Displaying items by tag: Eliza Bent

Rivendell Theatre Ensemble closes its milestone 30th season with Bonnie’s Last Flight, a sly, sky‑high comedy set during a flight attendant’s final day on the job - a blend of sharp satire and warm, traditional character comedy that’s genuinely, disarmingly funny. Jan has always carried a quiet love for writing, and now she’s earned a spot in an elite program - a dream she’s never fully allowed herself to chase. Handing over her wings means more than leaving the airline; it means finally giving herself permission to focus, to create, and to figure out who she is when she’s no longer defined by the job that shaped her life. But instead of treating her retirement as a tidy celebration, the play leans into the strange limbo that comes when a long‑held identity is about to disappear. Jan isn’t just stepping off a plane - she’s stepping out of the role that has shaped her routines, her friendships, and the way she moves through the world. That kind of transition can feel exhilarating, but it can also feel like freefall: What happens when the structure you’ve relied on for decades suddenly dissolves? Who are you when the uniform comes off?

Around her, the cabin is filled with a wonderfully mismatched crew navigating their own turbulence. Greig, her closest colleague - and one of the few people Jan truly considers family - is somehow the only person on board who doesn’t realize this is her final flight. While Jan quietly braces for the unknown, Greig clings to nostalgia – reminiscing about the 70s and 80s when people flew with style and grace, which in turn translated to proper behavior as passengers. LeeAnne, the rookie attendant, is still wobbling her way through the basics and is convinced the rest of the crew resents her simply for being young. Meanwhile, the Captain - who relies a little too heavily on mid‑air “comforts” - and the Co‑Pilot form an offbeat duo doing their best to keep the ride smooth and the mood light, even as everything around them threatens to veer off course. And then there’s Mark Twain – Jan’s guiding light and inspiration - drifting through the cabin like a sardonic travel spirit, adding an off‑kilter, almost dreamlike layer to the already unpredictable atmosphere. At any given moment, he might toss out a Twain‑ish zinger like, “Don’t argue with stupid people - they’ll drag you down to their level and beat you with experience.”

And yes - the title Bonnie’s Last Flight does mean something specific. The play waits to share it, and it’s worth letting that moment land on its own.

Paul Oakley Stovall as Greig and Rebecca Spence as Jan. Photos by Jenn Udoni.

Rivendell’s latest offering finds sharp, playful humor in every recognizable quirk of air travel - from the ritual of cramming bags into overhead bins to the exaggerated seatbelt pantomime, from the sad little routines of in‑flight food service to the collective sigh of a delayed takeoff, and even the inevitable moment when the Boingo internet keeps going down. Playwright Eliza Bent (The Regulars, Karen, I Said) threads these details together with wit and oddball charm - comic gold, really - especially in the way she captures the crew’s half‑coded, half‑conspiratorial communication style. Director Devon de Mayo amplifies that energy by staging the entire piece as an 85‑minute real‑time passage through the air on the gloriously scrappy Smelta Airlines, traveling from “use your imagination” to Chicago. Audience members are assigned boarding groups before entering, and once inside, the immersion never breaks - we are the passengers, and the cast treats us as such. In Rivendell’s intimate 40–50 seat house, the action unfolds close enough to feel immediate, with scenes playing out just a few feet away and often surrounding you entirely. Surprise song‑and‑dance numbers erupt out of nowhere and are executed with precision that feels almost impossible in such close quarters. As someone who now dreads flying, I thoroughly enjoyed being on this airborne adventure.

On top of the cleverly crafted script and fine‑tuned direction, the cast’s blend of Rivendell regulars with notable newcomers is the last flourish that makes the whole thing take off. Rebecca Spence, a longtime Rivendell ensemble member fresh off her appearance in Chicago Shakespeare Theater’s Fault directed by Jason Alexander and her screen work on Taylor Sheridan’s The Madison, returns with a commanding presence as Jan, grounding the production with a performance that moves effortlessly between wry humor and quiet emotional depth. Up close, we see what a truly talented actor she is - we feel every beat of her internal calculus, the uncertainty, the flickers of excitement, the moments of reflection, and even the disappointments, all delivered with a subtlety that makes her journey resonate long after the plane arrives in Chicago.

Eric Slater (left) as Pilot and Glenn Obrero as Co-Pilot in Bonnie's Last Flight.

Spence is joined by fellow Rivendell ensemble members Jessica Ervin, Eric Slater, and Glenn Obrero, each bringing sharp timing, confident comic instincts, and just the right touch of vulnerability when the moment calls for it, with Paul Oakley Stovall and LaKecia Harris rounding out the cast as fantastic additions who elevate the ensemble’s already cohesive dynamic.

Eric Slater’s dry‑witted Captain/Pilot lands every beat with understated precision, while Jessica Ervin’s off‑balance LeeAnne provides a wonderfully unpredictable charge that never feels forced. Glenn Obrero’s earnest Co‑Pilot (“Jesus,” as the Captain likes to refer to him), brings a lovable silliness along with genuine warmth, a combination that gives the show extra bounce. Paul Oakley Stovall, a standout as Greig, draws on his wide‑ranging stage experience to deliver a performance full of nuance, comic assurance, and centered emotional presence that adds unexpected depth to the production. The ensemble’s cohesion is further strengthened by LaKecia Harris, whose turn as Mark Twain brings a sly, confident rhythm that meshes seamlessly with the group’s comic fabric. Together, they’re dynamite - fully in tune with one another and performing with the cohesion of a team that’s been flying together for years.

At its core, Bonnie’s Last Flight is less about airline chaos and more about the uneasy moment when a person realizes the next chapter of life doesn’t come with a boarding pass. Jan is standing at the edge of retirement, a place where excitement and dread blur together. Leaving a long‑standing job can feel like stepping off a moving walkway: suddenly the rhythm that shaped your days disappears, and you’re left wondering who you are without the role that once defined you. While Jan wrestles with that quiet panic, the rest of the cabin spirals in their own directions - LeeAnne dodging emotional landmines, the Captain leaning too hard on liquid courage, and Erik trying to squeeze a thought into the noise. Beneath the jokes and mishaps, the play nudges at something more human: the fear of losing purpose, the hope of reinvention, and the strange freedom that comes when life forces you to start over.

This design team gives us the feel of being inside an airplane, creating an environment that gently echoes the experience of settling into a cabin. Scenic designer Regina García shapes Rivendell’s intimate space into a compact aircraft interior, complete with a cockpit, a small lavatory, a food‑and‑drink station, and lighted walkways that recall the soft glow of aisle markers guiding passengers to their seats. Saawan Tiwari’s costumes reinforce the world with grounded, character‑specific details that nod to real airline crews without slipping into caricature. Garnett Bell’s lighting adds subtle shifts that mirror the ambience of a cruising cabin or the quick changes that accompany an announcement. And Satya Chavez’s sound design supplies the familiar chimes, the pressurized hush of doors, and the clipped rhythm of airline instructions, creating an auditory landscape that instantly situates us in the sky.

In short: Bonnie’s Last Flight promises a strange, playful, and slightly chaotic airborne adventure - a character‑driven comedy about people stuck in the sky and stuck in their lives, trying to figure out what comes next. The humor lands repeatedly with precision, but what ultimately gives the show its staying power is the heart that surfaces beneath and during the laughs - those small, sincere moments of connection and longing that linger long after the final descent.

Already extended to October 25th at Rivendell’s home on Ridge Avenue, this production is a sure‑fire good time that’s sure to send you back to the friendly skies with a smile. For tickets and more show info, visit https://www.rivendelltheatre.org/bonnieslastflight.

Highly recommended.

Rivendell Theatre Ensemble, Chicago's only professional theater that seeks to advance women through the power of storytelling, announces the cast for the final world premiere of its 30th Anniversary season, Bonnie's Last Flight by Eliza Bent (The Regulars, Karen, I Said), directed by Rivendell Ensemble member Devon de Mayo (The Tasters, Laura and the Sea & Scientific Method). Bonnie's Last Flight runs September 12 – October 17, 2026, as part of Rivendell's 30^th Anniversary Season of new plays. 

The 30^th Anniversary Season takes place at Rivendell's home, 5779 N. Ridge Avenue in Chicago. Tickets are $28 for previews and $38 for regular performances. Angel and Sponsor tickets are $58 and $88 and include a donation. Discounts are available for seniors, students, and military. Tickets and more information at rivendelltheatre.org/bonnieslastflight or (773) 334-7728.

It's Jan's retirement flight. Everyone knows, except for Greig, Jan's best friend and coworker of many years. As Greig waxes nostalgic, Jan worries about life post-retirement. LeeAnne, a klutzy newbie flight attendant with a dark past, must avoid her ex on the plane while Captain, a waggish pilot with a weakness for Bloody Marys, is caught in a love triangle. Erik, the co-pilot with a heart of gold, can't get a word in edgewise. Presiding over the flight is the OG of travel: Mark Twain.

In a comedy set on everyone's least favorite mode of transit, we must reckon with our crew's dreams and regrets and ask ourselves: What does it take to really start living?

Artistic Director Tara Mallen comments, "The final production in our 30th anniversary season, Bonnie's Last Flight, is exactly the kind of groundbreaking new work we champion at Rivendell. Eliza Bent's quirky comedy helmed by longtime ensemble member Devon de Mayo features an extraordinary cast anchored by four of Rivendell's most gifted ensemble members and joined by the multi-talented actor, playwright and Tony Award-winning producer Paul Oakley Stovall. We are delighted to introduce Eliza's fresh and singular voice to Chicago audiences and share this wonderfully offbeat play that reminds us that it's never too late to chart a new course."

This world premiere production of Bonnie's Last Flight features ensemble members Rebecca Spence, Eric Slater, Jessica Ervin, and Glenn Obrero, with Paul Oakley Stovall.

Rivendell's 30th Anniversary Season is sponsored by Sharon I. Furiya.

FACTS / Bonnie's Last Flight

Bonnie's Last Flight

A world premiere by Eliza Bent

Directed by Devon de Mayo

September 12 – October 17, 2026

Creative Team: RTE members Regina García (Scenic Design) and Tanya Palmer (Dramaturg) with Saawan Tiwari (Costume Design), Garrett Bell (Lighting Design), and Satya Chávez (Sound Design). The Production Stage Manager is Anna Vu and Mia Maccarella is Asst. Stage Manager.

Dates:

Previews: September 12-19, 2026

Saturday, September 12 at 8pm

Sunday, September 13 at 3 pm

Thursday, September 18 at 8pm

Friday, September 19 at 8pm

Saturday, September 19 at 8pm

Gala Opening: Sunday, September 20 at 6pm

Regular Run: September 24 – October  17, 2026

Thursday-Saturday at 8pm; Saturday at 4pm

Added Sunday Matinees: September 13 & October 11 at 3pm

Industry Performance: Monday, September 28 at 8pm

Open Captioned performances:

Saturday October 10 at 4pm

Saturday October 17 at 4pm

About the Artists

Eliza Bent (Playwright) is the love-grandchild of Lily Tomlin, Pee Wee Herman, and Mr. Peanut. Bentertainments include plays (The Regulars), solo pieces (Karen, I Said, which the New York Times described as a "wicked satire"), adaptations, and hybrid affairs. Bent's works have been developed, workshopped, and produced at the Abrons Arts Center, JACK, the New Ohio, the Atlantic Theatre, the Bushwick Starr and New York Theatre Workshop's Next Door Series. Residencies: MacDowell, SPACE on Ryder Farm, New Georges, Target Margin Institute Fellow, Goodman Theatre Playwrights Unit. Bent's short film Summer's Last Swim was an official selection for Downtown LA's 2023 Film festival and a Chicago Filmmakers Best LGBTQ+. As a performer Bent has toured internationally with the Obie-award winning ensemble Half Straddle and Bent's stand-up special Penguin in Your Ear has bowed at the Brick in Brooklyn, the Elysian in LA, Crashbox in LA, Color Club in Chicago and Benson Theatre in Omaha, NE. A perennial guest of the Great Plains Theatre Commons, Bent has a BA in philosophy from Boston College and MFA in playwriting from Brooklyn College. Currently on faculty at Northwestern University's Radio TV & Film department.

Devon de Mayo (Director) is thrilled to be back at Rivendell where she has been an ensemble member since 2019 and has directed The Tasters, Laura and the Sea & The Scientific Method at Rivendell. Most recently, she directed Untitled Vampire Play at Lookingglass Theater. Directing credits include: The Rise and Fall of Little Voice (Gift Theatre); In Every Generation, If I Forget (Victory Gardens); First Love is the Revolution (Steep Theatre); Women Laughing Alone With Salad (Theatre Wit); The Burn (Steppenwolf Theatre); Harvey (Court Theatre); Sycamore (Raven Theatre); You on the Moors Now (The Hypocrites); Animals Out of Paper (Shattered Globe Theatre); You Can't Take it With You, and Lost in Yonkers (Northlight Theatre); Everything is Illuminated and Compulsion (Next); Roadkill Confidential, The Whole World is Watching, As Told by the Vivian Girls and The Twins Would Like to Say (Dog & Pony). Devon served as Resident Director on Prima Facie and The Audience (both on Broadway). She co-wrote and co-directed Guerra: A Clown Play, a collaboration with Mexico City-based artists La Piara (performances in New York, Chicago, Albuquerque, Mexico City and Bogota). Devon is an Assistant Professor and the Director of Performance in TAPS at the University of Chicago.

Jessica Ervin is an ensemble member at Rivendell where she originated the role of Annie in Rivendell's Jeff Award-winning production of Motherhouse. Other credits with Rivendell include: No Such Thing, Dry Land (Jeff Nomination – Actress in a Principal Role), I Wanna F*cking Tear You Apart, The Firebirds Take the Field, and understudying Pivot, Scientific Method, Alias Grace, and the tour of Women at War. Jessica's other theatrical work includes roles with Goodman, Audible's Minetta Lane (New York), Strawdog, A Red Orchid, Walkabout, Kalliope and Co., and Prop Thtr. On-screen, she has appeared on Chicago Fire (NBC), and in the films Regret Like That, Princess Cyd, Provo, Lucid, and Late Bloomer, in addition to other shorts and a commercial for CDW NetApp. Jessica is a graduate of The School at Steppenwolf and Ball State University. She is proud to be represented by the Actor's Talent Group. www.jessicaervin.com

Glenn Obrero is a member and Casting Associate of Rivendell Theatre Ensemble. Rivendell: Scientific Method, Wipeout, and Pivot. He was recently seen in The Targeted at A Red Orchid Theatre. Select Chicago Theater credits: The Great Leap (Steppenwolf Theatre), 20K Leagues Under The Seas (Lookingglass Theatre), The Chinese Lady (Timeline Theatre), Ironbound (Raven Theatre), and A Tale of Two Cities (Shattered Globe Theatre). Regional Theatre: Peninsula Players Theatre, Kitchen Theatre, and Asolo Repertory Theatre. Film: When Cats Fly (Wonderphil Ent), InIt2WinIt (Gnarly Naldo) and Wheelhouse (Protea). TV: Chicago Fire (NBC) and Next (FOX). Ensemble: Griffin Theatre. Representation: Gray Talent Group.

Eric Slater has been a member of the Rivendell Ensemble since 2005 and has worked on more than fifteen projects in that time including The Tasters, Cal In Camo, Alias Grace and Rasheeda Speaking. Slater was also the associate director of Pivot earlier this season. Some other Chicago credits include: Inherit the Wind, The Cherry Orchard, This Happened Once At The Romance Depot Off i-87 in Westchester, Support Group For Men, Smokefall, Feathers And Teeth (Goodman); The Doppelganger (an international farce) (Steppenwolf); Tiny Beautiful Things, Hand To God (Victory Gardens); Small Jokes About Monsters (16th Street). Off-Broadway: Juvenal Players (The Kitchen); The Dudley's: A Family Game! (Theatre for a New City); Our Greatest Year (Kraine & The Brick); Original cast of Gloryana (Workshop Production, The Public Theatre & The York Theater). Film: Regret Like That, In The Flood, You Don't Belong Here, Widows, The Try Out. TV:"Monster: The Ed Gein Story", "Emperor of Ocean Park", "Fargo", "Chicago Fire". This Spring he directed the critically acclaimed Spaceman by Leegrid Stevens with [producingbody]. Slater has also written and directed his first short film, Moon Thief, currently in post-production.

Rebecca Spence is a Rivendell ensemble member and was last seen on their stage in The Firebirds Take the Field. Other RTE credits: How the World Began, WRENS and These Shining Lives. Additional theatrical credits include work with Chicago Shakespeare Theatre, Steppenwolf Theatre Company, The Goodman Theatre, Court Theatre, Northlight Theatre, Remy Bumppo Theatre Company, Lookingglass, TimeLine Theatre Company, Windy City Playhouse and Theatre Wit. Film credits include: Candyman, Heist 88, Princess Cyd, Man of Steel, Contagion, The Dilemma, Public Enemies, Grace is Gone and The Break-Up. She may be seen currently as Liliana Weeks in the new Taylor Sheridan series The Madison (Paramount+), and in recurring roles in Dark Matter (AppleTV+); Mr. Throwback (NBC); Power Book IV: FORCE (Starz); 61st Street (CW) and Paper Girls (Amazon Prime). Other television roles include: Lady in the Lake, The Big Leap, Utopia, Empire, Easy, Boss, Crisis, Chicago Fire, Betrayal, The Mob Doctor, Detroit 1-8-7, The Chicago Code, The Beast and Prison Break.

Paul Oakley Stovall makes his Rivendell debut! Paul is an accomplished theatre practitioner, winning his first Tony Award as a producer of A Strange Loop and performing the role of George Washington in the 1st national tour of Hamilton for over 4 years. He has also toured with Rent and Once On This Island and has performed regionally across the US and in Japan. He is a four-time Jeff nominee for his work in his hometown of Chicago as an actor, director and playwright. His film/tv appearances include Shameless (SHO), Chicago Fire (NBC), Empire (FOX), and the late Robert Altman's The Company, and his afro-futurism sci fi web series Tulsa can be seen on Amazon Prime. His play Immediate Family has been directed across the country by the legend Phylicia Rashad, and his co-adaptation of James Baldwin's Giovanni's Room which he also directed, garnered rave reviews, including making the New York Times best of theatre list in 2025. Paul was a proud advance associate lead and media logistics coordinator, traveling to over 15 countries for the two terms of forever First Lady Michelle Obama. He served as Executive Producer and Creative Director of the inaugural Juneteenth UnityFest, and of the 2024 NAACP Legal Defense Fund Annual Gala.

Rivendell Theatre Ensemble's 30^th Anniversary Season

It's Women's Work. And for 30 years, it has been our work.

Rivendell is celebrating three decades of groundbreaking, women-centered storytelling with three world premiere plays that embody its legacy of centering women's voices, sparking crucial dialogues and advocating for women. This season is both a celebration of Rivendell's award-winning past and an invitation to experience the bold narratives shaping the future. The 30^th season launched in February with a fully sold-out run of the world premiere of Alex Lubisher's Pivot directed by longtime ensemble member, Hallie Gordon. It was followed up with the  world premiere of Melissa Ross' Do Something Pretty, marking ensemble member Katherine Mallen Kupferer's Rivendell debut. The 2026 season concludes with this hilarious and offbeat new play Bonnie's Last Flight by Eliza Bent.

The 30th anniversary marks a pivotal moment for Rivendell — a time to celebrate all we've built and invest in what's next. This campaign fuels the next chapter of our work as a leader in new play development for women playwrights and a vital platform for emerging and established artists. As Chicago's only women-focused Equity storefront theatre, Rivendell has produced 57 acclaimed works, earned 16 Joseph Jefferson Awards and over forty nominations, and serves more than 250 artists and 4,000 audience members each year through partnerships, performances, and community engagement.  To learn more about our 30th Anniversary Season Campaign and how you can play a part, email Artistic Director Tara Mallen at This email address is being protected from spambots. You need JavaScript enabled to view it.

For more information about Rivendell Theatre Ensemble, visit http://rivendelltheatre.org. Follow Rivendell on Facebook at Facebook.com/rivendelltheatre and on Instagram at @rivendelltheatre.

Rivendell Theatre Ensemble is supported by generous grants from: SIF Fund at The Chicago Community Trust; Paul M. Angell Family Foundation; Shubert Foundation; Bayless Family Foundation; Richard H. Driehaus Foundation; Illinois Arts Council Agency; The Gaylord and Dorothy Donnelley Foundation, Wintrust and Sara and the 2 C Dogs. Community support by: Amazing Edibles, Revolution Brewing and Tablescapes.