REVIEW & PHOTO FEATURE: The Crane Wives at Chicago's Park West August 18, 2026

Chi, IL Live Shows on our Radar:

The Crane Wives

With Direct Support by Brye 

Play Chicago's Park West on August 18, 2026

All Show Photos by Dugan Kenaz-Mara

GUEST REVIEW

By Dugan Kenaz-Mara

On August 18th the Crane Wives made one of the last stops on their Act III tour, once again gracing Chicago with their presence. Spanning the month of August, their tour has 3 stops left. And if you’re quick, you can still catch their final show in Indianapolis on the 22nd. 

The concert started with special guest Brye, a solo artist who grew up in the suburbs of Chicago. Her beautiful music captured the audience and took us on a journey exploring themes of body positivity, queerness, and mental health. During the set we also got to learn about the hardships that she had recently experienced. About a week before the show the trailer with all of her merch and instruments was stolen, and then later found empty. Luckily the Crane Wives were able to lend her a guitar for the end of the tour and she was available in the lobby after the show to take polaroids with fans in lieu of missing merchandise. 

When her set finished, we had a short interlude for the bands to switch over. To my delight, the Crane Wives continued their mysterious pre-show tradition. We watched as the “Mysterious Deer Man” emerged through the haze into the blue stage lights. Walking through the cattail cutouts to place lanterns down, creating the whimsical atmosphere on stage. But this time he wasn’t alone. A second deer appeared and chased the first one, Benny Hill-style, around the stage, before composing himself and leaving the stage so the band could begin. It was a hilarious and unexpected twist that the onlookers thoroughly enjoyed. 

The past 2 years I have covered The Crane Wives when they stopped in Chicago, and like both times before, this concert was a blast to attend! The band always delivers a high-energy show that’s perfect for letting out all of your big emotions. They even encourage the audience to sing, clap, and dance along, inviting everyone in attendance to build up the lively atmosphere their shows are known for.

I also found this performance at Park West highly engaging compared to previous shows. The band was fairly close to the audience thanks to having no pit area, so Kate Pillsbury (guitar/vocals) commented about trying not to look people in the eyes. During the encore she also asked if we were more "The Hand That Feeds" or "Steady, Steady" people, letting us vote. Luckily the vote was split and we got both songs as a treat. 

Which brings me my main takeaway from the night: the Crane Wives are particularly kind. The more intimate site really highlighted all of the things they did to make their performance special for us, and for those they work with. They introduced Brye at the start, encouraging us to give her as much love as we would give them. They lent her the guitar and promoted her merch. They shouted out their crew members by name as well as their tour manager who books their locations. And when they left the stage at the end of the night, they made heart hands to the audience which were returned in kind. 

The last time the Crane Wives performed in Chicago, they were promoting their most recent album and played 6 songs from it. This time, the audience was treated to a fairly even mix of newer and older songs from almost all of their albums. This setlist featured the most songs from Coyote Stories and Foxlore, their hit 2015 and 2016 albums, then wove in a few songs each from The Fool in Her Wedding Dress (2012), Here I am (2020), and Beyond Beyond Beyond (2024). 

The full set list is below:

Brye:

• Lemons

• Apples

• My Body’s My Buddy

• Little Things

• Not a Baby

• Jenna

• Diet Culture

  
  

  

Crane Wives:

• Queen of Nothing

• Icarus

• Arcturus Beaming

• The Well

• Allies or Enemies

• Never Love an Anchor

• Turn Out the Lights

• Take Me to War

• Pretty Little Things

• The Moon Will Sing

• Black Hole Fantasy

• Nobody

• Sleeping Giants

• Curses

• The Garden

• The Hand That Feeds

• Steady Steady

• Tongues & Teeth

  
  

  Dugan Kenaz-Mara is a Chicago based designer, photographer, educator, and graduate of Northwestern University's theatre program.

  
  

  

  All Show Photos by Dugan Kenaz-Mara

  The Crane Wives

  "The Crane Wives charmed us again with its harmony-laced folk-rock…polished sound and dynamic energy…proves just how much fun the band is having with its music.” - NPR
  
  
  "The Crane Wives are a four-piece band that have an uncanny ability 
  at crafting goose-bump inducing three-part harmonies.” - No Depression
  
  
  "They’re an impeccable band with incredibly tight instrumentation and harmonies that, paired with an inclination for catchy hooks and scintillating lyricism, make a strong case for their burgeoning popularity.” - For Folk’s Sake
  
  
  "Harnessing a sense of emotional honesty, guttural lyrics are backed by twangy guitar and steady drum beats" - NYS Music
    
  

  
  

  The Crane Wives 

  highly anticipated US tour. 

  Kicking off on April 14, The Crane Wives will bring their dynamic live show to stages nationwide, delighting audiences in cities including Los Angeles, Portland, Houston, Seattle, San Francisco, San Diego, and beyond.

  The band has also announced new tour dates this August, hitting cities across Colorado, as well as Chicago, St. Louis, Indianapolis, Minneapolis, and beyond.

  Tour dates and tickets for all shows are on sale now and available here.

  

  Born of the 2010’s folk boom and now comfortably stationed in their rock and roll era, Grand Rapids’ The Crane Wives epitomize the evolving landscape of indie folk. Their high-energy performances have been described as “charged with emotion and technical skill” (Blurred Culture), while their harmony-dense melodies support deeply resonant lyrics, exploring the vulnerable and the ugly sides of the human condition. The band has built a global community and has amassed over 1m Spotify monthly listeners and 150m total streams with their unparalleled, spirited live show, evocative lyricism and glimmering harmonies.

  

  Featured by Michigan Radio and NPR’s All Songs Considered, the band’s sixth full-length studio record Beyond Beyond Beyond received high praise, with Glasse Factory calling the album “a testament to the band’s ability to turn personal struggles into universally relatable anthems." Niner Times describes the album as “angsty, haunting and gritty,” praising its departure from the more traditional folk sound of The Crane Wives’ previous records. Since its release in September 2024, Beyond Beyond Beyond has accrued over 7 million streams on Spotify.

  

  The pulse of The Crane Wives is delivered by Ben Zito (bass) and Dan Rickabus (drums), creating a driving, dynamic backdrop while co-leads Emilee Petersmark and Kate Pillsbury establish expansive and gritty conversations between their electric guitars. A web of three-part harmony helps to soften the blow of their emotional candor, like a 21st century Cerberus, the hound of Hades reimagined as an emotional support animal.

  The Crane Wives have 6 full-length albums under their belts and have performed over 600 shows across the US, sharing stages with acts such as The Avett Brothers, Lake Street Dive, Rusted Root, The Dead South, Joseph, and many more.
   

  US August Tour Dates:

  August 5 Crested Butte, CO @ Mt. Crested Butte
  August 7 Fort Collins, CO @ Washington’s 
  August 8 Colorado Springs, CO @ Black Sheep
  August 10 Dillon, CO @ Dillon Amphitheater
  August 12 Omaha, NE @ The Admiral Theater
  August 13 Des Moines, IA @ Wooly’s
  August 14 Sioux Falls, MD @ The District
  August 15 Minneapolis, MN @ First Avenue
  August 16 Madison, WI @ The Sylvee
  August 18 Chicago, IL @ Park West
  August 20 Columbia, MO @ The Blue Note
  August 21 St. Louis, MO @ The Sovereign
  August 22 Indianapolis, IN @ Nickel Plate District Amphitheater 
  

  

  
  
  

  Follow The Crane Wives:
  Website | Instagram | Facebook | TikTok | Spotify | YouTube | Bio

  
  

  

  All Show Photos by Dugan Kenaz-Mara 

  
  

REVIEW: The Cuttlefish, or the Hyrcanian Worldview Now Playing at Trap Door Theatre Through April 25, 2026

ChiIL Live Shows On Our Radar

Trap Door Theatre Presents

The Cuttlefish, or the Hyrcanian Worldview

Written by Stanisław I. Witkiewicz

Translated by Daniel Gerould

Directed by Nicole Wiesner

March 19–April 25, 2026

Run time: 1 hour and 20 minutes without an intermission. 

Tickets are $32 with two-for-one admission on Thursdays.

GUEST REVIEW

By Barbara Belcore

I walked into The Cuttlefish, or the Hyrcanian Worldview at Trap Door Theater with no real sense of what I was about to see, and left a genuine fan. It is strange in a way that feels intentional rather than indulgent, fully committing to its own offbeat logic from the very beginning. Even before the play officially began, the actors were already on stage as the audience took their seats, moving slowly and deliberately, setting a tone that felt deeply ominous.

David Lovejoy (King Hyrcan IV) and Nicole Wiesner (Paweł Rockoffer). Credit for all production photos: Michal Janicki.

The production opens in a darker, more controlled space, but somewhere midway through it loosens its grip and transforms into something closer to an absurd fever dream. That shift could easily lose an audience, but here it has the opposite effect. The room stayed engaged, alive with reaction. There were gasps, giggles, and those involuntary sounds of agreement when something lands a little too well. It felt communal in a way that’s hard to manufacture, helped along by brief breaks of the fourth wall that ground the performance in flashes of real world context. In one moment, audience members are pulled in to serve bit parts, adding to the unpredictability and personal relevance of the experience.

At its core, the play explores the internal conflict of an artist being pulled to belong while still struggling to maintain control and individuality. That tension unfolds through a world where art, religion, philosophy, and identity are all pulled into orbit around a loud, self-proclaimed king of an imaginary kingdom. The metaphor is elastic enough to be interpreted in multiple ways, but grounded enough to keep you from drifting too far.

Keith Surney (Statue of Alice d’Or) and Nicole Wiesner (Paweł Rockoffer). 

What makes it work is the cast’s complete commitment. They lean fully into the absurdity without ever winking at it, which gives the production its weight. It is not always clean or straightforward, but it is compelling throughout. If you’re willing to meet it where it is, it becomes a genuinely memorable experience. This is the kind of theater that stays with you long after you leave your seat. Highly recommended. ★★★★ Four out of four stars.

Barbara is a Chicago-area home birth midwife, maker, theater enthusiast, avid reader, and mom of two quirky, creative teens. She is currently snuggling three cats who are perpetually convinced that they have never been fed. 

David Lovejoy (King Hyrcan IV) and Emily Lotspeich (Pope Julius II). 

Trap Door Theatre is thrilled to continue its mainstage work of their 32nd season with a production of Trap Door’s favorite playwright Stanislaw Witkiewicz’s The Cuttlefish, or the Hyrcanian Worldview, directed by Nicole Wiesner. The Cuttlefish will play March 19 – April 25, 2026 at Trap Door Theatre, 1655 W Cortland St. in Chicago. Tickets are now on sale at trapdoortheatre.com or by calling (773)-384-0494. 

The cast includes Venice Averyheart, Emily Lotspeich, David Lovejoy, Keith Surney, Gus Thomas, and Nicole Wiesner.

Part philosophical farce, part surreal fever dream—Witkiewicz’s The Cuttlefish, or the Hyrcanian Worldview is a razor-sharp satire of art under pressure. In a world where creativity is consumed by control and individuality is crushed beneath the weight of conformity, an artist spirals into crisis—torn between integrity and survival, freedom and obedience. Witkiewicz exposes the seductive dance between artist and authority, where every act of creation risks becoming an act of submission. Decades ahead of its time, this anarchic comedy lays bare the modern artist’s impossible choice: stay true to your vision, or surrender it for comfort and applause.

The production team includes Merje Veski (Scenic Design), Rachel Sypniewski (Costume Design), Richard Norwood (Lighting Design), Danny Rockett (Sound Design), Kasia Olechno (Stage Manager), Zsofia Otvos (Make Up Design), Dan Cobbler (Assistant Director), Milan Pribisic (Dramaturg), Michal Janicki (Graphic Design), and Dan Cobbler, Juliet Kang Huneke, Mitchell Jackson, and Gracie Wallace (Understudies).

Location: Trap Door Theatre, 1655 W. Cortland St. Chicago, IL 60622

Dates: Regular Run: Thursday, March 19th –Saturday, April 25th, 2026Curtain Times: Thursdays, Fridays, and Saturdays at 8:00 pm, and Sundays 4/12 and 4/19 at 3PM.

Tickets: $32 with 2-for-1 admission on Thursdays. Tickets are currently available at https://our.show/the-cuttlefish or by calling (773) 384-0494. Group tickets: Special group rates are available. For information, call (773) 384-0494 or email boxofficetrapdoor@gmail.com.

Plan your visit:

Free street parking is available.

Buses: #9 (Ashland), #50 (Damen), #72 (North), #73 (Armitage).

Metra: Clybourn metra stop.

Accessibility:

Trap Door Theatre is wheelchair accessible.

About the Artists

Stanislaw I. Witkiewicz (1885-1939) is one the most brilliant figures of the European avant-garde. Witkiewicz was a poet, painter, playwright, an expert on drugs, an early spokesman for a radically non-realistic theatre and an original philosopher and social critic of mass culture, post-industrial society, and the rise of totalitarianism. He was also a pioneer in serious experimentation with narcotics and prophetically recognized the growing importance that they would have on Western civilization. Witkiewicz committed suicide shortly after the outbreak of War in September of 1939. He is best knownfor his plays The Madman and the Nun, The Mother, The Water Hen, The Anonymous Work, and The Shoemakers.

Nicole Wiesner (she/her) joined the Trap ensemble in 1999, and currently serves as the Managing Director. Directing credits for the company: Minna, The Fairytale Lives of Russian Girls, Phedre, Monsieur D’eon is a Woman, The Old Woman Broods, The White Plague, Decomposed Theatre Episode 5, The Martyrdom of Peter Ohey, Joan and the Fire, Nana, and The Mannequins’ Ball. Some of her favorite Trap acting credits include First Ladies (dir. Zeljko Djukic, Joseph Jefferson Citation: Outstanding Actress); OVERWEIGHT, unimportant: MISSHAPE (dir. Yasen Peyankov); and the title roles in The Bitter Tears of Petra Von Kant; Nana (dir. Beata Pilch) and Alice in Bed. (Director Dado). Regionally, she has appeared at the Goodman Theatre in 2666, directed by Robert Falls and Seth Bockley; Shining City directed by Robert Falls; and Passion Play, directed by Mark Wing-Davy (After Dark Award, Outstanding Performance). Other credits include Shining City at the Huntington Theatre in Boston; Passion Play at Yale Repertory Theatre and Epic Theatre NYC; The Book Thief (dir. Hallie Gordon), South of Settling (dir. Adam Goldstein) and Dublin Carol (Dir. Amy Morton) at Steppenwolf Theatre; Dying City (dir. Jason Loewith) at Next Theatre, Great Men of Science (dir. Tracy Letts) at Lookingglass Theatre; and Phedre (dir. JoAnn Akalitis) at The Court Theater.

About Trap Door Theatre

Founded in 1994 by Artistic Director Beata Pilch, Trap Door Theatre is dedicated to seeking out challenging, obscure, and culturally significant works rooted in political outcry that address timeless and borderless existential themes. Our mission is to provide a platform for voices that confront and question social norms, inspire dialogue, and foster understanding across diverse cultures and perspectives. Through bold, imaginative productions, we strive to push artistic boundaries and create transformative experiences for our audiences. We are committed to serving as a cultural hub for our community, supporting artists through equitable practices, and engaging audiences with works that illuminate the human condition in innovative and thought-provoking ways.

Trap Door Theatre is funded in part by The Paul M. Angell Family Foundation, The Bayless Family Foundation, a CityArts Program Grant from the City of Chicago Department of Cultural Affairs and Special Events, The Gaylord and Dorothy Donnelley Foundation, The John R Halligan Charitable Fund, The Illinois Arts Council Agency, The Reva and David Logan Foundation, and the generosity of individuals like you.

For additional information, visit trapdoortheatre.com 

Gus Thomas (Ella) and Venice Averyheart (Mother I/II and Foley Artist). 

REVIEW: The Winters Tale Via Invictus Theatre Now Playing Through April 20, 2025 at Windy City Playhouse

ChiIL Live Shows On Our Radar

Invictus Theatre Company Presents

THE WINTER’S TALE

Playing March 11 – April 20 at Windy City Playhouse

Modern dress production to feature original music and choreography

GUEST REVIEW

By D'Arcy Mies

As a lover of Shakespeare, The Winter’s Tale has always intrigued me. One of Shakespeare’s

last plays, it has many of the tried-and-true features we expect from The Bard’s work - there are

star-crossed lovers, mad kings, and plenty of bawdy fun. But Invictus Theatre’s new production

reminds us that it is always worth another viewing!

(L-R): Jennifer Agather, Robert Hunter Bry

(L-R): Fred A. Wellisch, Diego Rivera-Rodriguez

Time is a major theme in The Winter’s tale. This is reflected in the set itself, which mirrors a

clock, and the play starts with a New Years Party. This opening scene is immersive and feels

truly like you are a fly on the wall, especially as Leontes and his queen Hermione exchange a

tender moment! The seating arrangement in the theatre also contributes to the feeling that the

audience has been transported “out of time”.

(L-R): (Sam Nachison background), Sydney René Cox, Kyle Quinlivan, Carolyn Waldee

Although The Winter’s Tale is truly quite dramatic and intense, there are many cheerful and

humorous parts. The latter half of the play brings us to Bohemia, full of brightly colored

costumes, singing and dancing and a goodly amount of humor. The ensemble worked well

together, and the many physical bits well timed.. To me, the acting that stood out, and most

particularly moving were the performances of Queen Herminone (Andrea Uppling) and wise

Paulina (Amber Dow).

(L-R): Raúl Alonso, Andrea Uppling

(L-R): Carolyn Waldee, Sydney René Cox, Andrea Uppling, Michael Stejskal

D'Arcy Mies is a Montessori educator, theatre lover, and lifelong Chicagoan.

(L-R): Diego Rivera-Rodriguez, George Dougherty, Robert Hunter Bry

Invictus Theatre Company – who, with twelve 2024 Non-Equity Jeff Award nominations, earned more than any other company primarily producing non-musicals – has announced the cast and production team for its 2025 season-opening production of Shakespeare’s THE WINTER’S TALE. Artistic Director Charles Askenaizer will direct this full-scale modern dress interpretation featuring a cast of 16 and an original musical score by Jeff Award winner (and current nominee) Petter Wahlbäck performed by live vocalists and a five-piece instrumental ensemble. THE WINTER’S TALE will be presented at the company’s home at the Windy City Playhouse, 3014 W. Irving Park Road, Chicago. It will open to the press on Monday, March 17 at 7 p.m., following previews from March 11, and will play through April 20.

One of the Bard’s later plays, THE WINTER’S TALE has been termed by some critics as a comedy, and by others, a romance. In Sicily, King Leontes suspects his pregnant wife Hermione of infidelity with his best friend Polixenes, and when the child is born, has her banished from the kingdom. The baby girl is adopted by a shepherd, who names her Perdita. With the help of some magic, King Leontes’ suspicions are eventually proven to be groundless and the family is put back together. The first three acts of this story of jealousy are filled with intense psychological drama, while the last two acts are comical and supply a happy ending. Askenaizer says, “while the story begins as a fable of some rather dark emotions, it is ultimately hopeful, showing the healing power of time and the possibility for forgiveness and rebirth. Shakespeare acknowledges, though, that the good things one might hope for do not come easily or quickly, but come after some struggles and the passage of time.”

(L-R): Michael Stejskal

Askenaizer’s cast will be led by Michael Stejskal (David Lewis in GODS AND MONSTERS at Theatre Wit) as the jealous King Leontes. Andrea Uppling (Jeff-nominated for her Martha in Invictus’s WHO’S AFRAID OF VIRGINIA WOOLF?) will play Hermione. Completing the suspected love triangle as Polixenes will be Raúl Alonso (A BRIGHT ROOM CALLED DAY with Blank Theatre Company). Florizel, the prince who becomes betrothed to Perdita, will be played by Robert Hunter Bry, who had the title role in City Lit Theatre’s THE VIRGINIAN, and has twice played Mr. Darcy in CHRISTMAS AT PEMBERLY (for Buffalo Theatre Ensemble and St. Sebastian Players). Amber Dow (of Invictus’s THE TRAGEDY OF MACBETH and Kokandy’s AMERICAN PSYCHO) will be Hermione’s devoted friend Paulina.

(L-R): Kyle Quinlivan, Sam Nachison

Also in the 16-person cast are Jennifer Agather (Perdita/Maximillus), Kim Pereira (Camillo), Fred A. Wellisch (Antigonus/Bohemian Ensemble/Musician), Carolyn Waldee (Emilia, Mopsa, Lord/Musician), Sam Nachison (Autolycus/Lord), Chuck Munro (Shepherd/Lord), Kyle Quinlivan (Clown/Lord/Musician/Archidamus), Sydney René Cox (Lady 3/Lord/Servant/Dorcas/Musician), George Dougherty (Ensemble/Officer/Lord/Time), Megan Erin Lai (Ensemble/Lady 2/Shepherdess (Musician), Diego Rivera-Rodriguez (Mariner/Lord/Bohemian Ensemble), and Jose Yantin Jr. (Ensemble/The Bear, U/S: Autolycus/Florizel).

(L-R): Kyle Quinlivan, Sam Nachison

Understudies are Adam Schulmerich (Leontes/Polixenes), Anne Trodden (Hermione/Paulina), Mary Margaret McCormack (Perdita/Emilia/Others), Whitney Minarik (Camillo, Hermione 2nd Cover), Arabella DeLucco (Clown/Paulina 2nd Cover), Rory Jobst (Shepherd/Antigonus), and Chase Wheaton-Werle (Leontes 2nd Cover).

Top row (l-r): Jennifer Agather, Raúl Alonso, Robert Hunter Bry, Sydney René Cox

Second row (l-r): George Dougherty, Amber Dow, Megan Erin Lai, Chuck Munro

Third row (l-r): Sam Nachison, Kim Pereira, Kyle Quinlivan, Diego Rivera-Rodriguez

Fourth row (l-r): Michael Stejskal, Andrea Uppling, Carolyn Waldee, Fred A. Wellisch

Fifth row (l-r): Arabella DeLucco, Rory Jobst, Mary Margaret McCormack, Whitney Minarik

Bottom row (l-r): Adam Schulmerich, Anne Trodden, Chase Wheaton-Werle, Jose Yantin Jr.

The production team includes Jeff Award winning scenic designer Kevin Rolfs, who scored two nominations in the recently announced 2024 Jeff Awards for his scenic design of Invictus’s TOPDOG/UNDERDOG and NETWORK. Rolfs previously won the award for his design of Invictus’s WHO’S AFRAID OF VIRGINIA WOOLF?. Another Jeff Award winner is sound designer and composer Petter Wahlbäck, a 2024 nominee for his sound design of Invictus’s THE TRAGEDY OF MACBETH. Jessie Gowens, a Jeff nominee for her costume design of Invictus’s THE CRUCIBLE, is designing costumes for this production. The design team also includes Trey Brazeal (Lighting Designer), Randy Rozler (Properties Design), and Jay Donley (Fight/Intimacy Designer). Jen Cupani is Choreographer.

Completing the production team are Todd Henry Faulstich (Executive Producer), Stacy Scapino (Production Manager), Desiree Stypinski (Stage Manager), Beep Trefts (Assistant Stage Manager), Tom McNelis (Technical Director), Hannah Bolstad (Master Electrician), and Becca Holloway (Casting Director). MC Dougherty is Marketing Manager and Ana Schedler is Graphic Designer.

(L-R): Amber Dow

(L-R): Kyle Quinlivan, Chuck Munro

“In THE WINTER’S TALE, Leontes waits 16 years before finding his redemption and regeneration given at the hand of the one he most wronged.  Though the characters in this play must endure immense trials, the promise of regeneration and renewal—often through mystical, almost miraculous means—guides them toward brighter days ahead. THE WINTER’S TALE reminds us that, though the path may be long and fraught with difficulty; progress, redemption, and salvation await.” 

Invictus Theatre Company has been one of the most notable success stories among Chicago’s storefront theatres in spite of the challenges facing the theatre community in recent years. Founded in 2017, they were an itinerant company until the fall of 2021, when they established residency in the former Jackalope Frontier Theatre in Chicago’s Edgewater neighborhood, renaming it the Reginald Vaughn Theatre in honor of a deceased founding member. In that space, they continued to build a reputation for intimate and honest interpretations of classics with fidelity to the original texts and close attention to character development. The company’s extraordinarily successful 2021-22 season netted the company five Jeff Awards for its 13 nominations. When a fire gutted the Thorndale Avenue building housing the Reginald Vaughn Theatre in July 2023, the company was again homeless until early 2024, when they took up residence in the Windy City Playhouse on Irving Park Road. The company’s inaugural season in that space included highly regarded productions of TOPDOG/UNDERDOG, Chekhov’s THREE SISTERS, the Chicago premiere of NETWORK, and Shakespeare’s THE TRAGEDY OF MACBETH. The company was recently honored with twelve 2024 Jeff Award nominations – the most of any company primarily producing non-musical plays.

TALKIN BROADWAY’s Christine Malcom said of TOPDOG/UNDERDOG, Invictus’s first production in the Windy City Playhouse, “In its new, much larger home at the Windy City Playhouse, Invictus Theatre Company loses none of the company's trademark intimacy or power…” The CHICAGO READER said of THREE SISTERS, “the performances are universally first-rate.“ Hugh Iglarsh of NEW CITY said Invictus’s NETWORK was a “smart, deeply felt, absorbing production.” Wesley David, writing for BUZZ CENTER STAGE, said THE TRAGEDY OF MACBETH was “a potent, intense experience.” 

(L-R): Michael Stejskal, Kim Pereira

Ticket prices for THE WINTER’S TALE are $38.00 for regular performances Fridays through Sundays, $25.00 for previews and Monday evenings. Season Flex Passes are available in three options: eight admissions for $200.00, four admissions for $120.00, or four admissions on Monday nights for $80.00. Individual show tickets and Flex Passes are on sale now at www.invictustheatreco.com.

Performances Fridays, Saturdays, and Mondays at 7 p.m., Saturdays and Sundays at 1 p.m.Performances at Windy City Playhouse, 3014 W. Irving Park Road, Chicago. Closing: Sunday, April 20, 2025, at 1 p.m.

Ticket prices: Previews $25. Monday $25. Friday through Sunday $38. Season subscriptions available. www.invictustheatreco.com.

One of Shakespeare’s final plays, THE WINTER’S TALE is a romantic comedy with elements of tragedy. King Leontes of Sicilia falsely accuses his wife, Hermione, of infidelity with his best friend, the King of Bohemia. Inflamed by jealousy and convinced that he is right, Leontes’ torment causes a storm of loss that only the next generation can heal. Shakespeare’s THE WINTER’S TALE is a captivating parable of betrayals, renewed hope, and the transformative power of time.

DIRECTOR BIO

Charles Askenaizer (Artistic Director, Director) is the Founding Artistic Director of Invictus Theatre. He won the 2023 Jeff Award (Non-Equity Wing) for his direction of the company’s WHO'S AFRAID OF VIRGINIA WOOLF?, which also won Jeff Awards for Production of a Play, Scenic Design (Kevin Rolfs), and Performer in a Supporting Role – Play (Rachel Livingston). Other recent Invictus directing credits include: NETWORK, THREE SISTERS, THE CRUCIBLE (Jeff Award Nominations-Director, Production), JULIUS CAESAR, HAMLET, 'NIGHT, MOTHER (Associate Director), THE MERCHANT OF VENICE, and OTHELLO: THE MOOR OF VENICE. Directing credits outside of Invictus include TITUS ANDRONICUS (Bare Knuckles Theater), JULIUS CAESAR (Associate Director- Brown Paper Box), THE TWO GENTLEMEN OF VERONA (Reutan Collective) and readings with Chicago Dramatists and Piccolo Theater. Since 2018, Charles has also directed several productions for Invictus's outreach programming in partnership with the Cook County Juvenile Justice System and Lawrence Hall.  In 2024, Charles was named one of New City Magazine’s “Players 50 2024: The Rising Stars and Storefront Stalwarts.”

ABOUT INVICTUS THEATRE COMPANY

At Invictus Theatre Company, our mission is to create theatre that promotes a better understanding of language: its poetry, its rhythm, its resonance; through diverse works by diverse artists. We respect the power of heightened language: spoken, written, sung; to express the breadth of the human condition. We work to harness the power of language: to promote diversity, to engender respect, to foster collaboration; and to empower our communities to share their voices.

Invictus Theatre Company incorporated in January 2017 and received its 501(c)(3) nonprofit status in February 2017. A diverse group of Chicago actors and directors founded Invictus with the vision to empower their communities through theatrical productions of heightened language. We are committed to the idea that our productions should reflect the communities we represent, and, to that end, we are committed to non-discriminatory hiring practices. In working with local artists, designers, and production teams, Invictus Theatre Company does not discriminate on the basis of race, sex, sexual orientation, gender identity, ability, nationality, citizenship, religion, or any other status protected by law.

Invictus Theatre Company is generously supported by Michael and Mona Heath of The Heath Fund, The Paul M. Angell Family Foundation, Chicago Department of Cultural Affairs and Special Events (DCASE), Untouchable Times Tours, Inc., and the Illinois Arts Council.