REVIEW: Neo-Commedia VIVA LA MORT Via The Conspirators Well Worth The Visit at Otherworld Theatre

ChiIL Live Shows On Our Radar 

THE CONSPIRATORS PRESENT

VIVA LA MORT

MAY 16 - JUNE 9, 

AT OTHERWORLD THEATRE

It’s the Conspirators, but With Music! 

A Pop-Icon Returns to Her Hometown to Wreak Havoc on Her Aging Ex

A happy eighth marriage

Photo by Candice Conner, Oomphotography

(left to right) Liam Ouweleen, Libby Conkle

Directed by Wm. Bullion, Lighting by Mike McShane, Costumes by Kit Medic

Guest Review

by Dugan Kenaz-Mara

Viva la Mort was one of the most unique plays I have had the pleasure of reviewing. The show takes up a ton of space, despite being in such a small room. With a high-stakes story, a mood that changes from comedy to tragedy on a dime, and crazy features like killer wolverines and dancing lobsters, it’s a performance that’s sure to delight. 

The first thing that needs mentioning is the style. And not just any style, “The Style”. The Conspirators are known for their neo-commedia techniques: Punctuating every beat with a live percussionist, staring down the audience, and turning emotion up to 11. Most striking is their intense face makeup, which is used to evoke a heightened character in the way a Commedia dell’Arte mask does. I would describe this style as “how it would feel if mimes were allowed to scream”. With the heavy stylizing, it can be a bit tricky to wrap your head around the story at the beginning. On stage, there is always a lot going on, but once you recognize ‘The Style’, it fades into the piece and does a lot to heighten the experience, heightening both the chaos and the order in the characters’ predestination.

Mort sees Viva for the first time in decades

Photo by Candice Conner, Oomphotography

(front left to right) Andrew Bosworth, Libby Conkle, Justin Ly

(back left to right) Dakota Norman, Mitchell Jackson, Corin Wiggins, Eva Andrews, 

Lex Mann Turner, and Madison Rivers

I would recommend looking over the plot of Friedrich Dürrenmatt’s “The Visit” if you don’t know that play already. Since this show is adapted from it, I found that knowing the basic plot was fairly helpful in following the story through its many stylistic layers. 

One thing that caught me by surprise was the quality of the music in the play. Viva la Mort is presented as a play with music, and my preconception was that it would be worse quality than a musical where actors would be chosen specifically for their singing abilities. I was pleasantly surprised when the first solo song occurred. Then, at the top of act 2 when everyone jumped in for a jaunty tune (The Barbecue Song) I was sold. The audience was bopping along and the energy was soaring, easily transporting the viewers back to the world of the show. 

The show had quite a few sneaky pop-culture references in it, but didn’t try too hard to point them out, and the comedy in it was strange and intriguing. The performance struck a balance of being self-contained and consistent within the world of the story and going off the rails with the chaos. It never took itself too seriously and broke the 4th wall multiple times, including having a character talk to the percussionist. I loved how even these moments of being ‘out of the play’ were still impactful by highlighting how much work went into the play’s style. When everyone breaks character for a moment it emphasizes how heavily the actors are invested. 

The technical elements were similarly great for the space provided. I loved how drastically the set, costumes, and lights changed alongside the characters as their situation evolves throughout the performance. Viva’s costumes were definitely a highlight, constantly showcasing her personality and extravagance despite changing over and over again. 

VIVA!

Photo by Candice Conner, Oomphotography

Libby Conkle as Viva

Viva la Mort was a high-energy experience, sure to bring you laughter, excitement, and a healthy dose of questioning your morality, all at the same time. 

Dugan Kenaz-Mara is a designer, photographer, educator, and recent graduate of 

Northwestern University.

 Is there still love between us, after all these years?

Photo by Candice Conner, Oomphotography

(left to right) Libby Conkle as Viva, Andrew Bosworth as Mort

The Conspirators are proud to present Viva la Mort, written by Sid Feldman and directed by Wm. Bullion, at the Otherworld Theatre, 3914 N. Clark St., May 16 - June 9. Press opening is Friday, May 17 at 7 p.m. and the regular performance schedule is Thursdays - Sundays at 7 p.m. Tickets are $30 and may be purchased online with student and senior discounts available. Information and tickets can also be found at www.otherworldtheatre.org. 

Viva, a superstar singer, Michigander and pop-icon (whose career spans four decades), returns to her hometown and to her just-as-aging ex, Mortenson Miller. Is the return out of generosity or revenge? Content Warning: songs, style, and possibly killer wolverines. Performed—with songs!—in The Conspirators’ inimitable style. 

“Viva la Mort is a bit of a departure for us,” said director Wm. Bullion. “I mean, you WILL laugh, but you may also cry or be terrified!” “While most of our recent work has been clearly political and satirical in nature,” added writer Sid Feldman, “this piece appears on the surface to be more of a traditional narrative. It does have political implications—but they are more disguised.”

The cast of Viva la Mort includes Eva Andrews (she/her, Police Chief Finkle); Andrew Bosworth (he/him, Mortenson “Sonny” Miller); Libby Conkle (she/her, Viva); Amy Delgado (she/they, ensemble/swing); Mitchell Jackson (he/him, Mayor Finkle); Justin Ly (they/them, Fritz); Dakota Norman (he/him, Bishop Miller); Liam Ouweleen (he/him, Johnny/Konnie/Lonnie/Mort US); Madison Rivers (they/she, Howard); Mary Spencer (she/her, Ellen Howard Miller/Eleanor Miller); Madeline Torem (Beatrix/ensemble); Lex Mann Turner (he/they, Howard); Tess Vincent (she/her, ensemble/swing); Christine Watt (she/her, Viva US); and Corin Wiggins (they/he/she, High School Dean Finkle)

The production crew includes: Wm. Bullion (he/him, director); Sid Feldman (he/him, playwright, producer and style coach); Amee Binder (she/her, choreographer); Mary Spencer (she/her, music director); Tommi Zender (he/him, arranger); Duke Mushroom (he/him, arranger); Christine Watt (she/her, dramaturg); Eric Luchen (he/him, scenic designer); Jonathan Berg-Einhorn (he/him, assoc. scenic designer); Mike McShane (he/him, lighting designer); Kit Medic (they/them, costume designer); Sebby Woldt (they/them, sound designer), Leo Bassow (he/him, props designer); Libby Beyreis (she/her, Violence Consultant) and Matthew Bonaccorso (he/him, stage manager).

ABOUT WM. BULLION (Director, Artistic Director)

Wm. Bullion is a veteran tragicomedian, director and actor on the fringe of the Chicago theater fringe and beyond. Bullion is an emeritus member of The Factory Theater, for whom he directed Prophet$ and Born Ready. He started Sliced Bread Productions in 1988 and put up some solid work before it folded in 2008. He co-founded the Conspirators in 2016 and has proudly directed their oeuvre, including The Ineptidemic; Accidental Death of a Black Motorist; The Deckchairs, or Make the Titanic Great Again and The Resistible Rise of Herr Helmut Drumpf—but he was a fool to think starting another theater group in Chicago is a viable, sustainable idea. Yet, here we are, getting grants and making stuff for YOU.

ABOUT SID FELDMAN (Playwright/Style Coach, Producing Director)

Sid Feldman co-founded The Conspirators and has written plays, adaptations, screenplays, reviews and essays. He has produced plays, concerts and events for numerous organizations including New Crime and Sliced Bread Productions (also with Wm. Bullion).

ABOUT THE CONSPIRATORS

The Conspirators are a (still relatively new) theater and performance collective in Chicago dedicated to provoking thought and action through dynamic, immediate theater art. The Conspirators work exclusively in a style of neo-Commedia called “The Style”—a highly theatrical performance mode developed by movie stars Tim Robbins and John Cusack from the techniques of Ariane Mnouchkine, Commedia dell’Arte, Bugs Bunny cartoons and punk rock, as historically performed by New Crime Prod. (R.I.P.) and The Actors’ Gang. The company also offers Style workshops to interested performers of all calibers.

The Conspirators present the world premiere of Viva la Mort, written by Sid Feldman and directed by Wm. Bullion, at the Otherworld Theatre, 3914 N. Clark St., May 16 - June 9. The press opening is Friday, May 17 at 7 p.m. and the regular performance schedule is Thursdays - Sundays at 7 p.m. Tickets are $30 and may be purchased online with student and senior discounts available. Information and tickets can also be found at www.otherworldtheatre.org. 

For more show info, go to www.ConspireWithUs.org and follow The Conspirators on Facebook and Instagram.

 

(Conspirators_Viva_4) Viva’s newest video drop

Photo by Candice Conner, Oomphotography

Libby Conkle as Viva

Directed by Wm. Bullion, Choreography by Amee Binder, Lighting by Mike McShane, 

Costumes by Kit Medic

EXTENDED: Sanaz Toossi’s Pulitzer Prize-winning Play, English Now Playing at Goodman Theatre Through June 16, 2024

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PULITZER PRIZE-WINNING 

ENGLISH


By Sanaz Toossi


Directed by Hamid Dehghani


May 10 – June 16, 2024
 

OPENS TONIGHT AND EXTENDS BY POPULAR DEMAND

(In front) Shadee Vossoughi and (in back) Roxanna Hope Radja.

All Production Photos by Liz Lauren

Here at ChiIL Live Shows and ChiIL Mama we love to see the influx of immigrant stories and first generation dramas on Chicago's stages. I'm the daughter of an ESL teacher, and our home was always filled with students and families from all over the world. It gave me an early and lasting appreciation for diversity and multiculturalism. Theatre is an excellent vehicle for transporting audiences into realities far different from our own. Catch a show. It might not just entertain, but expand your empathy and understanding as well.

Tonight, Goodman Theatre opens Sanaz Toossi’s Pulitzer Prize-winning play English in a co-production with Guthrie Theater—and adds five performances due to high demand for tickets. The cast of Iranian director Hamid Dehghani‘s Chicago-premiere production features Sahar Bibiyan, Nikki Massoud, Roxanna Hope Radja, Pej Vahdat and Shadee Vossoughi. 

(L-R) Nikki Massoud, Shadee Vossoughi, Pej Vahdat and Roxanna Hope Radja.

“English only” is the governing mantra in a classroom of four Iranian adults studying to take a language exam—one of the many barriers standing in the way of the next chapter of their lives. Chasing fluency through a maze of word games, listening exercises and show-and-tell sessions, the four students soon realize that learning a new language can lead to the unraveling of their sense of identity. 

(L-R) Pej Vahdat and Roxanna Hope Radja.

Sahar Bibiyan

A co-production with Guthrie Theatre, English appears through June 16 with five performances just added on June 13 at 7:30pm, June 14 at 7:30pm, June 15 at 2pm and 7:30pm and June 16 at 2pm. Tickets ($15 - $55; subject to change) are available at GoodmanTheatre.org/English or by phone at 312.443.3800. Goodman Theatre is grateful for the support of ITW (Corporate Sponsor Partner), Jenner & Block LLP (Contributing Sponsor), Image Star (Technology Sponsor), and The Elizabeth Morse Charitable Trust (Lead Funder of IDEAA Programming).

Roxanna Hope Radja

“The reason I wanted to direct this show is because I know these characters, I know that room and that experience,” said director Hamid Dehghani, who earned an MA from Northwestern University after receiving degrees from theater school at Tehran University of Art. “It’s about rediscovering the world based on our shared culture and lived experiences—and feels like a reunion not just with fellow Iranian artists but with my very identity as a theater director. I am excited to invite our audience into this world, to let them feel Iran, think about language and identity and consider what it’s like learning English through the lens of many immigrants in this country.”

(L-R) Shadee Vossoughi, Pej Vahdat, Nikki Massoud and Roxanna Hope Radja.

Four adult students in Karaj, Iran are studying for the Test of English as a Foreign Language—the key to their green card, medical school admission or family reunification. As they gather and support one another in their quest for fluency, adamant that English will make them whole, they soon learn that it might be splitting them each in half.

Full Company of English (in alphabetical order)

By Sanaz Toossi

Directed by Hamid Dehghani

Sahar Bibiyan…..Roya

Nikki Massoud……Elham

Roxanna Hope Radja…..Marjan

Pej Vahdat……Omid

Shadee Vossoughi……Goli

Creative Team

Set Designer…..Courtney O’Neill

Costume Designer ……Shahrzad Mazaheri

Lighting Designer…..Jason Lynch

Sound Designer ….Mikaal Sulaiman

Assistant Lighting Designer…..Andrew Vance

Assistant Director….Jamal Howard

Casting is by Lauren Port, CSA. Yasmin Zacaria Mikhaiel is the Dramaturg. Patrick Fries is the Production Stage Manager.

Nikki Massoud and Shadee Vossoughi.

***ENHANCED AND ACCESSIBLE OPPORTUNITIES INCLUDE FARSI- AND SPANISH- SUBTITLED, ASL-INTERPRETED, AUDIO-DESCRIBED (WITH TOUCH TOUR) AND OPEN-CAPTIONED PERFORMANCES*** 

ENHANCED AND ACCESSIBLE PERFORMANCES AT GOODMAN THEATRE

Farsi-Subtitled Performance: June 7 at 7:30pm – An LED sign presents Farsi-translated dialogue in sync with the performance.

ASL-Interpreted Performance: June 7 at 7:30pm – Professional ASL interpreter signs the action/text as played.

Touch Tour* and Audio-Described Performance: June 8, 12:30pm Touch Tour; 2pm performance – The action/text is audibly enhanced for patrons via headset.

Spanish-Subtitled Performance: June 8 at 7:30pm – An LED sign presents Spanish-translated dialogue in sync with the performance.

Open-Captioned Performance: June 9 at 2pm – An LED sign presents dialogue in sync with the performance.

Visit Goodman theatre.org/Access for more information about Goodman Theatre’s accessibility efforts.

(L-R) Pej Vahdat, Sahar Bibiyan and Roxanna Hopen Radja.

ABOUT GOODMAN THEATRE

Chicago’s theater since 1925, Goodman Theatre is a not-for-profit arts and community organization in the heart of the Loop, distinguished by the excellence and scope of its artistic programming and community engagement. Led by Artistic Director Susan V. Booth and Executive Director/CEO Roche Schulfer, the theater’s artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics. Artists and productions have earned two Pulitzer Prizes, 22 Tony Awards and more than 160 Jeff Awards, among other accolades.

The Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle.” Its longtime annual holiday tradition A Christmas Carol, now in its fifth decade, has created a new generation of theatergoers in Chicago. The Goodman also frequently serves as a production and program partner with national and international companies and Chicago’s Off-Loop theaters.

Using the tools of theatrical practice, the Goodman’s Education and Engagement programs aim to develop generations of citizens who understand and empathize with cultures and stories of diverse voices. The Goodman’s Alice Rapoport Center for Education and Engagement is the home of these programs, which are offered for Chicago youth—85% of whom come from underserved communities—schools and life-long learners.

Goodman Theatre was built on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa and Potawatomi Nations. We recognize that many other Nations consider the area we now call Chicago as their traditional homeland—including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo and Mascouten—and remains home to many Native peoples today. While we believe that our city’s vast diversity should be reflected on the stages of its largest theater, we acknowledge that our efforts have largely overlooked the voices of our Native peoples. This omission has added to the isolation, erasure and harm that Indigenous communities have faced for hundreds of years. We have begun a more deliberate journey towards celebrating Native American stories and welcoming Indigenous communities.

Goodman Theatre was founded by William O. Goodman and his family in honor of their son Kenneth, an important figure in Chicago’s cultural renaissance in the early 1900s. The Goodman family’s legacy lives on through the continued work and dedication of Kenneth’s family, including Albert Ivar Goodman, who with his late mother, Edith-Marie Appleton, contributed the necessary funds for the creation on the new Goodman center in 2000.

Julie Danis is Chair of Goodman Theatre’s Board of Trustees, Lorrayne Weiss is Women’s Board President and Kelli Garcia is President of the Scenemakers Board for young professionals.

(L-R) Pej Vahdat, Sahar Bibiyan, Roxanna Hope Radja, Nikki Massoud and Shadee Vossoughi.

World Premiere of The Singularity Play Via Jackalope Theatre May 19 – June 22, 2024

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JACKALOPE THEATRE COMPANY ANNOUNCES THE CAST AND CREATIVE TEAM FOR THE WORLD PREMIERE OF 

THE SINGULARITY PLAY 

BY JAY STULL AND DIRECTED BY GEORGETTE VERDIN 

MAY 19 - JUNE 22 AT BERGER PARK

Jackalope’s 16th Season Continues with a Daring and Existential Ensemble Comedy for the Ages

The running time is currently 95 minutes with no intermission. 

Jackalope Theatre Company continues its 16th season at Edgewater’s Berger Park, 6205 N. Sheridan Rd., with the announcement of the cast and creative team for the world premiere of The Singularity Play, May 19 – June 22, by Jay Stull, directed by Georgette Verdin. Previews are Sunday, May 19; Monday, May 20 and Wednesday, May 22 at 7:30 p.m. I'll be catching it May 24th, so check back soon for my full review. The performance schedule is Thursdays -  Saturdays at 7:30 p.m. and Sundays at 3 p.m. with additional performances on Mondays, June 10 and June 17 at 7:30 p.m. The accessibility performance with both audio description and live captioning is Sunday, June 9 at 3 p.m. 

Tickets are $15 - 35 with student and Edgewater resident discounts available. For more information or tickets go to JackalopeTheatre.org or call/text the box office at 773.340.2543.

In an unused room at the Google offices in Manhattan, a theater troupe has gathered to rehearse a new play written by an advanced AI named "Denise." In an art that relies so substantially upon our human-ness, what does it mean to cede the stage to artificial intelligence? Who are we when reflected by the intelligence we’ve created?

“Jackalope couldn't be prouder to assemble these enormously talented artists behind this sharp, original and surprising script.,” Artistic Director Kaiser Ahmed remarks, “The intimate design and powerful ensemble will transport audiences to the edges of their imagination in this rapidly unfolding mystery of the human-AI condition. I invite you to be among the first to laugh and gasp at this new play from the brilliant mind of Jay Stull.”

The Singularity Play’s cast includes, in alphabetical order: Lucy Carapetyan (she/her, Alice/Royal); Kroydell Galima (he/him, Jason/Quinn);Christina Gorman (she/her, Lauren/Hollis); Anelga Hajjar (she/her, Denise/Dennis); Madison Hill (they/them, Henry/Finley); Jennifer Jelsema (she/her, Dawn); Ashley Neal (she/her, Heidi/Emily/Jules); Patrick Newson Jr. (he/him, Greg/Salem);Paloma Nozicka (she/her, Skyler) and Collin Quinn Rice (they/them, Ocean). The understudies are Kaiser Ahmed (he/him, Ocean U/S); Katie Bevil (they/it), Lauren/Hollis/Henry/Finley U/S); Maddy Brown (she/her, Heidi/Emily/Jules U/S); Christina Gorman (she/her, Dawn U/S); Gavin Rhys (he/him, Greg/Salem/Jason/Quinn U/S) and Yourtana Sulaiman (she/her, Denise/Dennis/Alice/Royal U/S).

The creative team includes Jay Stull (he/him, playwright); Georgette Verdin (she/her, director); Becca Smith (she/her, production manager); Lucy Carapetyan (she/her, casting director); Warren Duncan (he/him, assistant director); Grace Reasoner (she/her, stage manager); Jonah Fezler (he/him, assistant stage manager); Amal Salem (she/her, assistant stage manager cover); Karina Patel (she/her, production dramaturg); Ryan Emens (he/him, scenic designer); Isa Noe (they/them, prop designer); Eric Watkins (he/him, lighting designer); Izumi Inaba (she/her, costume designer); Christopher Kriz (he/him, sound designer); Gaby Labotka (any with respect, intimacy and fight director); Collin Quinn Rice (they/them, movement director). And, from Jackalope: Kaiser Ahmed (he/him, artistic director); Megan Wildebour (she/her, managing director); Ben Stacy (he/him, season production manager) and Amira Danan (she/her, development manager).  

ABOUT JAY STULL, PLAYWRIGHT THE SINGULARITY PLAY

Jay Stull (he/him) is a theater-maker from New York City. His work has been developed or produced by Ars Nova, The Alliance Theater, The Amoralists, The Bloomington Playwrights Project, New York City Center Off Center, the New Light Theater Project, New York Theatre Workshop, Joe’s Pub at The Public Theater, the Gym at Judson, PlayCo, Roundabout, The Tank and the Theater, Dance, and Media concentration (TDM) at Harvard College. His written work has been supported by Yaddo, the New York Foundation for the Arts and the New York State Council for the Arts and the Sewanee Writers’ Conference. He is an alumnus of the Lincoln Center Directors Lab, The Civilians R&D Group and the Early Career Directing Fellowship at Clubbed Thumb and received his MFA from Columbia. 

ABOUT GEORGETTE VERDIN, DIRECTOR THE SINGULARITY PLAY

Georgette Verdin (she/her) is a Cuban-American freelance director, the associate artistic director of Northlight Theatre and a member of Rivendell Theatre Ensemble. Recent directing credits include: Dial M for Murder (Northlight Theatre); the revival of Night Watch (Raven Theatre); the United States premiere of The Writer (Steep Theatre); the world premieres of A Mile in The Dark (Interrobang Theatre Project/Rivendell Theatre Ensemble); Enough to Let the Light In (Teatro Vista); Chagall in School (Grippo Stage Company) and Spay (Rivendell Theatre Ensemble). Verdin is a three-time Jeff nominated director and was the 2022 Michael Maggio Directing Fellow at Goodman Theatre. From 2015-2023, she served as artistic director of Interrobang Theatre Project, an award-winning storefront theatre known for gutsy productions that tackled socially-relevant issues. She was profiled in NewCity’s 2023 “Players: Who Really Performs for Chicago Right Now” and in Chicago Reader’s “Best of Chicago 2022.” She is an associate member with Stage Directors and Choreographers Society.

ABOUT JACKALOPE THEATRE

Jackalope Theatre Company expands the definition of American Identity by engaging with communities to produce works that celebrate diverse perspectives. Jackalope is a premier home for new and exciting Off-Loop Theatre based in Chicago's Edgewater and Rogers Park neighborhoods. They are committed to cultivating new voices that contribute to an expanding American culture and mythology. Each season, Jackalope produces full-length plays, new play development programming and provides free classes in partnership with the Chicago Park District.

Jackalope Theatre Company continues its 16th season at its new home in Edgewater’s Berger Park, 6205 N. Sheridan Rd., with the announcement of the cast and creative team for the world premiere of The Singularity Play, May 19 – June 22, by Jay Stull, directed by Georgette Verdin. Previews are Sunday, May 19; Monday, May 20 and Wednesday, May 22 at 7:30 p.m. with the press opening Thursday, May 23 at 7:30 p.m. The performance schedule is Thursdays -  Saturdays at 7:30 p.m. and Sundays at 3 p.m. with additional performances on Mondays, June 10 and June 17 at 7:30 p.m. The accessibility performance with both audio description and live captioning is Sunday, June 9 at 3 p.m. The running time is currently 95 minutes with no intermission. 

Tickets are $15 - 35 with student and Edgewater resident discounts available. For more information or tickets go to JackalopeTheatre.org or call/text the box office at 773.340.2543.

Jackalope Theatre expands American identity by engaging with our communities to produce works that celebrate diverse perspectives. Season 16 is made possible by the continued generosity of Season Sponsors Michael and Mona Heath.

DIE HARD 4 YOUR LUV VIA THE FACTORY THEATER MAY 31 - JULY 13

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THE FACTORY THEATER ANNOUNCES

DIE HARD 4 YOUR LUV 

MAY 31 - JULY 13 

WRITTEN BY KIRK PYNCHON AND MIKE BEYER

The Factory Theater, 1623 W. Howard St., is proud to announce the third production of The Factory’s 29th season, Die Hard 4 Your Luv, opening June 7. The production runs through July 13 and was written by Kirk Pynchon and Mike Beyer and directed by Becca Holloway. Previews for Die Hard 4 Your Luv are Friday, May 31 and Saturday, June 1 at 8 p.m. and Sunday, June 2 at 3 p.m. The performance schedule includes Friday and Saturday performances at 8 p.m., with Sunday matinees at 3 p.m. and Thursday, June 27 and July 11 at 8 p.m. An understudy performance will occur on Sunday, June 30 at 3 p.m. and there will be an accessibility performance on Sunday, June 23 at 3 p.m. Tickets for Die Hard 4 Your Luv are $25 and may be purchased through the Box Office by calling 312-275-5757 or by visiting TheFactoryTheater.com.

It’s NYE 1999. A group of sinister mercenaries are holding the world’s most popular boy band hostage! Unless the nations of the world hand over their vital Y2K codes by midnight, Boyz Will B Boyz will become Boyz Will B Dead! Will the least talented band member save the day? Or will the bad guys escape to their all-inclusive resort with the water ski package?

The Die Hard 4 Your Luv cast includes Whitney Ann Bates^ (ensemble/ Yana US/ Alyssa US); Katy Campbell++ (Hailey/ensemble); Matt Chester+ (Authentic); Jeffrey David Thomas+ (J Swizzle); Brittany Ellis*++ (Yana Petrovian); Jacob Fjare+ (Todd US); Peri Griffiths++ (Hailey US/ensemble US); Joshua Hogan+ (J Swizzle US/Authentic US); Lexy Hope Weixel^ (ensemble/Whitney US/Chuckie Bones US); Madelyn Loehr++ (ensemble/ Meg US); Marisa Macella++ (Meg Lawson); Tierra Matthews++ (Whitney); Brandy Miller+ (Alyssa Tallinger); Hazel Monson++ (ensemble US); Liam Ryan+ (Chuckie Bones); and Chase Wheaton-Werle~+ (Todd).

The Die Hard 4 Your Luv creative team includes Kirk Pynchon**+ (playwright); Mike Beyer**+ (playwright); Becca Holloway~++ (director); Taylor Pasche++ (assistant director); Miranda Hernandez++ (stage manager); Shelby Burgus~++ (production manager); Spencer Gjerde+ (scenic design); Ellie Humphrys*++^ (light design); Stephanie Senior++ (sound design); Henry Bender* (props design); Vicki Jablonski++ (costume designer); and Jillian Leff++ (fight director)

~ Denotes The Factory Ensemble, *Denotes Factory Artistic Associate,

 **Denotes The Factory Theater Ensemble Emeritus

 Pronoun Key: + (he/him/his); ++(she/her/hers); ^ (they, them, theirs). = (any with respect)

ABOUT KIRK PYNCHON, playwright

Kirk Pynchon (he/him) was one of the original ensemble members when The Factory Theater first started literally one millions years ago, and since then he has written such hits for The Factory as Man Card, Poppin’ and Lockdown, Poppin’ and Lockdown 2:Dance the Right Thing, Hey! Dancin’!, Hey! Dancin’! Hey! Musical!, and most recently the Jeff nominated, Last Night in Karaoke Town. He lives in Los Angeles, works as an Editorial Director for an ad agency, and is a constant embarrassment to his teenage kids.

ABOUT MIKE BEYER, playwright

Mike Beyer (he/him) is a Factory Emeritus Ensemble Member, and has been a part of The Factory since the days of Bill Clinton.  He authored or co-authored several Factory hit shows, including White Trash Wedding and a Funeral, Dirty Diamonds, Hey! Dancin'! (and Hey! Dancin'! Hey! Musical!), and Last Night in Karaoke Town (all with Kirk Pynchon).  Mike is newly settled in Cleveland, and also hosts the podcast Jagbags.

ABOUT BECCA HOLLOWAY, director

Becca Holloway (she/her) A Factory Ensemble member since 2021, Becca is a director and casting director around the city. Previous Factory credits include Last Night in Karaoke Town (2020/2022; AD/music director/choreographer), The Hamilton Beach 420 Special (The 2021 Factory Holiday Show; director), The Factory Zone (2019; actor) and Prophet$! (2019; AD/choreographer). Becca is also a proud company member of Red Theater where she is also the resident casting director. Becca has been lucky enough to work on the directing teams of several companies including: Hell in a Handbag, Broken Nose Theater, Oil Lamp Theater, Theatre Evolve, The Comrades, Refuge Theatre, and many others. On a personal note, she and fellow Ensemble member Chase Wheaton-Werle just got married and are partners in life and art.

ABOUT THE FACTORY THEATER

For 30 years, the Factory has created its shows from scratch, doing exactly the kind of theater they wanted to do. From writing workshops to the closing night bash, Factory shows are a unique experience that fits its exacting standards: original, bold, and full-tilt. Its shameless ensemble is an ambassador of a good time, ensuring Chicago remains heartily entertained.

The Factory Theater, 1623 W. Howard St., presents Die Hard 4 Your Luv, May 31 - July 13, written by Kirk Pynchon and Mike Beyer and directed by Becca Holloway. Previews for Die Hard 4 Your Luv are Friday, May 31 and Saturday, June 1 at 8 p.m. and Sunday, June 2 at 3 p.m.The performance schedule includes Friday and Saturday performances at 8 p.m., with Sunday matinees at 3 p.m. and Thursday, June 27 and July 11 at 8 p.m. An understudy performance will occur on Sunday, June 30 at 3 p.m. and there will be an accessibility performance on Sunday, June 23 at 3 p.m. Tickets for Die Hard 4 Your Luv are $25 and may be purchased through the Box Office by calling 312-275-5757 or by visiting TheFactoryTheater.com.