alumnus of The Second City's National Touring Company, he has played pianos (mostly good, some bad) all across the country and Chicago. He pursues original musical endeavors available on Spotify/social media- working as a studio musician for Ersatz Records and a bandmate for the groups Kid Copter and Vienna.

Annie Sullivan (Ensemble) (she/they) is a writer, performer, and all-around sweetheart originally from Kansas City and an alum of Columbia College Chicago. She's absolutely stoked to be performing with The Second City's E.T.C. cast. Annie is also a former ensemble member of The Second City's National Touring Company (GreenCo forever!). Other comedy credits include Blast! (iO Theatre), Devil's Daughter (iO Theatre), HOLY F*CK (The Annoyance Theatre), and Hot Reads (Logan Square Improv). Annie is currently represented by BMGTalent.

Max Thomas (Ensemble) (He, Him) has been featured on Comedy Central,The Comedy Store West Hollywood, The NBC Break Out Comedy Festival at The Second City Chicago & Hollywood, Zanies Chicago & Rosemont, Tiny Cupboard Brooklyn, Laugh Factory Chicago, Steppenwolf Theater:1919, Black & Funny Festival, Chicago Shakespeare Theater: Othello, Berkeley Rep: Comedian Rhapsody, Woolly Mammoth Theatre: Dance Like There's Black People Watching, Kenan Thompson: The Ultimate Comedy Experience and Lollapalooza Music Festival. He is The Chicago Reader Best Stage Actor 2022.

Riley Woollen (Ensemble) (he/him) is thrilled to be joining The Second City ETC!  He is a comedian and playwright from Brooklyn, New York. Beyond Second City, he's also a founding producer and ensemble member of "The Orbit," Chicago's only improvised show in the round.

About The Second City

The Second City opened its doors in 1959 as a small comedy cabaret and has since grown to become the world's most influential name in improvisation and comedy, celebrating its 65th year in business. The Second City's stages, Touring Companies, and Training Centers across North America have proudly been the launch pad and artistic home for many of the funniest performers, writers, directors, and comedic minds on the planet. As well, for decades The Second City's corporate education and entertainment arm, Second City Works, has supported global businesses using the same methods pioneered on its stages to drive individual growth and organizational improvement.

For more information on The Second City, visit www.secondcity.com and follow The Second City on YouTube, TikTok, Instagram, and Facebook

Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to continue its 50th Anniversary Season with Windfall, a gripping new work by Academy Award-winning ensemble member Tarell Alvin McCraney, directed by Awoye Timpo, playing April 9 – May 31, 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. The press opening is Sunday, April 19, 2026 at 6 pm.

Windfall reunites ensemble members Alana Arenas, Glenn Davis and Jon Michael Hill, who starred in Steppenwolf's Tony and Pulitzer Prize-winning drama Purpose, joined by ensemble member Namir Smallwood, direct from his Broadway turn in Bug opposite ensemble member Carrie Coon. Additional casting to be announced.

About the Production:

This is a story about money. Don't let them fool you otherwise. When a father loses his child in a clash with the police, he is visited by three strangers who advise him to take the city's cash settlement, relocate and forget his grief – or else remain, haunted by memories of the world his child fought so hard to protect. This lyrical world premiere is a vital and timely look at the spirit of activism set against the most indifferent system of them all: the almighty dollar.

Steppenwolf Artistic Directors Glenn Davis and Audrey Francis comment, "When we commissioned ensemble member Tarell Alvin McCraney to write a new play specifically built for our in-the-round Ensemble Theater as a centerpiece of Steppenwolf's 50th season, we weren't sure what he'd create. But, given that Tarell is one of the most talented writers of his generation, we were not at all surprised that he delivered a stunning, lyrical and undeniably bold script. This is a play for our moment, for our city, tailor made for an ensemble cast and this unique venue. We eagerly anticipate sharing this vital Chicago story with our community."

The creative team includes Andrew Boyce (Scenic Design), Qween Jean (Costume Design), Jason Lynch (Lighting Design), Willow James (Sound Design), Bryar Barborka (Dramaturg), Patrick Zakem (Creative Producer), Tom Pearl (Producing Director), 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: Windfall
Playwright: ensemble member Tarell Alvin McCraney
Director: Awoye Timpo
Cast: ensemble members Alana Arenas (First Lady, Second Wife, Miss Second, The Last One) Glenn Davis (Marcus), Jon Michael Hill (Nurse, Cori) and Namir Smallwood (Officer, Brother 1). Additional casting to be announced.

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

Dates: Previews: Thursday, April 9 – Saturday, April 18, 2026
Opening: Sunday, April 19, 2026 at 6 pm
Regular run: Tuesday, April 21 – Sunday, May 31, 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, April 14, Wednesday, April 22, Tuesday, April 28, Tuesday, May 5, Saturday, May 9 (Steppenwolf Gala) and Tuesday, May 26; there will not be at 3 pm performance on Saturday, May 9 (Steppenwolf Gala); there will be an added 7:30 pm performance on Sunday, April 26; there will be an added 2 pm matinee on Wednesday, May 20.

Tickets: Single tickets for Windfall ($20 – $148.50*) are now on sale at steppenwolf.org and the Box Office at (312) 335-1650. Steppenwolf Flex Memberships are currently on sale at steppenwolf.org/memberships: 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, May 24 at 3 pm (1:30 pm Touch Tour)
Open-Captioned: Saturday, May 16 at 3 pm & Thursday, May 21 at 7:30 pm
ASL-Interpreted: Friday, May 29 at 7:30 pm

Education and Engagement:

Throughout the 2025/26 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 Mr. Wolf, Amadeus, The Dance of Death and Windfall, 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:

Tarell Alvin McCraney (Playwright, he/him) is Artistic Director of Geffen Playhouse. In this role, he is responsible for identifying, developing and programming new works and re-envisioned classics. He sets the strategic artistic course for the Geffen's Gil Cates and Audrey Skirball Kenis Theaters. McCraney is an award-winning writer, producer and educator, best known for his acclaimed trilogy, The Brother/Sister Plays. His script In Moonlight Black Boys Look Blue is the basis for the Oscar–winning film Moonlight directed by Barry Jenkins, for which McCraney and Jenkins also won a Best Adapted Screenplay Oscar. He is an ensemble member at Steppenwolf Theatre and a member of Teo Castellanos D-Projects in Miami, a graduate of New World School of the Arts, The Theatre School at DePaul University and the David Geffen School of Drama at Yale. He received an honorary doctorate from the University of Warwick. He was recently Co-Chair of Playwriting at the David Geffen School of Drama, where he remains on faculty. He is an associate at the Royal Shakespeare Company, London, and a member of the Academy of Motion Picture Arts and Sciences (Writers Branch).

Awoye Timpo (Director) is a Brooklyn-based Director and Producer. She recently directed Ngozi Anyanwu's Leroy & Lucy at the Steppenwolf. Her recent New York credits include The Swamp Dwellers by Wole Soyinka (TFANA), Syncing Ink by NSangou Njikam (Apollo Theater), Elyria by Deepa Purohit (Atlantic Theater), Wedding Band by Alice Childress (Theatre for a New Audience), In Old Age by Mfoniso Udofia (New York Theatre Workshop), Carnaval by Nikkole Salter (National Black Theatre), Good Grief by Ngozi Anyanwu (Vineyard Theatre and Audible) and The Homecoming Queen by Ngozi Anyanwu (Atlantic Theater Company). Regionally she has directed at the Huntington, Studio Theatre, Paradise Blue, Actors Theatre of Louisville, Berkeley Rep, Marin Theatre Company. Other projects include concert performances for independent artists as well as for the NBA, Ndebele Funeral (59E59, Edinburgh, South African Tour), "Black Picture Show" (Artists Space/Metrograph), and Bluebird Memories (Audible). Awoye is a Creative Arts Consultant for the African American Policy Forum and the Founding Producer of Classix, a collective of 5 artists created to explode the classical canon through an exploration of dramatic works by Black writers and Black performance history, theclassix.org.

Alana Arenas (First Lady, Second Wife, Miss Second, The Last One) joined the Steppenwolf Theatre Company ensemble in 2007. She most recently appeared in Steppenwolf's world premiere of Purpose by Branden Jacobs-Jenkins in Chicago and on Broadway (Tony Award – Best Play). Alana also created the role of Pecola Breedlove for the Steppenwolf for Young Adults production of The Bluest Eye, which also played at the New Victory Theater Off-Broadway. Recent Steppenwolf appearances include: the Steppenwolf for Young Adults production of Monster, The Fundamentals, Marie Antoinette, Tribes, Belleville, Head of Passes, Good People, Three Sisters, The March, Man in Love, Middletown, The Hot L Baltimore, The Etiquette of Vigilance, The Brother/Sister Plays, The Tempest, The Crucible, Spare Change and The Sparrow Project. Broadway: Purpose. Other theatre credits include Disgraced (American Theater Company), The Arabian Nights (Lookingglass Theatre Company, Berkeley Repertory Theatre and Kansas City Repertory Theatre), Eyes (eta Creative Arts), SOST (MPAACT), WVON (Black Ensemble Theater) and Hecuba (Chicago Shakespeare Theater). Television and film credits include David Makes Man, Canal Street, Crisis, Boss, The Beast, Kabuku Rides and Lioness of Lisabi. She is originally from Miami, Florida, where she began her training at the New World School of the Arts. Alana holds a BFA from The Theatre School at DePaul University.

Glenn Davis (Marcus) is an actor, producer and Artistic Director of Steppenwolf Theatre Company, alongside Audrey Francis, where he has been an ensemble member since 2017. He most recently appeared in Steppenwolf's world premiere of Purpose by Branden Jacobs-Jenkins in Chicago and on Broadway (Tony Award – Best Play, Tony nomination – Best Featured Actor). Other 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. 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.

Jon Michael Hill (Nurse, Cori) joined the Steppenwolf Theatre Company ensemble in 2007. He most recently appeared in Steppenwolf's world premiere of Purpose by Branden Jacobs-Jenkins in Chicago and on Broadway (Tony Award – Best Play, Tony nomination – Lead Actor). Steppenwolf Theatre Company: Leroy and Lucy, True West (also Galway Arts Festival), Pass Over, Constellations, Head of Passes, The Hot L Baltimore, The Tempest, Kafka on the Shore, The Unmentionables. Broadway: Purpose, Superior Donuts, Pass Over. Off-Broadway: The Refuge Plays (New York Theatre Workshop) Pass Over (Lincoln Center). Film: Pass Over, Widows, In The Radiant City, No Pay, Nudity. Television: A Man in Full (Netflix), Elementary (CBS), Detroit 1-8-7 (ABC), Eastbound and Down (HBO), Law & Order: Special Victims Unit (NBC) and Person of Interest (CBS).

Namir Smallwood (Officer, Brother 1) joined the Steppenwolf Theatre Company ensemble in 2017. He is currently starring in ensemble member Tracy Letts's Bug on Broadway opposite, ensemble member Carrie Coon. Steppenwolf: 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 Theatre). 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.

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:

Windfall is supported in part by Conagra Brands Foundation, Laurents/Hatcher Foundation, and CNA. 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, Steven and Nancy Crown, Conagra Brands Foundation, Rich and Margery Feitler, FROST CHICAGO, Joyce Foundation, Harold and Mimi Steinberg Charitable Trust, The Orlebeke Foundation, Polk Bros. Foundation, Bryan Traubert and Penny Pritzker, Sacks Family Foundation, Smart Family Foundation of Illinois, and Vinci Restaurant. 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 49 members who are among the top actors, playwrights and directors in the field. Thrilling, powerful, groundbreaking productions have made this theatre legendary. From the 1980 phenomenon of Balm in Gilead, to The Grapes of Wrath, August: Osage County, Downstate, The Brother/Sister Plays, and now, the 2025 Pulitzer Prize and Tony Award-winning Purpose, Steppenwolf Theatre has had a long-running and undeniable impact on American Theater and Chicago's cultural landscape. Founded in 1976, Steppenwolf started as a group of teens performing in the basement of a church. 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 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.

Paramount Theatre’s smash hit musical Million Dollar Quartet has been extended once more due to popular demand.

Previously set to run through January 4, 2026, Chicagoland audiences can look forward to Million Dollar Quartet rocking for three more months, March 4-May 31, 2026.

See Paramount’s wildly acclaimed, immersive staging of Million Dollar Quartet before it’s gone. All remaining performances in 2025 are sold out, but tickets for spring extension performances go on sale today, exclusively to Paramount’s 2025-26 season subscribers.

Tickets go on sale to the general public on Monday, December 22 at 10 a.m. All seats are $76. For tickets and information, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount Theatre box office, 23 E. Galena Blvd., Monday–Saturday, 10 a.m. to 6 p.m., and until show time on show days. Attention holiday shoppers: tickets to Million Dollar Quartet also make excellent gifts. Prices listed are for in-person purchases. Additional fees apply for phone and online orders. 

Performance days and times March 4-May 31, 2026 are Wednesday at 1:30 p.m. and 7 p.m., Thursday at 7 p.m., Friday at 7 p.m., Saturday at 3 p.m. and 7 p.m., and Sunday at 1 p.m. and 5:30 p.m.

Paramount’s Stolp Island Theatre, 5 E. Downer Place, Suite G, in downtown Aurora, is surrounded by new restaurants and easy, affordable parking.

About Million Dollar Quartet

Paramount Theatre’s Million Dollar Quartet is like none before. Both the theater and the show were custom built as an immersive jukebox musical experience inside a replica of the original Sun Records studio in Memphis, Tennessee. There, on December 4, 1956, Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins recorded one of the most historic jam sessions in rock ‘n’ roll history. 

As soon as audiences step into the lobby, they find themselves standing right outside the Sun Records recording studio in Memphis, Tennessee, where they can take selfies astride a vintage motorcycle, view displays about the history of the play, and step up to the Taylor’s Good Food concession counter for affordable snacks and beverages.

They then walk through a replica of Sun Studio owner Sam Phillips’ office to enter a theatrical recreation of the actual recording studio, where music legends Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins came together to record one of the most historic jam sessions in rock ‘n’ roll history. The recording studio is lined on two sides with just 98 seats, where audiences are treated to a personal, intimate, one-of-a-kind live musical theater experience, fully immersed by amazing talent and the dazzling production values audiences have come to expect from Paramount.

The production is anchored by incredible, up-close live performances of some of the best songs in rock ‘n’ roll history, including “Blue Suede Shoes,” “Folsom Prison Blues,” “I Walk the Line,” “Hound Dog” and “Great Balls of Fire.”  As a result, audiences, including repeat ticket buyers, can’t get enough of this radically unique restaging of one of the most popular jukebox musicals of all time.

“This exuberant new take really is all about trying to include the audience in the jam session” wrote the Chicago Tribune’s Chris Jones, calling out Million Dollar Quartet as “another example of how much the success of the nonprofit, audience-focused Paramount has transformed the center of Aurora into a live entertainment destination.” Dean Richards, WGN-TV/AM, said his experience was “like stepping into Sun Records where one special night took place." 

Casting for the return of Million Dollar Quartet in March is TBA.

The original production inaugurated Paramount’s new Stolp Island Theatre in July 2024, and has since been extended three times due to popular demand. Directors Jim Corti and Creg Sclavi worked with a “million dollar” production team including Kory Danielson, music director; Jeffrey D. Kmiec, scenic designer; Matt Guthier, costume designer; Greg Hofmann, lighting designer; Adam Rosenthal, sound designer; Mike Tutaj, projections designer; Katie Cordts, wig, hair and makeup designer; and Jonathan Berg-Einhorn, properties designer. The book for Million Dollar Quartet is by Colin Escott and Floyd Mutrux. Original concept and direction by Floyd Mutrix. 

Verano, a leading cannabis company that operates Zen Leaf dispensaries in Aurora and across Chicagoland, is Venue Sponsor for Stolp Island Theatre. Old National Bank is Marquee Sponsor for Million Dollar Quartet.

About Paramount Theatre

Paramount Theatre, 23 E. Galena Blvd., is the center for performing arts in Aurora, the second largest city in Illinois. The beautiful, 1,843-seat theater, graced with a strong 1930s Art Deco influence and original Venetian décor, nationally known for its high-quality productions, superb acoustics and historic grandeur, has been downtown Aurora’s anchor attraction since 1931.

Since launching its own Broadway Series in 2011, Paramount has amassed more than 40,000 subscribers, making it the largest subscription house in the U.S.

Paramount Theatre is one of five live performance venues overseen by the Aurora Civic Center Authority (ACCA) in downtown Aurora. ACCA also programs and manages Stolp Island Theatre,
5 E. Downer Place, Suite G, where its wildly acclaimed immersive production of Million Dollar Quartet has been running for more than a year; the 165-seat Copley Theatre, at 8 E. Galena in the North Island Center; the Paramount School of the Arts; and RiverEdge Park, 360 N. Broadway, downtown Aurora’s outdoor summer concert venue and home to Christkindlmarket Aurora. 

Paramount Theatre is overseen by Tim Rater, President and CEO, Aurora Civic Center Authority; Jim Corti, Artistic Director, Paramount Theatre; a dedicated Board of Trustees and a devoted staff of live theater and music professionals.

For the latest updates, visit ParamountAurora.com or follow @paramountaurora on Facebook and Instagram, and Paramount Theatre on LinkedIn.

“Is this what it’s like to have sisters?”

I know I personally fall into the category of Jane Austen fans who have been following adaptations and spinoffs of Pride and Prejudice for eons. What happened to the Bennett sisters after the famous events of the classic tale? Did Elizabeth and Mr. Darcy find happiness? How are Jane and Mr. Bingley finding their marriage, and did the younger sisters ever discover their own paths to true love? Playwright Lauren Gunderson provides her own take through her trilogy Christmas at Pemberly plays, and in collaboration with Margot Melcon, the third installment offers a window into how the lives of Kitty and Georgiana progress post the original story.

In Act 1, As Georgiana sinks into the couch and takes in the Bennetts with the quote above, you might find yourself smiling alongside her. If you’re like me, you may think back to Pride and Prejudice and remember how alone she once was. Now she too finds herself with the unconditional love of sisters, and for better or for worse, she is going to discover what it’s like when they meddle without a second thought.

Directed by Connie Canaday Howard, Georgiana and Kitty: Christmas at Pemberley takes place two years after Pride and Prejudice. We find ourselves at the Darcy residence on Christmas Eve as Georgiana Darcy (Olivia Finkelstein) prepares to welcome her suitor, Henry Gray (Peter Alfano), to the home. The catch? She isn’t alone. Not only are Mr. Darcy (Keenan Odenkirk) and Elizabeth (Paige Klopfenstein) home for the holidays, but so are each of the Bennett sisters – Lydia (Leela Watts), Jane (Charlotte Foster), Mary (Elexis Selmon), and of course, her best friend, Kitty (Ksa Curry). To top it off, Henry’s friend, Thomas O’Brien (Daniel Millhouse) is joining the festivities, and he is just as ready as the Bennetts to meddle in the couple’s affairs. As might be expected, nothing quite goes according to plan, and as much as Kitty tries to support her friend, Georgiana might just find that nothing is ever simple on the path to love.

Howard’s production is full of joy and charm. Costume Designer Aly Greaves Amidei immediately transports the audience back into 1815 through her designs. The Bennett sisters’ dresses are stunning and add bright color to the Darcy home that is fully decked out for Christmas. Scenic Designers Jacqueline and Richard Penrod, in collaboration with Original Music and Sound Designer Christopher Kriz, fully immerse the audience into the holiday story for the eyes and ears.

As to be expected with a Jane Austen adaptation, the play certainly has its plot points involving true love. Not only does Georgiana find her soul mate in Henry, but Kitty also finds her own happiness with Thomas.  Finkelstein and Alfano bring a sweet, shy energy to the courtship – creating a relationship that you are sure to find yourself rooting for and hoping will succeed. Kitty and Thomas have a different approach, but one that is just as fun to watch unfold. The couple find their way to each other through the choice to meddle on behalf of their friends, and Curry and Millhouse infuse the relationship with high-energy and a mischievous humor. If you are a Jane Austen fan who loves watching the classic relationships grow despite their obstacles, you will find that the play certainly offers that access point.

However, something that you might also find to be special about this story is that it does not solely focus on the couples. The central relationship is actually the friendship between Georgiana and Kitty – two characters who have very little development in the original Austen story.  Curry and Finkelstein bring these characters to life with such creativity and delight. Much of the story explores these two younger sisters finding their voices amongst the noise of their elder siblings, and seeing Georgiana and Kitty support each other over the course of that journey adds to the holiday spirit.

Full of charm and holiday delight, Georgiana and Kitty: Christmas at Pemberley is a joy from start to finish. If you are a long-time Jane Austen fan, this play certainly scratches the itch of those wanting to see the Bennett stories continue. If this is your first taste of the Austen world, there are still plenty of access points to make this a holiday story to remember.

HIGHLY RECOMMENDED

Run Time: 2 hours and 15 minutes, with intermission

Georgiana and Kitty: Christmas at Pemberley runs through December 21, 2025 at the McAninch Arts Center – 425 Fawell Blvd. For tickets and information, see the Buffalo Theatre Ensemble website.

When the sun plays peek-a-boo and a pre-winter chill settles over Chicagoland, locals inevitably look for ways to warm their hearts as well as their fingers and toes. It’s during this time of year that locals venture indoors and when the Chicago theatre scene offers respite from the bitter cold. Like a favorite holiday treat, there are dozens of choices available to seekers of light and warmth, from recurring favorites and classic retellings to original plays and immersive theatre. There is no better way to celebrate the season and to lighten spirits than a good hearty laugh, or two, or three, or so many your sides hurt the next day. You’ll find no better way of warming up this December than seeing the deliciously dirty fairytale that is Rapornzel now playing at the Hoover-Leppen Theatre.

Rapornzel (yes, you read that right, it is not a typo) is a panto-style reimagining of the classic fairytale of Rapunzel. Many years ago, the King and Queen of a far-off kingdom were blessed with a baby girl with long, magical, downstairs hair. One day, the jealous witch Mother F**ker kidnapped the child and locked her in a tower, selfishly squandering her merkin magic for herself. With the help of local hairdresser Dame Fanny Follicle, her thick-as-s**t son Pascal, the dashing Prince Ride-her, and the Hairy Fairy, will Rapornzel ever come out?

If you couldn’t glean it from the title, Rapornzel is a serious-unserious play. Serious in the fact that the cast and crew put on a spellbinding, side-splitting comedic performance, but unserious to ensure the audience was able to escape the bitter cold reality for a few short hours and simply enjoy a hilarious performance. The story is written in the pantomime style or “panto.” Panto is a theatrical performance style dating back to the 1700s, traditionally performed around Christmas time. The popular form incorporates song and dance, exaggeration, and fourth wall breaks to tell a story. It often interchanges slapstick puns heavy with innuendos and groan-worthy dad-jokes to break the monotony of traditional theatre. Critical to the success of these comedic shows is audience participation. It’s highly encouraged to react and respond to the actors on stage, think “booing” the villain, “cheering” the hero, and responsive questioning from the actors such as: “Chicago is so cold…” to which the audience responds: “How cold is it?” wherein the actors then deliver a witty or punny joke in the tale that may or may not make you laugh, guffaw, or simply groan at how bad it is (in a good way). Panto is not for everyone, nor are puns or dad jokes, but in the Vonnegut style approach of moving the story along, it’s difficult not to enjoy, and even an ostrich chuckle at least once.

But when it comes to Rapornzel, I guarantee you’ll laugh more than once. Rapornzel is what you get if you take a fairytale and remix it with a book of dad-jokes, throw in a general use of 1980s musical bangers, and finish it with the dry wit of 2025. Rapornzel is one of the many bawdy, silly, and immensely entertaining pantomime scripts written by professional performer-writer Tom Whalley. The writer’s works have become a popular holiday season tradition at PrideArts, joining the ranks of Whalley’s other works like Jack Off The Beanstalk, Sleeping with Beauty, and Throbbin Wood. With unimaginable R-rated puns, pop songs, and audience participation, Rapornzel follows a growing holiday tradition within PrideArts. This year’s production is exceptionally acted by Chicago talent like Jeremy Cox, who plays Hairy Fairy Dandruff, Peter Moeller as the local hairdresser Dame Fanny Follicle, and the sexy and incomparable Gina Cioffi as the evil Mother F**ker who kidnaps Rapornzel. For those still tepid about the play or the panto style, don’t worry, the skilled actors utilize their quick wits, improvisation skills, and comedic timing to make this production enjoyable for all, never overstepping where they sense timidity. They read and respond to the audience to both give and get energy to move the story along and draw out a smile from even the most austere theatre goer.

Therein lies the beauty of this type of theatrical play. Whalley’s style of Panto grants permission to the audience to simply lighten up, be silly, and share some laughs. In short, in its seriousness to stage a good production, it masterfully creates a space to be supremely unserious. There aren’t many theatrical stylings that can pull that off these days. 2025 has been wrought with ill humor, tired remakes, and uninspired sequels. It’s refreshing and welcome to see a production that doesn’t take itself too seriously while still representing Chicago theatre, PrideArts, and the theatrical community well. The actors, panto, and Rapornzel itself, beg the attendees to lighten up. It reminds us that we don’t always need to seek hidden meaning between the witty one-liners, and we don’t need to laugh at every joke we’ve heard at countless Thanksgiving tables by distant relatives. We should endeavor to seek out light and warmth as the days grow shorter and the darker nights descend. Rapornzel beckons Chicagoans inside and endeavors to thaw critical hearts this holiday season. It’s a healthy reminder that it’s okay to shout, especially when asked or directed to do so. It’s fine to laugh or simply smile. And it’s encouraged, and I daresay desperately needed, to remember that nothing, including fairy-hairy-overly-share-y-tales, is really that serious. Funny, yes. Serious, no. That in and of itself is a gift.

 Rapornzel is playing for a short while longer through December 14^th at the Hoover-Leppen Theatre in Center on Halsted (3656 N. Halsted, Chicago). Grab your winter jacket and your tickets today, available at www.pridearts.org, and warm up with a few hearty belly laughs guaranteed to shake away your winter blues.

Christmas cheer is here. Or rather... CHRISTMAS CHEER IS HERE!!!

Based on the 2003 blockbuster hit movie Elf with Will Ferrell and Zooey Deschanel, Elf the Musical is a glittering holiday stage confection that mixes slapstick comedy, heartfelt family drama, and a score full of catchy tunes like “Nobody Cares About Santa,” and “Never Fall in Love with an Elf” (one of the musical’s best song and dance numbers). It’s a show designed to leave audiences laughing, humming, and perhaps even believing in Christmas magic again. The stage adaptation of Elf transforms the beloved film into a glittering Broadway spectacle, guided by the comic touch of Bob Martin and Thomas Meehan’s book.

Buddy the Elf is anything but ordinary - mainly because he isn’t an elf at all. Accidentally tucked into Santa’s sack as a baby and raised among the North Pole’s toy-making crew, Buddy grows up brimming with candy-cane energy and a grin as bright as the Rockefeller Center tree (after all, smiling is his favorite). When the truth of his human identity comes to light, he heads to New York City in search of his real father, Walter Hobbs - a cranky children’s book publisher whose name sits squarely on Santa’s naughty list. What follows is a merry storm of comic misadventures, from Buddy’s chaotic debut at Walter’s office to his glitter-drenched takeover of Macy’s, capped by the showstopping ensemble number “Sparklejollytwinklejingley.”

Buddy’s relentless cheer doesn’t always hit its mark - especially with Jovie, the world-weary Macy’s employee who slowly softens to his quirky charm. At home, Walter’s wife Emily and son Michael yearn for connection, their longing beautifully voiced in the ballad “I’ll Believe in You.” As Buddy’s antics spiral from comic chaos to heartfelt desperation, Walter’s patience frays, setting the stage for a holiday crisis that peaks when Santa’s sleigh sputters to a halt in Central Park.

In true Christmas fashion, it’s Buddy’s infectious joy - and the collective power of a crowd singing together - that rekindles belief in magic. By the final curtain, Walter has embraced Buddy as his son, Jovie has discovered love, and the city itself has been swept up in a wave of rediscovered holiday spirit. The message is simple yet enduring: sometimes it only takes one elf to remind us of the wonder we’ve forgotten.

Currently lighting up Auditorium Theatre in a limited engagement through December 14^th, this zany holiday romp delivers a burst of festive cheer guaranteed to lift spirits high enough to send Santa’s sleigh soaring once more.

Jack Ducat slips seamlessly into Buddy the Elf’s candy-cane-striped shoes, radiating a charm that feels tailor-made for the role. His wide-eyed innocence glows like twinkle lights across the stage, a pure embodiment of childlike wonder that never dims. With boundless energy and an infectious grin, Ducat magnifies Buddy’s relentless optimism until it fills the entire theatre, wrapping the audience in holiday warmth. His comedic instincts are razor-sharp, turning even the smallest quip or physical gag into a laugh-out-loud moment, while his musical bursts sparkle with joy. In every scene, Ducat channels the essence of Christmas spirit - reminding us that Buddy isn’t just a character, but a cultural touchstone of holiday cheer, beloved for the way he makes us believe in magic all over again.

The production’s heart is amplified by its supporting cast, each bringing dimension and warmth to Buddy’s journey. Felicia Martis crafts a Jovie with delightful complexity - her initial cynicism and guarded demeanor provide a sharp contrast to Buddy’s boundless optimism, making her eventual embrace of Christmas cheer all the more rewarding. As Walter Hobbs, Buddy’s beleaguered father, Jeff Brooks anchors the story with a commanding presence, capturing both the stern pragmatism of a businessman and the gradual softening of a man rediscovering family and faith. Yara Martin, as stepmother Emily Hobbs, is nothing short of luminous; her nurturing spirit radiates throughout, and she truly dazzles in her duet with son Michael. Camden Kwok, in turn, delivers a wonderfully earnest Michael, whose youthful sincerity makes “There is a Santa Claus” a standout moment along with Martin - an anthem of belief that sparkles with joy and reminds audiences of the magic at the core of the season. (*Ryan Duck alternates performances with Camden Kwok as Michael).

Darius J. Manuel proves to be a dynamic force onstage, stealing scenes with not one but two memorable turns. As the exuberant hotdog vendor, he serves up laughs alongside “The World’s Greatest Hotdog,” infusing the moment with infectious energy. Later, he reappears as the genial store manager whose good intentions lead to comic gold when he assumes Buddy’s elf costume marks him as a holiday department employee. Manuel’s sharp comedic instincts shine in both roles, blending physical humor with a warmth that keeps audiences leaning in. The highlight comes when Buddy nudges him into song, unlocking Manuel’s impressive vocal range.

Katelyn Lauria lights up the stage as Hobb’s office assistant Deb, delivering a performance brimming with comic zest. Her sharp timing and playful wit turn every moment into a laugh, while her buoyant presence injects a spark into the office scenes, ensuring Deb stands out as one of the production’s most memorable delights. Equally compelling is Andrew Kendrick, who demonstrates remarkable versatility in two sharply contrasting roles. As Santa Claus, he radiates warmth and joviality, embodying the very essence of holiday cheer with a twinkle in his eye and a booming laugh that instantly charms the audience. Then, in a striking shift, Kendrick inhabits the stern, impatient Mr. Greenway - Walter Hobbs’ demanding boss - capturing the character’s rigid authority with crisp precision. The contrast between these extremes not only highlights Kendick’s impressive range but also deepens the production’s narrative, balancing the magic of Christmas spirit against the hard edges of corporate life.

Director Philip Wm. McKinley orchestrates this holiday jewel with remarkable finesse, shaping each moment to shimmer with the warmth and sparkle of Christmas spirit. His vision transforms the stage into a living snow globe, where sweeping scenic designs unfold into breathtaking tableaux and glittering special effects ignite a sense of wonder that keeps audiences spellbound. The humor is delivered with impeccable timing, sending waves of laughter through the theatre, while the dance numbers dazzle with precision and exuberance, bursting forth like fireworks of festive joy. At the center of it all is a radiant ensemble whose collective energy and talent elevate the production beyond mere entertainment, crafting instead a jubilant celebration of the season - one that leaves audiences glowing with holiday cheer long after the curtain falls.

Overflowing with laughter and festive cheer, Elf the Musical is the perfect gift to unwrap this season. A joyous addition to any holiday wish list, the production delivers sure-fire fun for audiences of all ages, blending heartwarming spirit with playful humor that keeps the Christmas magic alive from start to finish.

Highly recommended.

Elf the Musical is being preformed at Auditorium Theatre through December 14^th. For tickets and/or more show information, visit https://elfmusicaltour.com/.