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

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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). 

ICEBOY! Premieres at Goodman Theatre JUNE 20 – JULY 26, 2026

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NICK OFFERMAN SET TO JOIN MEGAN MULLALLY 

FOR THE MUSICAL EVENT OF THE SUMMER: 

ICEBOY! 

OR THE COMPLETELY UNTRUE STORY OF HOW EUGENE O’NEILL CAME TO WRITE THE ICEMAN COMETH

**WITH MUSIC BY MARK HOLLMAN, LYRICS BY HOLLMAN AND JAY REISS, BOOK BY ERIN QUINN PURCELL AND REISS, DIRECTED BY MARC BRUNI**

***TICKETS GO ON SALE FRIDAY, MARCH 20 AT 10AM*** 

The new musical that will melt your heart just got even hotter! Emmy Award-winning actor Nick Offerman (Parks and Recreation) returns to his hometown this summer to join his wife, Emmy Award winner Megan Mullally (Will & Grace), for Iceboy! Or The Completely Untrue Story of How Eugene O’Neill Came to Write The Iceman Cometh. With music by Mark Hollman, lyrics by Mark Hollman and Jay Reissand book by Erin Quinn Purcell and Jay Reiss, the Tony Award-winning creators behind Urinetown (Hollmann, with Greg Kotis) and The 25th Annual Putnam County Spelling Bee (Reiss, with Rachel Sheinkin and William Finn) premiere their newest musical in The Goodman’s Centennial Season, directed by Marc Bruni (Broadway’s The Great Gatsby and Beautiful: The Carole King Musical). 

Individual tickets ($44 – $164) go on sale Friday, March 20 at 10am for Iceboy! Or The Completely Untrue Story of How Eugene O’Neill Came to Write The Iceman Cometh, which appears in the 856-seat Albert Theatre June 20 – July 26, 2026* (opening night is June 29); call 312.443.3800 or GoodmanTheatre.org/Iceboy. *NOTE: The production dates for Iceboy! have shifted due to scheduling. Goodman Members or groups holding tickets will be contacted to make arrangements.

“We are thoroughly excited to bring the heat of our marriage back to Chicago, the city where we both cut our theatrical teeth many years ago. Although we were hoping to mount a Tennessee Williams title, city officials reminded us that Chicago has developed an historical aversion to catching on fire and so we have agreed to this considerably less spicy but hilarious new musical called Iceboy!,” said Megan Mullally and Nick Offerman in a joint statement. “Everybody knows this is the best theater town in the country, and the prospect of working together at the venerated Goodman Theatre, which was so important to both of our early careers—especially during its Centennial Season—is just a very special full-circle moment, but within the bounds of the fire code."

Broadway’s brightest star of 1938, Vera Vimm (Megan Mullally), is at the top of her game. But when she adopts a 40,000-year-old Neanderthal discovered frozen in the Arctic, the spotlight begins to shift. As Iceboy thaws, he unexpectedly becomes a theatrical sensation, inspiring the “father of the American drama” Eugene O’Neill (Nick Offerman) and challenging his legendary mother for center stage. It’s All About Eve...if only Eve was a caveman. Complete cast and creative team will be announced soon.

“If you're really lucky, a musical comes your way that makes you breathless with laughter as it captures your heart. And the only thing better than concluding our Centennial Season on a literal high note, is the opportunity to welcome home two virtuoso actors, both of whom have deep Chicago roots,” said Walter Artistic Director Susan V. Booth. “Megan and Nick together on our stage is nothing short of a dream come true. We can’t wait to begin collaborating with them and the phenomenal Iceboy! creators to make something wholly new and special for our city this summer.”

The Goodman is grateful for the support of Edgerton Foundation (New Play Award), Mayer Brown (Lead Corporate Sponsor) and Athletico (Physical Therapy Provider).

ABOUT THE ARTISTS

Megan Mullally (Vera Vimm) created the role of Karen Walker on Will & Grace, a role for which she went on to win two Emmys and four SAG awards. On Broadway, she has starred in How to Succeed in Business, Young Frankenstein, and Grease, in addition to Guys and Dolls at Carnegie Hall, opposite Nathan Lane. On-screen credits include Chasing Summer, Dicks: The Musical, The Righteous Gemstones, Party Down, Reservation Dogs, Bobs’s Burgers, Childrens Hospital, Parks and Recreation, and the upcoming film Goodbye Girl. She tours worldwide with her band Nancy And Beth as creator, lead singer and choreographer.

Nick Offerman (Eugene O’Neill) is an actor, author, humorist and woodworker whose credits include the Emmy award-winning role of Bill in The Last of Us (HBO), Ron Swanson on NBC’s Parks and Recreation, Forest in Devs (FX), and Jinx in Margo’s Got Money Troubles (Apple). Stage credits include the role of Ignatius J. Reilly in A Confederacy of Dunces at the Huntington Theatre, Ulysses in Sharr White’s Annapurna, opposite Megan Mullally as Emma at The Odyssey/Evidence Room in LA and The New Group Off-Broadway, Adding Machine at The Minetta Lane (Off-Broadway) and many Chicago credits at Defiant Theatre (Founding Member), Steppenwolf, A Red Orchid, Wisdom Bridge, Chicago Shakespeare and, of course, his 1994 Goodman debut as The Keeper/Fight Captain in Richard II. Recent screen projects include Death by Lightning (Netflix), Sovereign, Voicemails For Isabel (Netflix), Civil War (written and directed by Alex Garland), The Pout Pout Fish, Origin (written and directed by Ava DuVernay), Mission: Impossible - The Final Reckoning, Fargo (FX), Smurfs, The Umbrella Academy (Netflix), and NBC’s Making It (co-host and executive producer). He is the voice of Beef Tobin in the FOX animated series The Great North and audiobook narrator for Wendell Berry’s latest, The Need to Be Whole.

Mark Hollmann (Music and Lyrics) won the Tony Award®, the Obie Award, and the National Broadway Theatre Award for his music and lyrics to Urinetown The Musical, which went from the 1999 New York International Fringe Festival (FringeNYC) to receive 10 Tony Award® nominations and 11 Drama Desk Award nominations and win the Outer Critics Circle, the Drama League and the Lucille Lortel Awards for best musical. His other shows as composer/lyricist include The Sting (Paper Mill Playhouse), ZM (Village Theatre Beta Series), Yeast Nation (FringeNYC), Bigfoot and Other Lost Souls (Perseverance Theatre), and The Girl, The Grouch and The Goat (University of Kansas Theatre and Chance Theatre). For TV, he has written songs for the Disney Channel’s Johnny and the Sprites. He received his A.B. in music from the University of Chicago, where he won the Louis J. Sudler Award in the Performing and Creative Arts. He has taught at Princeton University, Columbia College Chicago and the Dramatists Guild Institute. He is a member of the American Society of Composers, Authors, and Publishers (ASCAP) and the Dramatists Guild of America, and has served on the council of the Dramatists Guild as well as on the Tony Award® Nominating Committee.

Jay Reiss (Book and Lyrics) is one of the creators of The 25th Annual Putnam County Spelling Bee, which won two Tony awards, and made his Broadway acting debut as the Bee’s word pronouncer, Vice Principal Douglas Panch. He co-wrote the screenplay for The Oranges, which premiered at the Toronto Film Festival, and starred Hugh Laurie, Allison Janney, Oliver Platt and Catherine Keener. He wrote the documentary New Wave: Dare To Be Different, about legendary NY radio Station WLIR. It premiered at the Tribeca Film Festival and later on Showtime. Reiss is a graduate of The Juilliard School’s playwriting program.

Native Illinoisan Erin Quinn Purcell (Book) has been a mainstay in New York’s downtown theater scene for more than 30 years. She was one of the founding members of the critically acclaimed adobe theatre company, and participated as an actor, writer and/or director in countless productions. Writing credits include Duet! A Romantic Fable (Broadway Play Publishing) The Fiona Apple Kwanzaa Explosion (PSNBC) the musical A Fish Story (Jonathan Larson Foundation award) and the Russ Meyer inspired Go-Go Kitty, Go! (Outstanding Play, 2005 New York Fringe Festival).

Marc Bruni (Director) helmed The Great Gatsby (Broadway, West End, Korea) as well as the Tony, Grammy, and Olivier Award-winning Beautiful: The Carole King Musical (Broadway, West End, US and UK Tours, and in Australia- Helpmann Award Best Director). Other credits include Billie Jean (Chicago Shakes), The Sound of Music (Chicago Lyric), Bull Durham (Paper Mill), A Little Night Music (Geffen Hall), Trevor: The Musical (Stage 42, Disney+), Bye Bye Birdie, Guys and Dolls, The Music Man, How to Succeed in Business..., 50 Years of Broadway (Kennedy Center), and Hey, Look Me Over!, Paint Your Wagon, Pipe Dream and Fanny (City Center Encores!), Tale of Despereaux (Old Globe, Berkeley), Love All (La Jolla), The Explorers Club (MTC), Ordinary Days (Roundabout), 9 shows for the St. Louis MUNY.


ABOUT THE GOODMAN
Since 1925, The Goodman has been more than a stage. A theatrical home for artists and a gathering space for community, it’s where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves.

Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection and change through new plays, reimagined classics and large-scale musicals. With distinctions including nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson’s “American Century Cycle.” In addition, the theater frequently serves as a production partner—with national and international companies to Chicago’s Off-Loop theaters—to help amplify theatrical voices.

But The Goodman believes a more empathetic, more connected Chicago is created one story at a time, and counts as its greatest legacy the community it’s built. Generation-spanning productions and programs offer theater for a lifetime; from Theater for the Very Young (plays designed for ages 0-5) to the long-running annual A Christmas Carol, which has introduced new generations to theater over five decades, The Goodman is committed to being an asset for all of Chicago. Education and Engagement programs led by Clifford Director of Education and Engagement Jared Bellot and housed in the Alice Rapoport Center use the tools of theater to spark imagination, reflection and belonging. Each year, these programs reach thousands of people (85% from underserved communities) as well as educators, artists and lifelong learners across the city.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago’s early cultural renaissance. That spirit of creativity and generosity endures today. In 2000, through the commitment of Mr. Goodman’s descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—The Goodman opened the doors to its current home in the heart of the Loop.

Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women’s Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals.

EXTENDED: Goodman Theatre's World Premiere of The Brief Wondrous Life of Oscar Wao Extends Thru April 12th, 2026

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ON STAGE NOW AND JUST EXTENDED: 

THE BRIEF WONDROUS LIFE OF 

OSCAR WAO

MARCO ANTONIO RODRÍGUEZ’S ENGLISH STAGE ADAPTATION OF JUNOT DÍAZ’S BELOVED NOVEL, ADDS 8 PERFORMANCES

The Goodman announces an eight-performance extension for the world premiere of Marco Antonio Rodríguez’s English stage adaptation of The Brief Wondrous Life of Oscar Wao— based on the Pulitzer Prize-winning novel by Junot Díaz. Teatro Vista Artistic Director Wendy Mateo directs this world-premiere production, featuring Humboldt Park’s Lenin Izquierdo in the title role of Oscar, leading a majority-Dominican cast. I'll be out for opening night March 2nd, so check back soon for my full review.

The Goodman’s production complements Rodríguez’s Spanish-language production, La Breve y Maravillosa Vida de Oscar Wao, which he wrote and directed for New York’s Repertorio Español, where it currently appears in selected dates. The Brief Wondrous Life of Oscar Wao is on stage now, running through April 12, in the 380-seat flexible Owen Theatre; extension week performances include April 7, 8 and 10 at 7:30pm, April 9 and 11 at 2pm and 7:30pm and April 12 at 2pm. For tickets ($34-94, subject to change), visit the Box Office (170 N. Dearborn), call 312.443.3800 or purchase online at GoodmanTheatre.org/Oscar. The Goodman is grateful for the support of The Elizabeth Morse Charitable Trust (Lead Sponsor of IDEAA Programming).

“I still remember how I felt after I saw Marco’s Spanish adaptation in New York—stunned, like my world had just tilted,” said Junot Díaz, who won the 2008 Pulitzer Prize and National Book Critics Circle Award for his book The Brief Wondrous Life of Oscar Wao. “The play didn’t just surprise me—it blew me away. The stage version is both a brilliant distillation and a powerful re-imagining of the novel’s deep material, but what is extraordinary is how truthfully Marco’s script engages with the traumas, histories of resilience and irrepressible hearts that made the story what it is. I’m very grateful to everyone at The Goodman—the crews, the actors, the folks behind the scenes making the magic happen. To be given two gifts like Marco’s play in two different languages is more than I ever expected in my lifetime.”

Oscar (Lenin Izquierdo) knows that a nerdy Dominican college freshman isn’t anyone’s idea of a romantic hero. But with the encouragement of Yunior (Kelvin Grullon), his new roommate, he is determined to give love another chance. As Oscar sets out from New Jersey to Santo Domingo to prove his undeniable hope, can he shake the dark “fukú” that has haunted his family for generations? Junot Díaz’s novel comes to vivid life in this English-language world-premiere adaption—a celebration of risk and the power of perseverance against all odds.

Junot Díaz is the author of the critically acclaimed Drown; The Brief Wondrous Life of Oscar Wao, which won the 2008 Pulitzer Prize and the National Book Critics Circle Award; and This Is How You Lose Her, a New York Times bestseller and National Book Award finalist. His first picture book, Islandborn, was a New York Times Bestseller and won the CLASP Américas Award 2019.

Marco Antonio Rodríguez is a Dominican-American, award-winning bilingual writer. Named Top 50 Figure in LatinX and Latin American Theatre by Routledge. Acclaimed plays Ashes of Light and Barceló on the Rocks performed all over the world and published by NoPassport Press (available-Amazon.com & lulu.com). Acclaimed Spanish stage adaptation of Junot Díaz' The Brief Wondrous Life of Oscar Wao just celebrated five years Off-Broadway at the Spanish Repertory Theatre. His play, Bloom, acclaimed run-New York’s IATI theatre. Published by TRW. Half-hour pilot, Our Friendly Neighbors, produced in short film format by DominiRican Productions. National Hispanic Media Coalition Scriptwriters Program Fellow. The Movement Theatre Company x Black List Playwriting Commission winner where he developed his play, Walk-In. New play, Domino Effect, commissioned by People's Theatre Project, to have Off-Broadway world premiere-spring 2025. Recipient-New York Stage & Film and Space on Ryder Farm Residencies. Voices “Uncle Nestor” in Emmy nominated PBS Kids series Alma’s Way and “Alo” the unicorn on Netflix animated series Barbie: A Touch of Magic.

Wendy Mateo is the Producing Artistic Director of Teatro Vista and an actor, writer, director, filmmaker and content creator. Mateo has been seen throughout Chicago’s stages including the Second City and Lookingglass Theatre where she is an ensemble member. Mateo's directing credits include the play Not for Sale 2.0 by Guadalis del Carmen at UrbanTheater Company and ¡Bernarda! By Emilio Williams at Teatro Vista. On television and film, Mateo can be seen on Chicago Med (NBC), as Ronnie in Station Eleven(HBO) and Steve McQueen’s Widows. As a filmmaker, Wendy has written, directed and produced three short films including the latest, Hair, written and directed by Lorena Diaz and Wendy Mateo, now embarking on a film festival tour.

Founded in 1968, Repertorio Español produces an unparalleled repertoire of contemporary and classical plays from Spain, Latin America and the Latinx/e diaspora. Its rich programming spans Spanish Golden Age masterpieces by Calderón de la Barca, Lope de Vega and Ana Caro de Mallén; nearly the complete works of Federico García Lorca, including the rarely staged The Public; acclaimed plays from Argentina, Brazil, Venezuela, Cuba, Mexico, Chile, Uruguay and Puerto Rico; original adaptations of novels by Gabriel García Márquez, Junot Díaz, Julia Álvarez and Isabel Allende; and groundbreaking works by contemporary Latinx playwrights such as Nilo Cruz, Carmen Rivera, Caridad Svich and Marco Antonio Rodríguez. Presenting approximately 200 performances each year, Repertorio draws diverse audiences from across New York and beyond. The Company’s artistic excellence has been recognized with five OBIE Awards, two Drama Desk Awards and two New York State Governor’s Arts Awards. For tickets and more information, visit Repertorio.nyc.


Company of The Brief Wondrous Life of Oscar Wao (in alphabetical order)

By Marco Antonio Rodríguez
Based on the novel The Brief Wondrous Life of Oscar Wao by Junot DíazDirected by Wendy Mateo
Original Spanish production by Repertorio Español

Rossmery Almonte...La Inca
Julissa Calderon...Lola
Yohanna Florentino...Beli
Kelvin Grullon...Yunior
Jalbelly Guzmán...Jenni/Ybon/Trujillo Woman
Lenin Izquierdo...Oscar
Arik Vega...Dionisio/Manny/Capitan/Goon

Understudies include Berny Balbuena (Oscar Wao), Jasmine Bracey (La Inca), Gabriela Furtado Coutinho (Jenni/Ybon/Trujillo Woman), Trey DeLuna (Dionisio/Manny/Capitan/Goon), Melissa F. DuPrey(Beli/Lola) and Adriel Irizarry (Yunior).

CREATIVE TEAM

Costume Designer...Raquel Adorno
Projection Designer...Stefania Bulbarella
Set Designer...Regina Garcia
Lighting Designer...Max Grano De Oro
Sound Designer...Willow James
Cultural Consultant...Rey Andújar
Dialect & Language Coach...Marco Antonio Rodríguez
Dialect & Language Coach Assistant...Yolanny Rodriguez
Intimacy and Violence/Movement Coordinator...Gregory Geffrard
Intimacy and Violence Assistant...Tatiana Bustamante
Movement Assistant...Chels Morgan
Script Assistant...Octavio Montes De Oca
Assistant Director...Lo Williams
Assistant Dramaturg...Anna Rogelio Joaquin
Line Producer and Dramaturg...Kat Zukaitis

Casting is by Lauren Port, CSA. Isabel Patt is the Production Stage Manager.

ENHANCED AND ACCESSIBLE PERFORMANCES

Visit GoodmanTheatre.org/Access for more information about The Goodman’s accessibility efforts.

ASL-Interpreted...March 13 at 7:30pm – An ASL interpreter signs the action/text as played.
Audio-Described...March 14 at 2pm; Touch Tour; 12:30pm – Action audibly enhanced via headset.
Spanish-Subtitled...March 14 at 7:30pm – Spanish-translated dialogue via LED sign.
Open-Captioned...March 15 at 2pm – LED sign presents dialogue in sync with the performance.

ABOUT THE GOODMAN
Since 1925, The Goodman has been more than a stage. A theatrical home for artists and a gathering space for community, it’s where stories come to life—bold in artistry and rich in history, deeply rooted in the city it serves.

Led by Walter Artistic Director Susan V. Booth and Executive Director John Collins, The Goodman sparks conversation, connection and change through new plays, reimagined classics and large-scale musicals. With distinctions including nearly 200 world or American premieres, two Pulitzer Prizes, 22 Tony Awards and nearly 200 Joseph Jefferson Awards, The Goodman is proud to be the first theater to produce all 10 plays of August Wilson’s “American Century Cycle.” In addition, the theater frequently serves as a production partner—with national and international companies to Chicago’s Off-Loop theaters—to help amplify theatrical voices.

But The Goodman believes a more empathetic, more connected Chicago is created one story at a time, and counts as its greatest legacy the community it’s built. Generation-spanning productions and programs offer theater for a lifetime; from Theater for the Very Young (plays designed for ages 0-5) to the long-running annual A Christmas Carol, which has introduced new generations to theater over five decades, The Goodman is committed to being an asset for all of Chicago. Education and Engagement programs led by Clifford Director of Education and Engagement Jared Bellot and housed in the Alice Rapoport Center use the tools of theater to spark imagination, reflection and belonging. Each year, these programs reach thousands of people (85% from underserved communities) as well as educators, artists and lifelong learners across the city.

The Goodman stands on the unceded homelands of the Council of the Three Fires—the Ojibwe, Odawa, and Potawatomi Nations—and acknowledges the many other Nations for whom this land now called Chicago has long been home, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten. The Goodman is proud to partner with the Gichigamiin Indigenous Nations Museum (Gichigamiin-Museum.org) and the Center for Native Futures (CenterForNativeFutures.org)—organizations devoted to honoring Indigenous stories, preserving cultural memory, and deepening public understanding.

The Goodman was founded by William O. Goodman and his family to honor the memory of Kenneth Sawyer Goodman—a visionary playwright whose bold ideas helped shape Chicago’s early cultural renaissance. That spirit of creativity and generosity endures today. In 2000, through the commitment of Mr. Goodman’s descendants—Albert Ivar Goodman and his late mother, Edith-Marie Appleton—The Goodman opened the doors to its current home in the heart of the Loop.

Marsha Cruzan is Chair of the Goodman Theatre Board of Trustees; Diane Landgren is Women’s Board President; and Kelli Garcia is president of the Scenemakers Board for Young Professionals.

NOMINATIONS FOR THE 52nd NON-EQUITY THEATER JEFF AWARDS

THE JEFF AWARDS ANNOUNCES NOMINATIONS 

FOR THE 52nd ANNIVERSARY 

NON-EQUITY THEATER AWARDS 

Celebrating its 52nd anniversary awarding recognition for Non-Equity theater, the Joseph Jefferson Awards announces its nominations for theater excellence among Non-Equity theater during the 2025 season. In keeping with governing Jeff Awards procedures, ballots compiled throughout the entire Non-Equity season are comparatively analyzed to determine the nominees who will be represented in each category. This year’s Non-Equity awards spotlight 147 theater artists across 26 categories of excellence in theater production among shows from 26 companies. During the most recent season, which ran from January 1, 2025, to December 31, 2025, Jeff Awards members attended 102 Non-Equity productions. From these, 47 productions became Jeff Recommended and, therefore, eligible for award nominations.

Theaters well known for their musicals garnered the most total nominations. Theo Ubique Cabaret Theatre led the awards with 20 nominations for three productions, including “Diana the Musical” (10), “Urinetown” (9) and “Tell Me On A Sunday” (one). Kokandy Productions received a total of 17 nominations for “Jekyll and Hyde” which is tied for the largest number for a single production (10) with Theo Ubique’s “Diana: The Musical”, and an additional seven nominations for “Amélie”. Multiple productions at both Invictus Theatre Company and Red Theater earned their institutions 14 and 8 nominations, respectively.

Among New Work, five world premiere plays are in award consideration. In addition, Short Run Productions (nine to 17 performances) have nominees for Production, Direction, New Work, Performers in Principal and Supporting Roles and Design.

“Continuing our mission to recognize artistic and technical excellence on theater stages across Chicagoland we are thrilled to announce the nominees for the upcoming Non-Equity Awards,” said Paulette Petretti, Jeff Awards Chair. “As one of the most active and engaged theater awards organizations in the country, The Jeff Awards is professionally independent and voting members of the committee are unaffiliated with any theater companies or producing organizations. For decades, The Jeff Awards has judged thousands of plays and musicals and honored theatrical work across dozens of categories for eligible theater companies which have invited the organization to evaluate for awards consideration. We are honored to share this year’s nominations.”

2025 NON-EQUITY JEFF AWARD NOMINEES

PRODUCTION – PLAY
“Angels in America” – Invictus Theatre
“At the Wake of a Dead Drag Queen” – The Story Theatre
“Girls & Boys” – Griffin Theatre Company
“One Party Consent” – First Floor Theater
“The Pilon” – Red Theater
“The School for Scandal” – Idle Muse Theatre Company

PRODUCTION – MUSICAL
“Amélie” – Kokandy Productions
“Diana: The Musical” – Theo Ubique Cabaret Theatre
“Jekyll & Hyde” – Kokandy Productions
“Urinetown” – Theo Ubique Cabaret Theatre

ENSEMBLE – PLAY
“Angels in America” – Invictus Theatre Company
“The Pilon” – Red Theater
“The School for Scandal” – Idle Muse Theatre Company
“Shakin’ the Mess Outta Misery” – Pegasus Theatre Chicago
“Strange Cargo: The Doom of the Demeter” – City Lit Theater Company

ENSEMBLE – MUSICAL
“Amélie” – Kokandy Productions
“Diana: The Musical” – Theo Ubique Cabaret Theatre
“Jekyll & Hyde” – Kokandy Productions
“Urinetown” – Theo Ubique Cabaret Theatre

NEW WORK
Zach Barr – “The Pilon” – Red Theater
Susan H. Pak – “The F*ck House” – Strawdog Theatre Company
Omer Abbas Salem – “One Party Consent” – First Floor Theater
Lisa Sanaye Dring – “Kairos” – Red Theater
Chase Wheaton-Werle – “The Curious Circumstances of Louis Le Prince” – The Factory Theater

DIRECTOR – PLAY
Charles Askenaizer – “Angels in America” – Invictus Theatre
Mikael Burke – “At the Wake of a Dead Drag Queen” – The Story Theatre
Jessica Love – “The Pilon” – Red Theater
Nadya Naumaan – “One Party Consent” – First Floor Theater
Robin Witt – “Girls & Boys” – Griffin Theatre Company

DIRECTOR – MUSICAL
Fred Anzevino & Brenda Didier – “Diana: The Musical” – Theo Ubique Cabaret Theatre
Danny Kapinos – “Urinetown” – Theo Ubique Cabaret Theatre
Derek Van Barham – “Amélie” – Kokandy Productions
Derek Van Barham – “Jekyll & Hyde” – Kokandy Productions

PERFORMER IN A PRINCIPAL ROLE – PLAY
Kirk Anderson (Hamm) – “Endgame” – Facility Theatre
William Delforge (Gary) – “Gary: A Sequel to Titus Andronicus” – Redtwist Theatre
Terry Guest (Courtney / Anthony) – “At the Wake of a Dead Drag Queen” – The Story Theatre
Ryan Hake (Prior Walter) – “Angels in America” – Invictus Theatre
Brookelyn Hébert (Hedda Gabler) – “Hedda Gabler” – The Artistic Home
Lenin Izquierdo (Angel Cruz) – “Jesus Hopped the ‘A’ Train” – City Lit Theater Company
Olivia Lindsay (Steff) – “The F*ck House” – Strawdog Theatre Company
David Lovejoy (Galileo) – “Galileo” – Trap Door Theatre
Seoyoung Park (Eliza) – “Tom & Eliza” – TUTA Theatre
Bradford Stevens (Lucius Jenkins) – “Jesus Hopped the ‘A’ Train” – City Lit Theater Company
Scott Westerman (Arthur Pryszbyszewski) – “Superior Donuts” – The Artistic Home

PERFORMER IN A PRINCIPAL ROLE – MUSICAL
Jesús Barajas (Pablo) – “Kid Prince and Pablo” – Lifeline Theatre
Evan Bradford (Giorgio Bachetti) – “Passion” – Blank Theatre Company
Brittney Brown (Fosca) – “Passion” – Blank Theatre Company
Teah Kiang Mirabelli (Charity Hope Valentine) – “Sweet Charity” – Blank Theatre Company
David Moreland (Dr. Henry Jekyll and Mr. Edward Hyde) – “Jekyll & Hyde” – Kokandy Productions
Kate McQuillan (Diana) – “Diana: The Musical” – Theo Ubique Cabaret Theatre
Luke Nowakowski (Bobby Strong) – “Urinetown” – Theo Ubique Cabaret Theatre
Aurora Penepacker (Amélie Poulain) – “Amélie” – Kokandy Productions
Joshua Zambrano (Kid Prince) – “Kid Prince and Pablo” – Lifeline Theatre

SOLO PERFORMER
Cynthia Marker (Woman) – “Girls & Boys” – Griffin Theatre Company
Dani Pike (Emma) – “Tell Me on a Sunday” – Theo Ubique Cabaret Theatre

PERFORMER IN A SUPPORTING ROLE – PLAY
Patrick Blashill (Clarence Seward / Thomas Edison) – “The Curious Circumstances of Louis Le Prince” – The Factory Theater
Amber Dow (Paulina) – “The Winter’s Tale” – Invictus Theatre Company
Caty Gordon (Lady Teazle) – “The School for Scandal” – Idle Muse Theatre Company
Michael D. Graham (Roy M. Cohn) – “Angels in America” – Invictus Theatre Company
Dakota Hughes (Liza Minnelli) – “Queen for a Day” – Hell in a Handbag Productions
Delia Kropp (Rhonda) – “The Pilon” – Red Theater
Cynthia Marker (Wendy Lee Evans) – “One Party Consent” – First Floor Theater
Hanna Rhode (Janice) – “Gary: A Sequel to Titus Andronicus” – Redtwist Theatre
Paul Michael Thomson (Vickie / Hunter) – “At the Wake of a Dead Drag Queen” – The Story Theatre
Anne Trodden (Harper Amaty Pitt) – “Angels in America” – Invictus Theatre Company
Todd Wojcik (Jorge Tessman) – “Hedda Gabler” – The Artistic Home

PERFORMER IN A SUPPORTING ROLE – MUSICAL
Joe Giovannetti (Nino Quincampoix) – “Amélie” – Kokandy Productions
Jacqueline Grandt (Queen / Barbara) – “Diana: The Musical” – Theo Ubique Cabaret Theatre
Rachel Guth (Clara) – “Passion” – Blank Theatre Company
Ava Lane Stovall (Lucy Harris) – “Jekyll & Hyde” – Kokandy Productions
Emily McCormick (Emma Carew) – “Jekyll & Hyde” – Kokandy Productions
Amanda Rodriguez (Hope Cladwell) – “Urinetown” – Theo Ubique Cabaret Theatre
Jack Saunders (Charles) – “Diana the Musical” – Theo Ubique Cabaret Theatre
Ryan Stajmiger (Officer Lockstock) – “Urinetown” – Theo Ubique Cabaret Theatre
Maya Tanaka Allwardt (Little Sally) – “Urinetown” – Theo Ubique Cabaret Theatre
Colette Todd (Camilla) – “Diana: The Musical” – Theo Ubique Cabaret Theatre
Shaina Toledo (Langhorne) – “Kid Prince and Pablo” – Lifeline Theatre Company

MUSIC DIRECTION
T.J. Anderson & Anna Wegener – “Amelie” – Kokandy Productions
Carolyn Brady – “Diana: The Musical” – Theo Ubique Cabaret Theatre
Aaron Kaplan – “Passion” – Blank Theatre Company
Aaron Kaplan – “Urinetown” – Theo Ubique Cabaret Theatre
Nick Sula – “Jekyll & Hyde” – Kokandy Productions

SCENIC DESIGN
Kevin Hagan – “Hedda Gabler” – The Artistic Home
Tatiana Kahvegian – “Tom & Eliza” – TUTA Theatre
Sotirios Livaditis – “Girls & Boys” – Griffin Theatre Company
Ruby Lowe – “Strange Cargo: The Doom of the Demeter” – City Lit Theater Company
Manuel Ortiz – “The Pilon” – Red Theater
Kevin Rolfs – “The House That Will Not Stand” – Invictus Theatre

COSTUME DESIGN
Terrie Devine – “The House That Will Not Stand” – Invictus Theatre
Patty Halajian – “Diana: The Musical” - Theo Ubique Cabaret Theatre
Victoria Jablonski – “The School for Scandal” – Idle Muse Theatre Company
Rachel Lambert – “Hedda Gabler” – The Artistic Home
Jennifer Mohr – “The Blood Countess” - Idle Muse Theatre Company
Racquel Postigilione – “At the Wake of a Dead Drag Queen” – The Story Theatre

CHOREOGRAPHY
Kasey Alfonso – “Kid Prince and Pablo” – Lifeline Theatre
Brenda Didier & Cameron Turner – “Diana: The Musical” – Theo Ubique Cabaret Theatre
Brenda Didier – “Jekyll & Hyde” – Kokandy Productions
Brenda Didier – “Urinetown” – Theo Ubique Cabaret Theatre
Lauryn Schmelzer – “Sweet Charity” – Blank Theatre Company

SOUND DESIGN
Joe Griffin – “Strange Cargo: The Doom of the Demeter” – City Lit Theater Company
Joe Griffin – “War of the Worlds” – Lifeline Theatre
L.J. Luthringer – “The Blood Countess” – Idle Muse Theatre Company
Matt Reich – “Jekyll & Hyde” – Kokandy Productions
Petter Wahlbäck – “Angels in America” -Invictus Theatre

LIGHTING DESIGN
Brenden Marble – “At the Wake of a Dead Drag Queen” – The Story Theatre
G. "Max" Maxin IV – “Amélie” – Kokandy Productions
G. "Max" Maxin IV – “Jekyll & Hyde” – Kokandy Productions
Keith Parham – “Tom & Eliza” – TUTA Theatre
Brandon Wardell – “Angels in America” – Invictus Theatre
Levi J. Wilkins – “The House That Will Not Stand” – Invictus Theatre

PROJECTION DESIGN
DJ Douglass – “Strange Cargo: The Doom of the Demeter” – City Lit Theater Company
G. "Max" Maxin IV – “Angels in America” – Invictus Theatre
David Sajewich – “The Curious Circumstances of Louis Le Prince” – The Factory Theater

ARTISTIC SPECIALIZATION
Jeremiah Barr – Puppet Design – “Strange Cargo: The Doom of the Demeter” – City Lit Theater Company
David Blixt – Fight Choreography – “Superior Donuts” – The Artistic Home
Ayanna Bria Bakari – Wig Design – “At the Wake of a Dead Drag Queen” – The Story Theatre
Victoria Jablonski – Wig Design – “The School for Scandal” – Idle Muse Theatre Company
Rachel Livingston – Properties Design – “The Curious Circumstances of Louis Le Prince” – The Factory Theater
Robin Manganaro – Properties Design – “Gary: A Sequel to Titus Andronicus” – Redtwist Theatre
Chas Mathieu – Properties Design – “The Pilon” – Red Theater
Keith Ryan – Wig Design – “The Real Housewives of the North Pole” – Hell in a Handbag Productions
Petter Wahlbäck – Original Music – “The Winter’s Tale” – Invictus Theatre Company

PRODUCTION – SHORT RUN
“Bernhardt/Hamlet” – Edge of the Wood Theatre
“The Drowning Girls” – Three Crows Theatre
“Helena & Hermia in the Enamored Odyssey” – The Impostors Theatre Co.
“Mr. Parker” – Open Space Arts

DIRECTOR – SHORT RUN
Daniel King – “The Drowning Girls” – Three Crows Theatre
Tony Lawry – “Matt & Ben” – Theatre Above the Law
Stefan Roseen – “Helena & Hermia in the Enamored Odyssey” – The Impostors Theatre Co.
David G. Zak – “Mr. Parker” – Open Space Arts

NEW WORK – SHORT RUN
Dominick Alesia – “Helena & Hermia in the Enamored Odyssey” – The Impostors Theatre Co.
Greta Geiser – “The Pyg Hypothesis” – Theatre Above the Law

PERFORMER IN A PRINCIPAL ROLE – SHORT RUN
Courtney Abbott (Sarah Bernhardt) – “Bernhardt/Hamlet” – Edge of the Wood Theatre
Connar Brown Sprenger (Matt & Ben) – “Matt & Ben” – Theatre Above the Law
Andrew Kain Miller (Terrence) – “Mr. Parker” – Open Space Arts
Shannon McEldowney (Hermia) – “Helena & Hermia in the Enamored Odyssey” – The Impostors Theatre Co.
Cameron Raasdal-Munro (Junior) – “Gangsta Baby” – Open Space Arts
Kendal Romero (Matt & Ben) – “Matt & Ben” – Theatre Above the Law

PERFORMER IN A SUPPORTING ROLE – SHORT RUN
Riley Capp (Justin) – “Mr. Parker” – Open Space Arts
Abby Denault (Maureen) – “Rent” – Suring Films & Theatrics
Stephen Loch (Constant Coquelin) – “Bernhardt/Hamlet” – Edge of the Wood Theatre
Josh Odor (Senior) – “Gangsta Baby” – Open Space Arts
Ian Rigg (Nick Bottom) – “Helena & Hermia in the Enamored Odyssey” – The Impostors Theatre Co.
Sarah Wisterman (Professor Pickering) – “The Pyg Hypothesis” – Theatre Above the Law

DESIGN – SHORT RUN
Elizabeth Niemczyk, Costume Design – “Bernhardt/Hamlet” – Edge of the Wood Theatre
Toria Olivier, Costume Design – “Helena & Hermia in the Enamored Odyssey” – The Impostors Theatre Co.
Jae Robinson, Sound Design – “Pussy Sludge” – Facility Theatre


MULTIPLE NOMINATIONS

By Company
Theo Ubique Cabaret Theatre 20
Kokandy Productions 17
Invictus Theatre Company 14
Red Theater 8
City Lit Theater Company 7
Idle Muse Theatre Company 7
The Story Theatre 7
The Artistic Home 6
Blank Theatre Company 6
The Impostors Theatre Co. 6
Open Space Arts 6
Lifeline Theatre 5
Theatre Above the Law 5
Edge of the Wood Theatre 4
First Floor Theater 4
Griffin Theatre Company 4
The Factory Theater 4
Redtwist Theatre 3
TUTA Theatre 3
Facility Theatre 2
Hell in a Handbag Productions 2
Strawdog Theatre Company 2
Three Crows Theatre 2

By Production

“Diana: The Musical” 10
“Jekyll & Hyde” 10
“Angels in America” 9
“Urinetown” 9
“Amélie” 7
“At the Wake of a Dead Drag Queen” 7
“The Pilon” 7
“Helena & Hermia in the Enamored Odyssey” 6
“The School for Scandal” 5
“Strange Cargo: The Doom of the Demeter” 5
“Bernhardt/Hamlet” 4
“The Curious Circumstances of Louis Le Prince” 4
“Girls & Boys” 4
“Hedda Gabler” 4
“Kid Prince and Pablo” 4
“Mr. Parker” 4
“One Party Consent” 4
“Passion” 4
“Gary: A Sequel to Titus Andronicus” 3
“The House That Will Not Stand” 3
“Matt & Ben” 3
“Tom & Eliza” 3
“The Blood Countess” 2
“The Drowning Girls 2
“The F*ck House” 2
“Gansta Baby” 2
“Jesus Hopped the ‘A’ Train” 2
“The Pyg Hypothesis” 2
“Superior Donuts” 2
“Sweet Charity” 2
“The Winter’s Tale” 2

By Individual
Brenda Didier 4 (1 w/Fred Anzevino, 1 w/ Cameron Turner)
G “Max” Maxin IV 3
Joe Griffin 2
Victoria Jablonski 2
Aaron Kaplan 2
Cynthia Marker 2
Derek Van Barham 2
Petter Wahlbäck 2

ABOUT THE JEFF AWARDS

The Jeff Awards is one of the most active and engaged theater awards organizations in the country evaluating hundreds of theatrical productions annually and holding two awards ceremonies highlighting work over the past Equity and Non-Equity seasons. Through our recommendations, awards, and honors we help foster the growth of companies, encourage artists, bring new appreciation for diverse storytelling, and cultivate civic pride in the achievements of the Chicago theater community. Originally chartered in 1968 to recognize Equity productions, the Jeff Awards Non-Equity Wing was established in 1973 to celebrate outstanding achievement in non-union theater. he Jeff Awards is professionally independent and voting members of the committee are unaffiliated with any theater companies or producing organizations. For more information, visit www.jeffawards.org.


ADDITIONAL INFORMATION ON NOMINATIONS AND THE AWARDS PROGRAM

The Jeff Awards website lists all current nominees, previous recipients and nominations, and other Jeff Awards information and news. Visit www.jeffawards.org.

The 52nd Anniversary Jeff Awards for Non-Equity Theater will be held Monday, March 23, 2026, at the Harris Theater in Chicago, IL. Doors will open at 6:00pm with a cash bar available, and the awards will begin at 7:00pm. Early Bird tickets will become available February 17, 2026, at www.jeffawards.org. General Admission tickets are $62.30 (includes ticket + required fees). A group rate of $54.25 (includes ticket + required fees) is available for parties of 10 or more by contacting the Harris Theater box office at 312-334-777. Festive cocktail attire is suggested, and the public is cordially invited. An after-party will be held at the theater with light food and a cash bar.

REVIEW: The Outsider Now Playing Through February 22 at Oil Lamp Theater

ChiIL Live Shows On Our Radar: 

Oil Lamp's Finding the Funny in Political Theatre 

OIL LAMP THEATER’S 2026 SEASON KICKS OFF WITH 

THE OUTSIDER

NOW PLAYING THROUGH FEBRUARY 22, 2026

DIRECTED BY SCOTT WESTERMAN

A Comedy of Campaign Chaos Kicks Off the New Season

REVIEW

By Bonnie Kenaz-Mara

In the weird microcosm that is Chicago Theatre, you can catch both The Outsider and The Outsiders playing this February. Lest you get confused, the first to open, Oil Lamp Theatre's political comedy, is a laugh out loud slice of hilarious human nature. What a welcome break from the alternating tragedy and absurdist theatre our actual US politics so often descend into these days.  

We were charmed and amused by Ned Newley, a guy too smart, genuine, and nice to be governor. He's been running everything efficiently for years, behind the scenes, while the corrupt governor playboy takes credit for his work and goofs off. When the camera shy, bumbling 2nd in command becomes governor by default, the pr team runs triage and hilarity ensues. Newbie Newley won our hearts, and while the jokes and physical comedy provided a welcome breath of fresh laughter, there's depth and truth to this tale too. It's about time we take another look at slickness over substance; image over integrity, and start picking politicians with brains and a moral compass, over social media fluff that polls well. 

The entire cast brought a high energy, playful vibe to the production, that's well worth a trek to suburban Glenview. Even my husband, a location sound engineer, who's done plenty of political press junkets over the decades, thought it was quite funny and spot on. He's run audio for Joe Biden (ABC: World News Tonight) and George W Bush (CNN),  as well as lots of local politicians, so he found the crew bits particularly funny. 

The Outsider's got our vote! Three out of three stars. ★★★ Recommended. 

Kudos also to Oil Lamp on their recent expansion with the SPARK CENTER, which offers arts education for all ages with a focus on youth. In September 2025, Oil Lamp launched Light The Way, a transformative fundraising campaign designed to expand arts education, strengthen essential staff and establish a larger performance venue. Here at ChiIL Live Shows, we've been covering Oil Lamp for years and we're excited to see what's next for this intrepid, suburban storefront. We hope they'll continue with the beloved, free chocolate chip cookies from Misericordia, in their new lobby, too. 

Bonnie is a Chicago based writer, theatre critic, photographer, artist, and Mama to 2 amazing adults. She owns two websites where she publishes frequently: ChiILLiveShows.com (adult) & ChiILMama.com (family friendly).

Oil Lamp Theater’s first production of its 2026 season, The Outsider, written by Paul Slade Smith and directed by Scott Westerman, is now playing through February 22 at Oil Lamp Theater, 1723 Glenview Road. The running time, including the intermission, is two hours and 15 minutes. The performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 3 and 7:30 p.m. and Sundays at 3 p.m. There will be additional Wednesday performances Jan. 28 and Feb. 11 at 11 a.m. and 3 p.m. and Feb. 18 at 7:30 p.m. There will be an understudy performance on Wednesday, Feb. 4 at 7:30 p.m.Tickets are on sale now for $30 for previews and $55 for the run at OilLampTheater.org.

When the sitting governor gets kicked out of office for, you guessed it, corruption, it’s time for someone new to take the throne… uh...the role. And the polls are in, it's time for an outsider. Enter bumbling brainiac Ned Newley. With bright ideas and hope in his eyes, he’s the perfect candidate - on paper. It will take a team of dedicated pollsters, campaign coordinators and more notecards than one can count, to turn him into a poised politician who can expertly avoid questions like it's his job. This knee-slappingly hilarious play will have the audience reaching across the aisle to share a laugh. Audiences may even find a renewed sense of hope for politics…okay maybe not… but they'll at least enjoy an absolutely hysterical and highly entertaining break from the news.

The cast of The Outsider includes (in alphabetical order) Andrew Bosworth (he/him, Arthur Vance); Sara DiPasquale (she/her, Rachel Parsons); Kenneth D. Johnson (he/him, A.C. Petersen); Michael Morrow (he/they, Dave Riley); Melody Rowland (she/her, Paige Caldwell); William Ryder (he/him, Ned Newley) and Jenna Steege (she/they, Louise Peakes) with understudies Sam Fain (he/they, U/S Ned Newley and U/S Arthur Vance); Stanley King (he/him, U/S A.C. Petersen); Megan Kueter (she/her, U/S Paige Caldwell and U/S Rachel Parsons); Sean Price (he/him, U/S Dave Riley), and Amy Yulish (she/her, U/S Louise Peakes).

The production team includes Scott Westerman (he/him, director); Sara Segneri (she/her, stage manager); Connor Windle (she/her, production manager); Rose Leisner (she/her, company manager); Spencer Donovan (he/him, scenic designer); Ellen Markus (she/her; properties designer); Janelle Smith (she/they; costume designer); Rachel D. Hemm (she/her, lighting designer); Alex Trinh (he/him, sound designer) and Andy Cahoon (he/him, technical director).

ABOUT PAUL SLADE SMITH, Playwright

Paul Slade Smith is an actor and playwright living in Brooklyn, New York with his wife, actress Erin Noel Grennan. He received a Helpmann Award nomination for his performance as “Willy Wonka” in the Australian premiere of the Broadway musical Charlie and the Chocolate Factory. ​Stateside, his acting credits include: the original Broadway casts of Charlie and the Chocolate Factory, Finding Neverland and the 2018 Lincoln Center revival of My Fair Lady; U.S. national tours of Wicked (“Doctor Dillamond”), My Fair Lady (“Jaime”) ​and The Phantom of the Opera; and productions at American Repertory Theatre, The Goodman, Steppenwolf, Chicago Shakespeare Theater, ​Alabama Shakespeare Festival, Paper Mill Playhouse, The Goodspeed, Geva Theatre Center, Asolo Repertory and Theatre Under the Stars in Houston, Texas. His TV credits include NBC's “The Blacklist” and “The Other Two” and “The Gilded Age”, both on HBO. He is the award-winning author of three plays: Unnecessary Farce, The Outsider and Theatre People, or the Angel Next Door.

ABOUT SCOTT WESTERMAN, Director

Scott Westerman is the founding artistic director of Go To Productions, a 501©3 nonprofit which develops projects that explore the nexus between live theatre and film. He created and directed the web series “Hamlet & Ophelia” which won Best Picture at the New York Film Awards, Best Web Series at the LA Film Awards and Best Mobile Series at the 2022 New Media Film Festival. Westerman has directed stage productions for The Artistic Home, Citadel Theatre, ChiArts, City Lit Theatre, Chimera Theatre Company, Beyond This Point, Barter Theatre, Stage Left Theatre, The Smithsonian Institution, American Theatre Company (Bridge) and Reverie Theatre Company. He is a member of the Screen Actors Guild, an ensemble member with The Artistic Home, represented by Gray Talent Group and a teaching artist with Lookingglass Theatre, Writers Theatre and Filament Theatre. He has an MFA from The Shakespeare Theatre Academy. As an actor, he has worked with Steppenwolf Theatre, Writers Theatre, Chicago Shakespeare Theatre, Lookingglass, Northlight Theatre, The Shakespeare Theatre Company and Ford’s Theatre in DC, Everyman Theatre in Baltimore, the Warehouse Theatre in South Carolina and the Barter Theatre in Virginia to name a few. On camera credits include “Chicago Fire,” “Machine Gun Preacher” and “Prison Break.”


MORE FROM FROM OIL LAMP THEATER

Poor Behavior
April 10 – May 10, 2026

By Theresa Rebeck
Directed by Lauren Katz
Preview Performances: Friday, April 10 at 7:30 p.m. and Saturday, April 11 at 3 p.m.
Opening Night: Saturday, April 11 at 7:30 p.m.

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, April 15 at 11 a.m and 3 p.m.; Wednesday, April 22 at 7:30 p.m.; Wednesday April 29 at 11 a.m. and 3 p.m.; and Wednesday May 6 at 7:30 p.m.

A visit from old friends takes an unexpected turn when a bombshell accusation throws niceties out the window. Hospitality turns to havoc. Sanity shatters into shambles. Manners take a backseat as two couples are pushed to their limits during a weekend in the country. Will they be able to pick up the pieces over wine and muffins or will their poor behavior leave them irrevocably broken? Find out in this sharp-witted play by acclaimed playwright Theresa Rebeck.

The Last 5 Years
June 5 – July 5, 2026

Book, music and lyrics by Jason Robert Brown
Directed by Christina Ramirez
Music Directed by Amy Branahl
Preview performances: Friday, June 5 at 7:30 p.m., Saturday June 6 at 3 p.m.
Opening Night: Saturday, June 6 at 7:30 p.m.

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, June 10 at 11 a.m. and 3 p.m.; Wednesday June 17 at 7:30 p.m.; Wednesday, June 24 at 11 a.m. and 3 p.m.; and Wednesday July 1 at 7:30 p.m. There are no performances on Saturday July 4.

Straight from Broadway, Jason Robert Brown’s musical masterpiece The Last Five Years comes to Oil Lamp Theater. This widely beloved show takes audiences on the romantic rollercoaster of Jamie and Cathy as they fall in and out of love over the last five years. Told from each individual’s perspective – one chronologically and one backwards – audiences will be swept into the unique storytelling and find an anti-love story full of humor and heart. Hailed as a powerful and intimate production, this Drama Desk Award-winner for Outstanding Music is not to be missed.

I Love You Because
August 14 – September 13, 2026

Book and Lyrics by Ryan Cunningham
Music by Joshua Salzman
Directed by Scott Shallenbarger
Music Directed by Aaron Kahn
Preview Performances: Friday, Aug. 14 at 7:30 p.m. and Saturday Aug. 15 at 3 p.m .
Opening Night: Saturday, Aug. 15 at 7:30 p.m.

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday Aug. 19 at 11 a.m. and 3 p.m.; Wednesday, Aug. 26 at 7:30 p.m.; Wednesday September 2 at 11 a.m. and 3 p.m.; and Wednesday September 9 at 7:30 p.m.

Modern dating is a mess. Sometimes to find Mr. Right you need to find Mr. Wrong even if that means seeing someone stuck on their ex, awkward encounters of the intimate kind and lots of horrible coffee dates. Opposites attract in this feel-good musical that will transport audiences into the heart of your favorite guilty pleasure rom-com. Created by acclaimed musical team Ryan Cunningham and Joshua Salzman and inspired by Jane Austen’s gold-standard romance novel “Pride and Prejudice,” this delightful musical will make you fall head over heels.

Dial M for Murder
October 2 – November 1, 2026\

Adapted by Jeffrey Hatcher from the original play by Frederick Knott
Directed by Daniel King
Preview Performances: Friday, Oct. 2 at 7:30 p.m. and Saturday Oct. 3 at 3 p.m.
Opening Night: Saturday, Oct. 3 at 7:30 p.m.

Performance schedule: Thursdays and Fridays at 7:30 p.m.; Saturdays at 3 p.m. and 7:30 p.m. and Sundays at 3 p.m. with additional Wednesday performances Wednesday, Oct. 7 at 11 a.m. and 3 p.m.; Wednesday Oct. 14 at 7:30 p.m.; Wednesday Oct. 21 at 11:00 a.m. and 3 p.m. and Wednesday, Oct. 28 at 7:30 p.m.

Alfred Hitchcock’s adored, chilling thriller gets a modern twist that no one will see coming. A murderous misstep begins a high-stakes hunt for the real criminal as time is quickly running out. This captivating, heart-racing play leaves audiences on the edge of their seats while the mystery of the year unravels before their eyes. Will the clues unlock the right person, or will an innocent victim pay the price? The suspense is to die for…

*All productions, dates, creatives, etc. are subject to change.


ABOUT OIL LAMP THEATER

Oil Lamp Theater is a professional nonprofit performing arts organization in Glenview, Illinois, welcoming over 10,000 patrons annually from more than 225 communities—41% from Glenview and others from across the North Shore and Chicago. Since establishing its intimate 60-seat home in downtown Glenview in 2012, Oil Lamp has grown into a cultural beacon, earning recognition as “Best Live Theatre in the North Shore” for four consecutive years.

With more than 70 productions to date, Oil Lamp is known for its dynamic Mainstage season, special events and its resilience during the pandemic, when it innovated with drive-in performances and outdoor productions. Today, the theatre continues to foster connection, broaden horizons and illuminate the human condition through professional theater and year-round programming.

In addition to its productions, Oil Lamp recently expanded with the SPARK CENTER, which offers arts education for all ages with a focus on youth. These process-driven classes inspire a lifelong love of the arts while equipping students with creativity, confidence and critical life skills.

In September 2025, Oil Lamp launched Light The Way, a transformative fundraising campaign designed to expand arts education, strengthen essential staff and establish a larger performance venue with the goal of staying in downtown Glenview. Building on its roots as a scrappy storefront, Oil Lamp is evolving into a more robust organization—without losing the intimacy and warmth that define its theater experience. Oil Lamp Theater hopes this announcement inspires excitement throughout the community. Interested community members are invited to learn more by reaching out to the theater and staying tuned as additional news is shared in the near future. For information or to support the campaign go to OilLampTheater.org/Light-the-Way or reach out to Oil Lamp at light-the-way@oillamptheater.org.

Production photo credit: Gosia Matuszewska - GosiaPhotography.com for Oil Lamp Theater’s The Outsider, now playing through February 22 at Oil Lamp Theater, 1723 Glenview Road in Glenview.

REVIEW: The Harlem Doll Palace at The 8th Chicago International Puppet Theater Festival Now Playing Through January 4, 2026

 ChiIL Live Shows On Our Radar

Alva Puppet Theater: The Harlem Doll Palace

REVIEW: 

By Bonnie Kenaz-Mara

Don't let the demure looking tea party fool you. This show is full of harrowing true life tales of a contemporary break in, a theft, an assault, a flood, and generational family trauma dating back to the days of legalized slavery. It's also full of endurance, joy, famous visitors, and a passion for collecting thousands of valuable, historical dolls that borders on obsession. Welcome to The Harlem Doll Palace, based on the true story of Lenon Holder Hoyt, better known as Aunt Len, a public school art teacher for 40 years who created a doll museum in her Harlem brownstone. 

We're huge fans of stories about interesting people and are so happy the story of Aunt Len and her passion project is being preserved. We weren't expecting the wonderful contemporary songs and the depth and breadth this historical puppet piece covers. Framing her story as a puppet show and anthropomorphizing her collection is strongly effective storytelling. We found this show not only informative, but entertaining as well, with strongly positive social justice, black, and queer elements. Highly recommended. 

Bonnie is a Chicago based writer, theatre critic, photographer, artist, and Mama to 2 amazing adults. She owns two websites where she publishes frequently: ChiILLiveShows.com (adult) & ChiILMama.com (family friendly).

Chicago Puppet Fest and Reva & David Logan Center for the Arts at the University of Chicago present:

Alva Puppet Theater: The Harlem Doll Palace

Join the dolls from the “dollection” inside Aunt Len’s Doll and Toy Museum as they recreate their journeys to the museum and seek to keep its beloved founder alive while Harlem deteriorates around her. 

Event Details

Dates/Times:
Thursday, January 22 at 4 p.m.
Thursday, January 22 at 7:30 p.m.
Friday, January 23 at 4 p.m.
Friday, January 23 at 7:30 p.m.
Saturday, January 24 at 6 p.m.

Location:
Reva & David Logan Center for the Arts, Theater East, UChicago
915 E. 60th St.

Cost:
$43 Regular
$35 Students and Seniors

Ages: 10 and up

Running Time: 80 mins

Click here for video and full details.

Marriott Theatre Presents Little Shop of Horrors January 21 Through March 15, 2026

ChiIL Live Shows On Our Radar

Peter Blair, Executive Producer

Peter Marston Sullivan, Artistic Director

Presents

The Sci-Fi Cult Musical Favorite

Chicagoland’s longest-running musical theatre, Marriott Theatre, opens its highly anticipated 2026 season with the long-requested fan favorite, Little Shop of Horrors, previewing Wednesday, January 21, opening Wednesday, January 28, and running through Sunday, March 15. Directed and choreographed by Tommy Rapley (Marriott Theatre:James and the Giant Peach, Big Fish) and featuring music direction by Jeff Award winner Ryan T. Nelson, this production brings the beloved, darkly comic musical to life with a blend of sci-fi flair, 1960s pop, and outrageous theatrical imagination. I'll be out to review on Wednesday, February 11th, so check back shortly after for our full coverage. 

Little Shop provides a tasty musical theatre recipe: start with well-intended people in dire and seemingly inescapable circumstances. Add a healthy handful of love, plenty of greed, a touch of murder, and a dash of carnivorous magicalplant from outer space. Mix well with a banging score by Alan Menken and the incredible talents of this Chicago-based cast, and you have yourself a rollicking good time. Puppets are the icing on the cake.

“I hope that audiences leave the theatre with guts sore from laughing, with hearts heavy for our tragic and loveable lovers, and with ears joyfully ringing with this delectable score,” said director and choreographer Tommy Rapley. “And also, with a little more empathy for the folks who are desperately trying to get by-well-intended people in dire and seemingly inescapable circumstances who haven’t succumbed to the murderous temptations of a man-eating plant… yet. Perhaps if we build better roads in and out of Skid Row, and care more for the people who live there, we can save the world before The Plant consumes us all.”

Little Shop of Horrors stars Jackson Evans as “Seymour” (Marriott Theatre: Singin’ in the Rain, A Christmas Story, Charlie Brown); Maya Rowe as “Audrey” (Marriott Theatre: Beautiful: The Carole King Musical, Disney's Finding Nemo; Theo Ubique: A Little Night Music–Jeff Award Winner, Best Supporting Actress); Andrew Mueller as “Orin & Others” (Marriott Theatre: Beautiful: The Carole King Musical–Jeff Award, Man of La Mancha, For The Boys); Mark David Kaplan as “Mr. Mushnik” (Marriott Theatre: Titanic, Oliver!, Anything Goes); Lorenzo Rush Jr. as “Audrey II (Voice)” (Marriott Theatre:Joseph…,A Christmas Story, The Wizard of Oz); with Lydia Burke, Daryn Harrell, Miciah Lathan, and Garrett Lutz; Ensemble Jordan Anthony Arredondo, and Ed Kross; and understudies Marta Bady, Dan Gold, Darryl D'Angelo Jones, and Arwen-Vira Marsh. Starting March 4th the role of “Audrey” will be played by Amanda Walker.

The artistic team features Costume Design by Amanda Vander Byl, Lighting Design by Jesse Klug, Sound Design by John Johnson, Scenic Design by Milo Bue, Props Design by Ivy Thomas, Puppet Design by Jesse Mooney-Bullock, Wig Design by Miguel Armstrong and Stage Manager Richard Strimer.
Little Shop of Horrors is scheduled to run Wednesdays at 1 p.m. and 7:30 p.m., Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 4 p.m. and 8 p.m., and Sundays at 1 p.m. and 5 p.m., with select Thursday 1:00 p.m. shows. 

Call for dinner-theatre, student, senior, and military discounts. Free parking is available at all performances. 

To reserve tickets or become a Marriott Theatre subscriber, please call the Marriott Theatre Box Office at 847.634.0200 or go to www.tickets.marriotttheatre.com. Visit www.MarriottTheatre.com for more information. To make a restaurant reservation, please call 847.634.0100.

Theater Grottesco Presents ACTION AT A DISTANCE… IN 2025 NOVEMBER 13 - 16 AT FACILITY THEATER

SIX PLAYS, FOUR ACTORS, ONE STAGE: COLLIDE IN 

ACTION AT A DISTANCE… IN 2025 

A BOLD THEATRICAL CHICAGO PREMIERE OF A FAY|GLASSMAN PERFORMANCE STAGED WITH THE COLLABORATION OF THEATER GROTTESCO

NOVEMBER 13 - 16 AT FACILITY THEATER 

Santa Fe’s celebrated physical theater ensemble, Theater Grottesco, proudly announces a limited Chicago engagement for Action at a Distance … in 2025, November 13 - 16 at Facility Theater, 1138 N. California Ave. Action at a Distance … in 2025 is a bold theatrical experiment from Fay|Glassman Performance crafted in collaboration with Theater Grottesco. 

This new production, graphically scored in detail, offers a kaleidoscopic theatrical experience that is closer to music composition and dance, blending six simultaneous plays performed on a 10ft x 10ft stage by four actors. In 2018, the two companies received a national grant from the Network of Ensemble Theaters for five weeks of outlandish theatrical research and development. 

After four months of intensive work in 2025, the fully-developed production comes to Chicago for a limited engagement. The performance schedule is Thursday, Nov. 13 - Saturday, Nov. 15 at 8 p.m. and Sunday, Nov. 16 at 3 and 8 p.m. 

Theater Grottesco and Fay|Glassman Performance are committed to making the performances accessible. As part of this commitment, the companies welcome audiences with a sliding scale of ticket prices from $15 - $30.

 Tickets are on sale now and available at: LisaFayAndJeffGlassmanDuo.org/tickets. Action at a Distance ... in 2025 is an original work of new theatrical form that breaches several of theatre’s conventional boundaries. Using techniques often found in film, musical composition and dance such as innovative physical “jump cuts” and “gestural choreography,” characters and actions depart from common representations of time and space, to create moments of astonishing synchronicity, while actors fluidly transform among multiple characters and interact across disparate scenes. 

This dynamic, multilayered performance challenges traditional storytelling, immersing audiences in a constantly shifting mosaic of interactions and emotions. Action at a Distance … in 2025 follows the structural truths when people distraught and disconnected from one another live together, in imperceptible yet finely-tuned synchronicity, as do the actors on this stage. Much like the bustle of a crowded airport, Action at a Distance captures the unpredictability within human connections. 

Six original plays happen simultaneously as performed by four dynamic actors who seamlessly switch between narratives using some of the techniques invented by the Fay|Glassman Performance duo, creating an ever-shifting structural mosaic of simultaneous stories, with juxtaposition, montage, irony and satire, brought to life on a 10ft x 10ft stage. 

Six plays. One tiny stage. All happening at once. But what does that actually mean? The plays: 1. A family with a crying child frantically prepares to evacuate their home in advance of a hurricane. 2. An international human rights lawyer flees her international arms-dealing partner. 3. A filmmaker interviews a doctor who volunteered at the Occupy Wall Street tent camp in 2011. 4. A union local hosts an address by a revolutionary Venezuelan union leader. 5. An artist prepares a gallery installation of the UN negotiator's office for the 1948 Palestine Mandate, just before the negotiator’s assassination by the Stern Gang. 6. A financial mogul is unnerved by a rock, with a photo attached, smashing his window. 

The Action at a Distance … in 2025 cast includes John Flax (he/him), Apollo Garcia Orellana (he/they), Elizabeth Glass (she/her) and Danielle Louise Reddick (she/her). The creative team includes Jeff Glassman (he/him, composition/director); Lisa Fay (she/her, composition); Elizabeth Glass (she/her, Santa Fe directing assistance); William Miglino (he/him, Santa Fe rehearsal manager); Richard Norwood (he/him, lighting, Chicago); Joshua Billiter (he/him, lighting, Santa Fe); Julie Williams (she/her, production manager and consultant, Chicago); Stefan Brun (he/him, production manager and consultant, Chicago); Marc Romanelli (photography) and Mariah Olesen (she/her, media materials, consulting and photography). 

ABOUT THE LISA FAY AND JEFF GLASSMAN DUO (FAY|GLASSMAN PERFORMANCE) The Lisa Fay and Jeff Glassman Duo are known for creating theatre that ranges from humorous and disarming to mesmerizing and disorienting. Their work applies composed structures to ordinary human behavior, just as electronic music applies composed structures to ordinary sounds. The techniques they’ve developed over 40 years allow us to observe methodically re-organized behavior in social space. The reflections can be cathartic and awakening, opening windows on new ways of seeing humanity. New doubts and new truths arise about what’s happening “right now.” 

ABOUT THEATER GROTTESCO Founded in Paris in 1983, Theater Grottesco is known internationally for visual and explosive physical productions. The Grottesco Ensemble rekindles interest in live performance by juxtaposing classical and modern theatrical styles with daring, poetic research of culture and imagination, giving voice to marginal elements of contemporary society and taking audiences to the brink of emotional wonder and soulful reflection. Theater Grottesco is celebrating its 29th year in Santa Fe and is a 2017 award winner of the National Theater Program. 

ABOUT THE CREATIVE PROCESS Both companies create collaboratively, involving intensive workshops, improvisation and experimentation with an eye toward making a new work of art instead of crafting an already existing play. Devising a new play often takes years. As for the work's rigorous movement, Glassman has said, “Theater Grottesco is the only company I know of that could handle the strange physicality of this work.” Special thanks for media and publicity materials and advising to Mariah Olesen, Santa Fe; to artists Myriah Duda and Koppany Pusztai, Santa Fe; to Estevan Vigil on lights, Santa Fe; Fay|Glassman Performance for their production support and to Lisa Fay for her keen and cracking good, decades long, artistic consultation and enduring support for this project.

This program supported in part by a grant from the Illinois Arts Council