Showing posts with label Chicago. Show all posts
Showing posts with label Chicago. Show all posts

Saturday, June 8, 2024

REVIEW: ARTISTIC BRAVURA Ensemble Español's "Flamenco Passion" Program Superb

 Chi, IL Live Shows On Our Radar 




LaLupi with musicians Diego Alvarez, Jose Diaz El Chachito, Curio de Maria, 
Jose Moreno and Jose Alconchel.  Photo by Dean Paul

Exciting Premieres Include “Viejos Aires” / Flamenco Tango by Award-winning Choreographer Antonio Najarro 

“Resliencia” / Resilience and “El Bolero de Puerta de Tierra” by Former Principal Dancer with the National Ballet of Spain, Raquel Gomez; and 

“Compas de Seda” / Silk Rhythm by Flamenco Superstar La Lupi

Guest Review 

by Flo Mano


Ensemble Espanol at North Shore Center for performing Arts opened to dramatic lighting, marigold costumes, and jazz fusion that gave a modern feel to "Sur",  choreographed by guest artist Raquel Gomez.

In her solo world premiere, "Resilencia", Raquel Gomez was impassioned. Her exceptional dancing within the perimeters of a movable geometric rectangle to square was impressive to see. I enjoyed the lighting from above by Dustin L. Derry.

“El Bolero de Puerta de Terra”, a world premiere, was a feather like flamenco on ballet slippers by the entire company, choreographed by Raquel Gomez, and inspired by Dame Libby‘s “Seguidillas”.

This piece was followed by Flamenco guitarist, Curro de Maria, with “Mi Andalusia”.

Jonathan Pacheco with Ensemble Espanol Company Dancers in Fantasia Suite Regional-Tribute to Juanjo Linares. Photo by Dean Paul

Folklore legend Juanjo Linares’ “Fantasia Suite Regional” depicted exerpts from Galicia-Extremadura & Valencia, individual & intertwining seamlessly!

A stupendous performance of "Chamberi" was perfection, by guest artist La Lupi. Her mastery commanded the utmost attention, as the audience collectively held its breath, so as not to miss a second. Every precision move in her “Batas de Cola” was hypnotic, as she effortlessly tossed & swayed her long train dress. I was struck by the intensity of her jaleo sounds and facial expressions.

The musicians' synchronized percussion-palmas-Spanish guitar and singing transported one to Andalusia.

“Pasion Oculta" was danced by 5 couples to Escala electronic string quartet “Requiem for a Tower” & “Palladio” flawlessly, to loud applause!

"Compas de Seda", another world premiere choreographed by La Lupi, featured stylized fans & shawls. Flamenco Guajiras is a melange of Andalusian-Canary island and Afro-Cuban palo dance, and an amazing  ensemble piece. Loved the fade to silhouettes. 

La Lupi was superb in her solo “A Silvetio”!!! 

The final dance was a world premiere of Flamenco Tango, “Viejos Aires”, by multitalented Argentinian guest Artist Antonio Najaro, choreographer/dancer/costume designer extraordinaire! Very Impressive!! Astounding even!!!

Ensemble Espanol is stretching beyond in this exquisite production! They will be performing at old Town school of music & NEIU. 

DO NOT MISS!! Imbibe dance!!!

Florence Manolis (AKA: Flo Mano) is a Greek American CPS elementary teacher/librarian, hairdresser, and theater/dance/film fanatic who catches hundreds of Chicago shows annually. She volunteers at numerous film venues and theaters and has called Chicago home since she immigrated here from Greece in early elementary school. 

Jonathan Pacheco and Samantha Micklewright in Viejos Aires by Antonio Najarro. 
Photo by Casey Mitchell

Popular Works from Ensemble Español’s Repertoire in the Traditional and Contemporary Genres Complete the Program

Ensemble Español Spanish Dance Theater, in residence at Northeastern Illinois University, brings their popular “Flamenco Passion” performances to the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., 7:30 p.m. Friday, June 7 and Saturday, June 8 and 3 p.m. Sunday, June 9. These performances are part of the company’s 48th multi-faceted American Spanish Dance and Music Festival (June 7-15).

“Flamenco Passion” program highlights include the world premiere of “Viejos Aires” / Flamenco Tango as reset on Ensemble Español by Antonio Najarro, award-winning choreographer and former artistic director of the National Ballet of Spain, choreographer of Disney movie "WISH.

” Najarro’s work features a fusion of Spanish classical style and Argentinean Tango and displays the sensuality, passion and elegance of Buenos Aires.

Additional world premieres include “Resliencia” / Resilience and “El Bolero de Puerta de Tierra” (Escuela Bolera) choreographed by Raquel Gomez, former principal dancer and Rehearsal Director of the National Ballet of Spain; and the Cuban influenced dance “Compas de Seda” / Silk Rhythm choreographed by Flamenco superstar La Lupi, to an original music composition by Curro de Maria.Works from Ensemble Espanol’s repertoire included in the program include “Sur” by Raquel Gomez (2015); “Fantasia Suite Regional” choregraphed by Juanjo Linares and Nana Lorca (1977) and “Pasion Oculta” /Hidden Passion choreographed by Ensemble Español Artistic Director Irma Suarez Ruiz (2019).Joining the members of Ensemble Español in performance will be guest dancer/choreographers includingRaquel Gomez, La Lupi and Antonio Najarro; and featured musicians including José Díaz “El Cachito”(singer), José Alconchel and Curro de Maria (guitarists); Diego “El Negro” Alvarez and José Moreno (percussionists).

“Every ‘Flamenco Passion’ festival performance is meant to entertain and highlight the timeless yet ever-evolving art that is Flamenco as performed by Chicago’s premiere Spanish dance company Ensemble Español,” says Executive Director and Associate Artistic Director Jorge Perez. “We also pride ourselves in our record of collaborating with some of the most exciting voices in Flamenco, Escuela Bolera, Classical and Folkloric as we maintain our important role as active participants in the continue evolution of this exciting music and dance form,” says Ruiz, Ensemble Español Artistic Director.

The “Flamenco Passion” performances are part of Ensemble Español’s 48th American Spanish Dance and Music Festival which also features these related events:

● VIP-Pre-Opening Night Reception: Preceding the Saturday, June 8 performance there will be a “Meet

the Artists” VIP Pre-Opening Night Reception in the North Shore Center on the 2nd level. Tickets are

$65 (includes VIP seating for that evening’s performance). To purchase tickets and for more information

visit or call 847.673.6300.

● Free Ethnic Dance & Music Symposium 2024 at NEIU (June 10-12) Topics include: “The Complexities of Covering Ethnic Dance & Music” and “Arts Economic Ecosystem: The New Workforce Development Plan to Build Strong Community” (June 10); :Ethnic Arts Crossing Genres” and “Expanding Flamenco Musical Language” (June 11) and “It’s a Family Affair Ethnic Art, Oral Traditions, Art as a Way of Life” and “From Flamenco to Tap and All That Jazz” (June 12). All sessions take place at NEIU, 5500 N. St. Louis Ave. Admission is free, but reservations are requested. For more information and to register visit

● Festival Spanish Dance Classes at Northeastern Illinois University Dance Studios NEIU, 5500 N. St. Louis Avenue (June 10-15) Over 100 Spanish dance and music classes in Flamenco, Classical, Escuela Bolera and Folklore. Single class rate $35. For more class information and registration visit or email at Patricia Mendez at

● Concerts at Old Town School of Folk Music, 4544 N. Lincoln Ave. –“Flamenco to Tap and All That Jazz” with Wendy Clinard, Bril Barrett, Diego "El Negro" Álvarez, José Moreno, José Diaz "Cachito", José Manuel Alconchel, 8 p.m. June 13; “Duende Flamenco” with La Lupi, Nino de los Reyes, Curro de María, Diego "El Negro" Álvarez, José Moreno and José Diaz "Cachito" 8 p.m. June 15. Tickets: $30.

For tickets visit

About Ensemble Español Spanish Dance Theater 

Ensemble Español, founded in 1976 by Dame Libby Komaiko, is the premiere Spanish dance company and center in the U.S. with a professional and unique residency at Northeastern Illinois University, Chicago. Under the artistic direction of Irma Suarez Ruiz and executive leadership of Jorge Perez, the Ensemble continues its mission of preservation, presentation and promotion of Spanish dance and culture which also includes the exploration of the country’s history in the; Flamenco, Folkloric, Classical and Escuela Bolera styles and identifies its influence on Latin American art and dance in both traditional and contemporary formats. They forge ahead as the leaders in Spanish dance and culture with a commitment to our communities, via performances, education, school residencies, academic university programs, festivals and tours. They remain committed to their roots in education and mission of educational, artistic, and social development. Their incredibly rich history includes serving over 30,000 students annually, training over 90 company dancers, training over 160 Youth Company dancers from ages 12 to 18, over 90 international guest artists and musicians from Spain and the Americas, over 2,600 scholarships awarded to talented aspiring dancers, musicians and educators, tours and residencies of U.S., including Hawaii, Mexico, Puerto Rico, Costa Rica, Poland, Australia, Canada, China and Spain. For more information on concerts, performances, classes and residencies, visit

Ensemble Español Spanish Dance Theatre in residence at Northeastern Illinois University is grateful to thefollowing 48th Season Festival Partners and Sponsors: Northeastern Illinois University, Interim President, Katrina Bell-Jordan, Ph.D., NEIU Department of Music and Dance, Caerus Foundation, Hurvis Foundation, Illinois Arts Council, Chicago Department of Cultural Affairs, Microsoft, Eugene Jarvis and Sasha Gerritson, Salme and Michael Steinberg, Sonia Florian,Estate of Gregory Ragsdale and the Ragsdale Family, FourStar Branding, The Nest, Jaleo by Jose Andres, Atzimba Catering and Events, Stonewolf Studios, Clinard Dance Theater, Instituto Cervantes, International Latino Cultural Center, Negocios Now, HMS Media and Chicago Dance Supply.

Special thank you to the Northeastern Illinois University Board of Trustees, NEIU Foundation, the North Shore Center for the Performing Arts and festival official hotel sponsor, Holiday Inn & Suites Chicago North Shore and O’Hare.

Ensemble Español Spanish Dance Theater 

“Flamenco Passion” Performances 

at the North Shore Center for the Performing Arts in Skokie, June 7-9

Act 1

“Sur” / South (2015)

Choreographer and Costume Designer: Raquel Gomez, Guest Artist

Music: David Dorantes, Pianist and Composer

Costume Production: Luz Creations Lighting Designer: Original concept by Nathan Tomlinson

Lighting design reimagined in 2023 by Dustin L. Derry

Dancers: Company

Raquel Gomez created this work that reaches back to the traditions of the Escuela Bolera (classical Spanish style) from the 18th Century, as it simultaneously embraces contemporary Flamenco music. “’Sur’ proves…that something with so much tradition and such deep cultural roots…can be current and keep its deepest history.” (Raquel Gomez)

Raquel Gomez performing her work Resiliencia. Photo by Dean Paul

“Resiliencia” / Resilience (Clasico Español), WORLD PREMIERE

Choreographer, Costume Design, Dancer: Raquel Gomez, Guest Artist

Music: Joni Fuller

Lighting Design: Dustin L. Derry

“The ability of the human spirit to overcome the obstacles that life challenges us with. It does not matter how much life challenges us with, what matters is how strong we become every time we get up.” (Raquel Gomez)

“El Bolero de Puerta de Tierra” (Escuela Bolera), WORLD PREMIERE

Choreographer: Raquel Gomez, inspired by Antonio Ruiz

Music: Isaac Albeniz (1860-1909)

Costume Design: Raquel Rodriguez Ruiz-Medrano

Costume Production: Luz Creations

Lighting Design: Dustin L. Derry

Dancers: Sammi Micklewright, Abigail Mosquera, Jonathan Pacheco, Irene Sivianes Fernandez, Martina Wensell

“My inspiration when putting together this choreography was the great teacher and dancer Antonio Ruiz. Ruiz was one of the first major artists to implement classical ballet in Spanish dance companies. This style and choreography requires great technical experience and artistry of classical ballet. My second inspiration was Ensemble Español’s beautiful and elegant choreography, ‘Seguidillas,’ performed by Dame Libby Komaiko. The work was set in 1977 by former artistic director of the National Ballet of Spain, Nana Lorca, to the Spanish zarzuela (light opera) music of ‘El Nino Judío’ by Pablo Luna.” (Raquel Gomez)

“Mi Andulicia”

Flamenco Guitarist: Curro de Maria

“Fantasia Suite Regional”

- Tribute to Juanjo Linares (1977)

Choreography by Nana Lorca, former artistic director of the National Ballet of Spain and (1984-2000): Juanjo Linares

Music: Traditional; Fernando Arias, Milladoiro, M. Padilla, Ginet, Guidi & Caserio

Costume Design: Juanjo Linares

Lighting Design: Dustin L. Derry

Dancers: Company

Maestro Juanjo (Sept.1933 -Nov. 2009) created 25 works for the full company from 1984 through 2000. As Spain’s foremost authority on folklore, Juanjo’s detail to the style, customs and celebration of the people of each region in Spain made him the legendary master on this art form. Now Ensemble Español honors his legacy by presenting excerpts from the regions of Galicia, Extremadura, and Valencia. Ensemble Espanol’s Irma Suarez Ruiz and Jorge Pérez have both performed and been a part of Juanjo’s works with the Ensemble Español since his first residency to Chicago in 1984.

“Chamberí” (Flamenco Caracoles) (2023)

Choreographer & Dancer : La Lupi, Guest Artist

Music: Curro de Maria & Pedro Medina

Musicians: Curro de Maria, Jose Alconchel, guitarists; Jose Diaz El Cachito, singer; Diego “El Negro” Alvarez, percussionist; José Moreno, singer, percussionist

Costume Design: La Lupi & Enrique Vicent

Lighting Design: Carlos Rodriguez

Chamberí, the oldest train station in Madrid. The cante por Caracoles, conceived by the singer D. Antonio

Chacón, pays tribute to the city as a key point for Andalusian artists who arrived and left for the capital. Madrid, with its open arms, welcomed these artists in a warm and hospitable way.

“Pasion Oculta”/ Hidden Passion (2019)

Choreographer and Costume Designer: Irma Suarez Ruiz, Artistic Director

Music: Escala

Costume Production: Luz Creations

Lighting Design: Dustin L. Derry

Dancers: Company

This Flamenco contemporary work, set on five couples of Ensemble Español Company dancers by artistic director, Irma Suarez Ruiz, portrays the hidden passions of love and desire. Ruiz set this sensual work to two songs by the all-female electronic string quartet, Escala: “Requiem for a Tower” and “Palladio.”

Act 2

“Compas de Seda” / Silk Rhythm, WORLD PREMIERE

Choreographer & Costume Designer: La Lupi, Guest Artist

Music Composition: Curro de Maria

Costume Design & Production: Enrique Vicent

Lighting Design : Dustin L. Derry

Dancers: Nalanie Molina, Sammi Micklewright, Abigail Mosquera, Irene Sivianes Fernandez, Maria Lujan,

Catherine Beza, Jose Torres, Juan Carlos Castellon, Luis Beltran, Jonathan Pacheco, Sergio Rojas, Miguel Conde

This work, in the Flamenco Guajiras palo/style dance, is based on the sung genre of Cuban music, a poetic art with music. A guajira is simply a song for voice and guitar with a series of similar letras. It became popular in the western and central regions of Cuba in the 17th century and consolidated as a genre in the 18th century. It has Andalusian and Canary Islands origins, and it integrated African elements in Cuba. The Flamenco guajira is the adaptation to Melos Flamenco of the Cuban point, the peasant point, a genre that brings together a series of songs called Guajiros that are grown in the rural areas of the island of Cuba.

“Duende Flamenco”

Music: Curro de Maria, Jose Alconchel, guitarists; Jose Diaz El Cachito, singer; Diego “El Negro” Alvarez, percussionist; José Moreno, singer, percussionist

Lighting Design: Dustin L. Derry

“A Silverio” (2022)

Choreographer and Dancer: La Lupi

Music: Curro de Maria and Livio Gianola

Costume Design: Enrique Vicent

Lighting Design: Tito Osuna

“…a bravura showcase of Flamenco Abandolaos and Serrana styles” (WTTW).

“Viejos Aires” / Flamenco Tango, WORLD PREMIERE

Choreographer, Dancer, Costume Designer: Antonio Najarro, Guest Artist

Music: Astor Piazzolla (1921-1992)

Costume Production: Enrique Vicente

Lighting Design: Dustin L. Derry

Dancers: Section 1: “Otoño Porteno” - the Company; Section 2: “Fuga y Misterio” - Antonio Najarro, Guest Artist

Antonio Najarro performs a solo in his Viejos Aires. Photo by Dean Paul

Section 3: “Viejos Aires” – the Company

“Choreographing my creation 'Viejos Aires' on the Ensemble Español dancers represented a personal reunion with the repertoire of my own dance company. ‘Viejos Aires’ has a choreography that has given me numerous successes throughout its presentation and performances in the best theaters around the world. Irma and Jorge’s invitation to set this work on the Ensemble Español as part of their extensive repertoire was exciting. I wanted to merge two very different styles in terms of technical elements: Argentinean tango and Spanish dance, including my own personal style. In Ensemble Español, I clearly saw a company with great desire and enthusiasm to assimilate, face and interpret this complex work. ‘Viejos Aires,’ from my point of view, is a timeless passionate choreography that speaks from the heart to the heart. (Antonio Najarro)

Tuesday, June 4, 2024

REVIEW: World Premiere of Otherworld's GARTERS: A QUEER IMMERSIVE ROMANTASY PLAY A Perfect Pick For Pride Month

ChiIL Live Shows On Our Radar 



From l to r Chloe Basset, Kylie Carrol, Bruce Holtman, Quinton Walker - Photo by Nadir Waxali

Evocative Theatrical Journey Explores Themes of Romance, Gender Identity, 
and Representation

GARTERS is thoughtfully crafted for mature audiences aged 18 and older; viewer discretion is advised. 
May 31 - July 7, 2024

Guest Review
by Dugan Kenaz-Mara

In Garters we follow the tale of the knight Sir Yvain on not his, not her, but their quest to retrieve a magical object for their king. Garters does an excellent job of exploring and explaining the nonbinary identity in a way that elucidates some of the struggles nonbinary people face. The play also uses a butterfly motif as a representation of gender and calls attention to the existence of the chimera butterfly - a naturally nonbinary animal - to easily lead people with no knowledge of gender identities into the conversation. If you’re looking for a performance during pride month, Garters is a perfect pick. 

Jenny Hoppes and Kira Nutter - Photo by Nadir Waxali

Before seeing the show, there are a few things to take note of. First, it is rated R for sexual content. There is a bed placed at the center of the audience, and despite being obscured slightly by a veil, the audience members closest to it are mere inches from actors getting intimate. In a similar vein, the rest of the audience is incredibly close to the action. The house is tiny, with approximately 23 seats in 2 rows, meaning the actors (and their swords) get fairly close. The ensemble also talks to the audience during transitions between acts. Finally, because of the close nature of the seats, accessibility may be a concern for some people. We noticed that the seats at the end of the back row were high up without a step, and the gentleman next to us had trouble getting to it. Of course, the front row is still a great option and asking others to move may have helped make an easier path to those seats, but it is still worth noting. 

Garters is a story full of fantasy tropes that features the plentiful twists and turns that come with the genre. There’s a sprinkle of murder, a dash of espionage, and more disguises than you can count. 

The plot has just enough fantasy worldbuilding to make you feel like you’re actually a part of the world. We learn slowly throughout the show of the secret connections between characters, the folk tales that the people of the land heard growing up, the different occupations and lifestyles in each region of the journey, and most importantly the existence and importance of magic in the world. I loved how the magic brought morality questions into the story that we don’t face in real life. After all, if you can’t rule a kingdom without magic, should you really rule at all?

Yvain played by Kira Nutter - Photographer Parrish Davis-Sauls

A definite highlight of the show was the stage combat. Thanks to the intimate space, all of the action was easily visible and the audience got to feel like they were in the heart of it. One fight involves the entire cast, and utilizes swords, staves, and a rope for clever combat that you don’t get to see often. 

An additional fun tidbit is that there was a raffia fan laid out on each seat for the audience to use. They could be used as actual fans if the theater got too hot, but were also perfect for hiding your face from an intimate moment or talkative actor. 

Otherworld Theatre Company, the premier sci-fi and fantasy live theatre production company in North America, presents their world premiere mounting of playwright Natalie Zutter’s GARTERS: A QUEER IMMERSIVE ROMANTASY PLAY, running May 31 - July 7, 2024 at the theatre’s storefront location at 3914 N. Clark St. Tickets ($27 with some pay-what-you-can tickets available for each performance) available at www.otherworldtheatre

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

L to r Jenny Hoppes and Kira Nutter - Photo by Nadir Waxali

Once, two girls disguised themselves as boys to train to become knights. Seven years later, an unconventional knight and a worldly whore fallen on hard times meet at a brothel in the middle of nowhere and embark on an epic quest. Inspired by the works of Tamora Pierce and Jacqueline Carey, GARTERS is an epic fantasy play about the limited roles available to women and nonbinary folks in quest stories, and what happens when they don’t get to be the hero but don’t want to be the damsel. Experience an evocative theatrical journey exploring themes of romance, gender identity, and LGBTQ+ representation, thoughtfully crafted for mature audiences aged 18 and older.

GARTERS performances will be held Fridays and Saturdays at 7 p.m., and Sundays at 2 p.m. Tickets are $27 and can be purchased at www.otherworldtheatre; there are a limited number of Pay-What-You-Can tickets available for each performance. 

Hedy played by Jenny Hoppes- Photographer Parrish Davis-Sauls

Written By: Natalie Zutter
Directed By:  Blake Hood

Cast: Kira Nutter (Sir Yvain), Jenny Hoppes (Hedy), Jerome Michael Jones (Varic), Lauren Miller (Lady Dagomar), Chloe Basset (Lady Clotilda), Bruce Holtman (Innkeeper), Quinton Walker (Bandit), and Kylie Carroll (Laundress)

Production Team: Abbey Schnell (Stage Manager), Parrish Davis-Sauls (Costume Designer), Blake Hood & Tiffany Keane Schaefer (Set Designers), Sam Campos (Fight Director), Becca Schwartz (Intimacy Director), and Jake Mayer (Media Designer), Schnell & Hood (Lighting Designers)

Dates: May 31 - July 7, 2024

Press Opening: Friday, May 31, 2024 at 7 p.m.

Schedule: Fridays and Saturdays at 7 p.m., Sundays at 2 p.m.

Location: Otherworld Theatre, 3914 N. Clark St.

Tickets: General Admission: $27 with a limited number of pay-what-you-can tickets available for each performance. GARTERS is thoughtfully crafted for mature audiences aged 18 and older; viewer discretion is advised.

Otherworld Theatre Company (3914 N. Clark St.) was founded in 2012 to bring a theatrical experience to the science fiction and fantasy genre. The Company’s work celebrates the depth of human imagination by engaging spectators in high quality storytelling. Otherworld Theatre Company stages original works in its pay-what-you-can Chicago, Illinois venue, presents virtual programming online, and produces immersive Live-Action Role Playing events through its partner company, Moonrise Games. For more information:

HELP OUT: MUSIC BOX: REVIVE AT 95 Mingles Something Old With Something New

Music Box Theatre to undergo 

monumental main-auditorium revitalization project in August


Campaign to include New Seats, Flooring & Lighting Upgrades, and More 

 The Music Box Theatre is announcing a major revitalization of its 740-seat main auditorium as part of the MUSIC BOX: REVIVE AT 95 campaign, celebrating the 95th anniversary of the venue. During this project, the main theatre will be closed from August 12 to September 5, with upgrades including new seats (with cupholders!); improved auditorium lighting; refinished carpeting and flooring; refurbishment of our original proscenium arch; and expanded ADA capabilities with T-Coil Hearing Loop System.

This closure marks the first time since 1982 that the Music Box's larger theater has been shut down for any type of upgrades. The rest of the theater, including our smaller house and garden movie screenings, will remain open as normal. "Thinking about the historical value that the Music Box has to the City of Chicago, it's incredible to me that this 95-year-old institution has lasted as long as it has and continues to inspire filmmakers and filmgoers to walk through its doors," says General Manager Ryan Oestreich. "As the guardians of the Music Box Theatre, it's up to us to ensure that its history and vibrancy are preserved into the next century."

For nearly 95 years, the Music Box Theatre has been a haven for countless passionate moviegoers, providing unique programming 365 days a year. Described in 1929 as a place of “lasting beauty and great durability,” we’re still going strong as our 100th birthday quickly approaches. The goal is to keep this venue a community institution long into the future.

For more information on the MUSIC BOX: REVIVE AT 95 project and details on seat sponsorships and other donation options, go to:

Because all those memories and all that cinema have taken their toll on the space, the MUSIC BOX: REVIVE AT 95 campaign will be open to audience participation. There will be two options for the public to participate, where our dedicated audience can either "Sponsor A Seat" or "Make A Donation" and actively see their contribution payoff to these revitalizations.

1. Sponsor A Seat: Our seats have seen a lot of audiences and are ready for a well-deserved retirement. While keeping the same style as our current seats, we’ll be installing new, more comfortable seats with cup holders. These seats will last us for years to come, and sponsoring one is a chance to leave a lasting legacy at the Music Box.

You can sponsor a seat in honor of yourself, a loved one, or your business, and the name will be permanently engraved on a plate on the armrest (Seat plates are 7/8 x 2-1/2 inches). You'll also be recognized on the Music Box website. Plates can contain messages of one or two lines, up to 15 characters per line (including spaces).

Seat Pricing:

Single Seat: $750

Two Seats: $1400

We also accept payments in installments (split evenly over 6 or 12 months).

A limited number of seats are available. Seat locations are chosen randomly and do not guarantee your seat location for screenings. Plates will remain for the duration of the usable life of the new seats. Please note that contributions to MUSIC BOX: REVIVE AT 95 are not tax deductible. 

2. Make A Donation: For those opting not to sponsor a seat, you can still contribute to the revitalization of the Music Box in the donation amount that suits you. Support starts at $25, and all donors will be listed on our website. Gifts of $100 or more receive a free Music Box merch item (poster, mug, etc.).

Terms & Conditions

Music Box reserves the right to refuse/ refund inappropriate or offensive plates

Seat plates will be placed on the seats at the completion of payment

In the event that a Sponsor cannot complete installment payments, seat plates will not be placed on the seat(s) and no refunds of previous payments will be administered 


We know the old seats have a special place in many people’s hearts. We are working with local nonprofit, Rebuilding Exchange, to find new homes for the seats. Stay tuned for more information. 

Become a member:


About Music Box Theatre:

Operating since 1929, the Music Box Theatre has been the premier venue in Chicago for independent and foreign films for more than four decades, playing host to over 200,000 patrons annually. It currently has the largest theater space operated full time in the city. The Music Box Theatre is independently owned and operated by the Southport Music Box Corporation. SMBC, through its Music Box Films division, also distributes foreign and independent films in the theatrical, DVD, and television markets throughout the United States.

Regular events produced, presented, and hosted at Music Box Theatre include the 70mm Film Festival; Music Box Christmas Sing-a-long and Double Feature, the annual 24-hour horror-movie marathon Music Box of Horrors; and Noir City: Chicago, co-presented by the Film Noir Foundation.

Follow the Music Box Theatre on Facebook (, Twitter (@musicboxtheatre), Instagram (@musicboxchicago), TikTok @musicbox_chicago

Tuesday, May 21, 2024

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

ChiIL Live Shows On Our Radar 


MAY 16 - JUNE 9, 

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. 

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 

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).

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

For more show info, go to 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

Monday, May 20, 2024

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

ChiIL Live Shows On Our Radar



By Sanaz Toossi

Directed by Hamid Dehghani

May 10 – June 16, 2024


(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 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.



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 for more information about Goodman Theatre’s accessibility efforts.

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


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.

Friday, May 3, 2024

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

ChiIL Live Shows On Our Radar





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 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).  


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. 


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.


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 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.

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