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

ChiIL Live Shows On Our Radar 

THE CONSPIRATORS PRESENT

VIVA LA MORT

MAY 16 - JUNE 9, 

AT OTHERWORLD THEATRE

It’s the Conspirators, but With Music! 

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

A happy eighth marriage

Photo by Candice Conner, Oomphotography

(left to right) Liam Ouweleen, Libby Conkle

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

Guest Review

by Dugan Kenaz-Mara

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

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

Mort sees Viva for the first time in decades

Photo by Candice Conner, Oomphotography

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

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

Lex Mann Turner, and Madison Rivers

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

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

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

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

VIVA!

Photo by Candice Conner, Oomphotography

Libby Conkle as Viva

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

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

Northwestern University.

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

Photo by Candice Conner, Oomphotography

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

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

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

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

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

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

ABOUT WM. BULLION (Director, Artistic Director)

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

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

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

ABOUT THE CONSPIRATORS

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

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

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

 

(Conspirators_Viva_4) Viva’s newest video drop

Photo by Candice Conner, Oomphotography

Libby Conkle as Viva

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

Costumes by Kit Medic

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

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PULITZER PRIZE-WINNING 

ENGLISH


By Sanaz Toossi


Directed by Hamid Dehghani


May 10 – June 16, 2024
 

OPENS TONIGHT AND EXTENDS BY POPULAR DEMAND

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

All Production Photos by Liz Lauren

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

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

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

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

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

Sahar Bibiyan

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

Roxanna Hope Radja

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

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

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

Full Company of English (in alphabetical order)

By Sanaz Toossi

Directed by Hamid Dehghani

Sahar Bibiyan…..Roya

Nikki Massoud……Elham

Roxanna Hope Radja…..Marjan

Pej Vahdat……Omid

Shadee Vossoughi……Goli

Creative Team

Set Designer…..Courtney O’Neill

Costume Designer ……Shahrzad Mazaheri

Lighting Designer…..Jason Lynch

Sound Designer ….Mikaal Sulaiman

Assistant Lighting Designer…..Andrew Vance

Assistant Director….Jamal Howard

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

Nikki Massoud and Shadee Vossoughi.

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

ENHANCED AND ACCESSIBLE PERFORMANCES AT GOODMAN THEATRE

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

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

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

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

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

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

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

ABOUT GOODMAN THEATRE

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

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

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

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

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

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

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

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

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

THE SINGULARITY PLAY 

BY JAY STULL AND DIRECTED BY GEORGETTE VERDIN 

MAY 19 - JUNE 22 AT BERGER PARK

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

The running time is currently 95 minutes with no intermission. 

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

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

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

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

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

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

ABOUT JAY STULL, PLAYWRIGHT THE SINGULARITY PLAY

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

ABOUT GEORGETTE VERDIN, DIRECTOR THE SINGULARITY PLAY

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

ABOUT JACKALOPE THEATRE

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

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

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

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

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

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THE FACTORY THEATER ANNOUNCES

DIE HARD 4 YOUR LUV 

MAY 31 - JULY 13 

WRITTEN BY KIRK PYNCHON AND MIKE BEYER

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

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

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

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

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

 **Denotes The Factory Theater Ensemble Emeritus

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

ABOUT KIRK PYNCHON, playwright

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

ABOUT MIKE BEYER, playwright

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

ABOUT BECCA HOLLOWAY, director

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

ABOUT THE FACTORY THEATER

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

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

 

Photo Recap and Review: Good Kid at Thalia Hall, Chicago April 25, 2024

ChiIL Live Shows On Our Radar

U.S. - CANADA - EUROPEAN TOUR:

GOOD KID 

SOLD-OUT SHOWS IN SEATTLE, LOS ANGELES, DALLAS, WASHINGTON, NEW YORK, CHICAGO, AND MANY MORE CITIES

Guest Review and photos 

by Dugan Kenaz-Mara 

Good Kid was incredibly fun to attend, even as someone who did not know their music beforehand. They had a great stage presence and made fun banter with the audience, giving us insight into a lot of their history and the backstories behind their music. 

As a theater designer I was intrigued by the stage design. All of the elements worked really well together and made the environment unique. The lights were dynamic and the backdrop brought their style to life on stage. They also had moving hot air balloons that went up and down during the set and had projections on screens outfitted to look like speakers. These displayed pixel art versions of the band and their art and were also used to show lyrics when the audience was instructed to sing along with them during “tell me you know” and “Witches”. Especially observant audience members might have also noticed that the speakers were branded with ‘Mimi’s Tone Service’, which references their song Mimi's Delivery Service. 

During the entire show the crowd was enthusiastic, and the band knew how to keep the energy up. They had many bits that they brought us into, from hiding the setlist in a unicorn piñata to laying on the ground during a break between songs and bringing out a “Wheel of Chaos”

The wheel of chaos is spun each performance and includes options like playing their song “faster” faster every time they say the word ‘faster’, singing a Sea Shanty, and having a Beyblade battle. We were treated to a cover of All Star by Smash Mouth when the wheel landed on an option called “Get Shrek’d”. 

The band also had a super fun relationship with their opener - Adan Diaz. They brought him and his bassist out to cover a song, and they swapped drummers twice - once in the opener and once during the set. 

Good Kid was definitely worth seeing in concert. Their music was catchy and a few of their songs made it onto my playlists after the show. 

Thalia Hall, Chicago 4/25/24 Set list included:

• Down with the King

• First rate town

• Atlas

• Premier Inn

• Witches

• Ground

• Tell me you know

  
  

  Check out our full set of photos HERE

  
  

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

Credit: Dugan Kenaz-Mara

The freshly JUNO-nominated indie outfit Good Kid recently unveiled their latest single, “Summer,” along with an enchanting animated music video by XrayAlphaCharlie. “Summer” finds Good Kid delivering another of their signature indie earworms, with singer Nick Frosst's clever lyrics and catchy hooks taking center stage on this irresistible indie-pop hit. We'll be out to shoot stills at their Chicago Thalia Hall show. Check back soon for our photo filled recap.

The new single came out ahead of the sold out U.S. Tour and the band’s highly anticipated EP, Good Kid 4 now out as of March 27th. Click HERE to stream. The band's previous single from the EP “Bubbly” had Billboard raving that it was “one of Canada’s hot new radio songs…right up there with Beyoncé.”

2024 TOUR DATES:

2024 NORTH AMERICAN TOUR DATES:

MAR 29 - Vancouver, BC - The Pearl [SOLD OUT]

MAR 30 - Seattle, WA - Crocodile [SOLD OUT]

MAR 31 - Portland, OR - Hawthorne [SOLD OUT]

APR 02 - San Francisco, CA - The Independent [SOLD OUT]

APR 03 - San Francisco, CA - The Independent [SOLD OUT]

APR 05 - San Diego, CA - Quartyard [SOLD OUT]

APR 06 - Los Angeles, CA - El Rey [SOLD OUT]

APR 07 - Los Angeles, CA - El Rey [SOLD OUT]

APR 09 - Phoenix, AZ - Crescent Ballroom [SOLD OUT]

APR 12 - Austin, TX - Empire Garage [SOLD OUT]

APR 13 - Dallas, TX - Ferris Wheeler [SOLD OUT]

APR 15 - Atlanta, GA - Masquerade (Heaven) 

APR 16 - Carrboro, NC - Cat's Cradle 

APR 17 - Washington, DC - 9:30 Club [SOLD OUT]

APR 19 - Brooklyn, NY - Elsewhere Hall [SOLD OUT]

APR 20 - Philadelphia, PA - Theatre Of Living Arts [SOLD OUT]

APR 21 - Boston, MA - Sinclair [SOLD OUT]

APR 22 - Brooklyn, NY - Elsewhere Hall 

APR 25 - Chicago, IL - Thalia Hall [SOLD OUT]

APR 26 - Detroit, MI - El Club [SOLD OUT]

MAY 10 - Toronto, ON - Danforth Music Hall [SOLD OUT]

MAY 30 - Waterloo, ON - Maxwell's 

MAY 31 - Montreal, QC - Le Studio 

JUN 01 - Ottawa, ON - The Bronson Centre 

 

2024 EUROPEAN TOUR DATES:

SEP 15 - Dublin, IE - The Academy

SEP 17 - Brighton, UK - CHALK

SEP 19 - London, UK - O2 Forum Kentish Town

SEP 20 - Bristol, UK - SWX

SEP 21 - Birmingham, UK - O2 Institute 2

SEP 23 - Nottingham, UK - Rescue Rooms

SEP 25 - Glasgow, SCT - Galvanizers SWG3

SEP 26 - Manchester, UK - Manchester Academy 2

SEP 27 - Leeds, UK - Stylus

SEP 29 - Amsterdam, NL - Paradiso Grote Zaal

OCT 01 - Cologne, DE - Gebäude 9

OCT 02 - Berlin, DE - Badehaus

OCT 03 - Hamburg, DE - Knust

The upcoming six-track EP also features the hugely popular single “From The Start'', which garnered 1 million streams in just 24 hours, and has since accumulated 24 million more. Known for their eclectic blend of J-rock, indie-rock, and pop-punk, Good Kid’s massive streaming success is not just a result from their propensity to create catchy songs, but innovative fan engagement alongside savvy, fan-favoring business decisions, have helped the band amass an extensive and devoted fanbase, only serving to further the hype for the upcoming EP.

“The band is coming away from the busiest touring year of our musical careers, and this 4th EP “Good Kid 4” is the product of that journey. Many of the songs on this album are about the experience of music itself and how it has impacted our lives immensely. We wrote songs about facing anxiety with your friends, and about dancing. We wrote songs about reaching your breaking point, and about the hotels we would stay in night after night which eventually blended into one, endless timewarp of beige hallways. We wrote a song about the Summer we never wanted to end, and the only song that we didn’t write went over so unbelievably well with our fans, we had no choice but to record our own version of it.

Good Kid 4 is our favorite EP yet, and it represents the best of our last two years as a band when everything started to make sense for Good Kid.” - David Wood, Guitarist.

Case in point, the band’s entire Discography is content ID free and DMCA free, meaning content creators on platforms like Youtube and Twitch are able to freely use their music without fear of copyright takedowns. This has only slingshotted Good Kid’s already impressive following through the pervasive use of their music by hugely popular content creators.

Youtube’s biggest creator Mr. Beast, who boasts a mind-boggling 237 Million subscribers, featured 7 Good Kid songs in a video, garnering over 231 Million views. This is but one of many examples of the band’s online reach, which also includes direct collaborations with notable personalities such as XrayAlphaCharlie, Julien Solomita, and Trash Taste.

“We are very involved in the content creator community,” shares bassist Michael Kozakov. “All our music is free to use in monetized Streams and YouTube videos, which has led us to developing relationships and friendships with some of the biggest eSports players and YouTubers. We are very open and excited to continue collaborations with content creators and e-sports brands, and want to develop our brand as the world’s most creator friendly band.”

Beyond the digital realm, the band was recently nominated for Breakthrough Group Of The Year at the 2024 JUNO Awards and are soon to embark on their biggest headlining tour to date. Having already sold out over 90% of their North American dates, demand for tickets to their European and UK shows has been so overwhelming, that the band has had to upgrade multiple venues, several times, to accommodate the influx of enthusiastic fans. 

The upcoming tour comes on the heels of two previously sold-out US headline tours in 2022, two sold-out UK and EU tours as well as a 2023 Canadian tour supporting Grammy Award winning Portugal. The Man.

A jack-of-all-trades ensemble - musicians, programmers and storytellers, Good Kid has carved a unique path for their audience to follow suit. In essence, Good Kid's story is not just about music; it's about building a dynamic, engaging universe where fans play an integral role. With an unwavering commitment to joy, creativity, and inclusivity, Good Kid is more than a band — it's a thriving community of music enthusiasts shaping a unique and memorable experience together. Want more? Check out their site, HERE: https://goodkidofficial.com

First Look: Production Photos for Judgment Day World Premiere Starring Tony and Emmy winner Jason Alexander April 23–May 26, 2024

ChiIL Live Shows On Our Radar

Chicago Shakespeare Theater Presents 

Judgment Day

Starring Tony and Emmy winner Jason Alexander

Written by Golden Globe winner Rob Ulin and directed by Tony nominee Moritz von Stuelpnagel

April 23–May 26, 2024

Jason Alexander (at right) stars as a corrupt lawyer visited by a terrifying angel, played by Candy Buckley, after a near death experience. Photo by Liz Lauren.

It's about to be Wednesday in the park with George (Costanza), AKA: Jason Alexander, for opening night of Judgment Day, May 1, at Chicago Shakespeare Theater, and we're here for it! You can also call him Sammy Campo. I'll be out reviewing this world premiere for ChiIL Live Shows and ChiIL Mama. It's  Jason Alexander's Chicago stage debut, in a production laden with a multi award winning cast and creatives, and we can't wait. Don't miss this!

Jason Alexander makes his Chicago stage debut in the world premiere comedy Judgment Day at Chicago Shakespeare Theater, directed by Moritz von Stuelpnagel. In The Yard at Chicago Shakespeare through May 26, 2024. Photo by Liz Lauren.

ChiIL Mama’s ChiIL Picks List: 

Adult Shows With Family Themes On Our Radar

Chicago Shakespeare Theater presents Judgment Day, a hilariously irreverent world premiere comedy starring Tony and Emmy Award winner Jason Alexander (Seinfeld) in his Chicago stage debut. Alexander leads a cast that features Tony Award nominee Daniel Breaker as Father Michael and Candy Buckley as the Angel, along with Maggie Bofill, Olivia Denise Dawson, Joe Dempsey, Michael Kostroff, Ellis Myers, and Meg Thalken. 

Jason Alexander and Ellis Myers. Photo by Liz Lauren. 

Judgment Day unites the powerhouse comedic talents of Alexander with director Moritz von Stuelpnagel, a Tony Award nominee and leading director of stage comedy, and playwright Rob Ulin, a Golden Globe and Peabody Award-winning television writer. Judgment Day debuts April 23–May 26, 2024, in The Yard at Chicago Shakespeare.

Jason Alexander stars as a corrupt lawyer attempting to make amends with the help of a conflicted priest, played by Daniel Breaker. Photo by Liz Lauren.

Judgment Day tells the story of Sammy Campo, a staggeringly corrupt, morally bankrupt lawyer who's threatened with eternal damnation by a terrifying angel after a near-death experience. In a desperate attempt to redeem himself, Sammy forms an unlikely bond with a Catholic priest who is having his own crisis of faith. Filled with razor-sharp wit, this deliciously devious comedy rollicks through the timeless questions of Western philosophy—“morality,” “faith,” and “Are people any damn good?”

Jason Alexander and Maggie Bofill in the world premiere comedy Judgment Day. In The Yard at Chicago Shakespeare through May 26, 2024. Photo by Liz Lauren.

Jason Alexander, who stars as Sammy, is best known for his role as George Costanza on the long-running hit TV series Seinfeld, for which he was nominated for seven consecutive Emmy Awards and four Golden Globe Awards. Alexander began his career in the original Broadway production of Stephen Sondheim’s Merrily We Roll Along. He won the 1989 Tony Award for Best Actor in a Musical for his performance in Jerome Robbins’ Broadway and performed as Max Bialystock in the Los Angeles production of The Producers. Alexander made his Broadway directorial debut last year with The Cottage. His many film and television credits include Pretty Woman, The Hunchback of Notre Dame, Curb Your Enthusiasm, and The Marvelous Mrs. Maisel.

Daniel Breaker in the world premiere comedy Judgment Day. In The Yard at Chicago Shakespeare through May 26, 2024. Photo by Liz Lauren.

Daniel Breaker plays the conflicted Catholic priest Father Michael. Breaker was last seen in Chicago as Aaron Burr in Hamilton, a role he subsequently performed on Broadway. He also performed in the original Broadway cast of Shrek The Musical, originating the role of Donkey, and received a Tony nomination and an Obie Award for his leading performance in Passing Strange. Other theater credits include The Book of Mormon and The Performers on Broadway and the Public Theater’s Shakespeare in the Park musical production of Love’s Labor’s Lost. Breaker has been a series regular on Showtime’s Billions and the Peacock series Girls5Eva.

Daniel Breaker and Michael Kostroff in the world premiere comedy Judgment Day. In The Yard at Chicago Shakespeare through May 26, 2024. Photo by Liz Lauren.

Candy Buckley appears as the Angel. Buckley has performed on Broadway in Cabaret, After the Fall, Scandalous, and Thoroughly Modern Millie; her many additional stage credits include Lincoln Center Theater’s Becky Nurse of Salem, the Public Theater’s Shakespeare in the Park production of The Taming of the Shrew, American Repertory Theatre’s Hedda Gabler, and The Old Globe’s Vanya and Sonia and Masha and Spike. Buckley’s film and television credits include The Kill Room, Rare Objects, and WeCrashed.

In the role of Sammy’s wife Tracy is Maggie Bofill. Bofill’s prolific acting credits include Nora in A Doll’s House Part Two at Long Wharf Theater, Between Riverside and Crazy at Second Stage, and The Last Days of Judas Iscariot at the Public Theater. A writer in addition to her work as an actor, Bofill wrote and starred in Devil of Choice, which premiered at the Edinburgh Festival Fringe, and is a member of LAByrinth Theater Company and Ensemble Studio Theatre. Michael Kostroff plays the Monsignor. Kostroff is best known as Maury Levy on HBO’s The Wire, in addition to recurring roles on The Blacklist, Billions, The Good Wife, and Law and Order: SVU. He performed in The Nance on Broadway, the first national tour of The Producers, and as Thénardier in the touring company of Les Misérables. Ellis Myers plays Sammy and Tracy’s young son Casper. Myers’ credits include the film Perpetrator, in addition to voiceover and commercial work. 

Olivia Denise Dawson and Jason Alexander in the world premiere comedy Judgment Day. In The Yard at Chicago Shakespeare through May 26, 2024. Photo by Liz Lauren.

Olivia Denise Dawson plays Della, Sammy’s faithful, world-weary secretary. Dawson performed in The Comedy of Errors, The Book of Will, and The Tempest with the Illinois Shakespeare Festival’s 2023 season and has also worked at Steppenwolf Theatre, Indiana Repertory Theatre, Milwaukee Repertory Theatre, Portland Center Stage, and many more. In the role of Jackson, a cranky and crooked insurance adjuster, is Joe Dempsey. Dempsey returns to Chicago Shakespeare after appearing in A Midsummer Night’s Dream and Short Shakespeare! The Taming of the Shrew. Other credits include work with American Blues Theater, Lookingglass Theatre, Steppenwolf Theatre, Goodman Theatre, and many more. Meg Thalken plays Edna, a widow whom Sammy must help in his quest to become a better person. Thalken’s Chicago credits include work at Rivendell Theatre, Steep Theatre, Steppenwolf Theatre, Goodman Theatre, and more. She was most recently seen in Becky Nurse of Salem at Trinity Repertory Theatre.

Understudies include Jodi Gage, Tasha Anne James, Steve McDonagh, Reginald Robinson Jr., and Gabriel Solis.

One of the most in-demand directors nationwide, Moritz von Stuelpnagel’s credits include the Broadway productions Bernhardt/Hamlet, Present Laughter, Hand to God, for which he was nominated for the Tony Award for Best Director, and most recently, I Need That starring Danny DeVito. Off-Broadway credits include Seared, The Thanksgiving Play, Teenage Dick, Important Hats of the 20th Century, and Verité. Rob Ulin, a Golden Globe and Peabody Award winner who got his start as a professional comedy writer with the legendary Norman Lear, has written and produced acclaimed sitcoms such as Ramy, Young Sheldon, Malcolm in the Middle, Roseanne, and Dinosaurs.

In addition to Ulin and von Stuelpnagel, the creative team includes Scenic Designer Beowulf Boritt, Costume Designer Tilly Grimes, Lighting Designer Amith Chandrashaker, Sound Designer Mikaal Sulaiman, Hair and Make-up Designer Tommy Kurzman, Fight and Intimacy Director Max Fabian, Dialect Coach Eva Breneman, Wing Design and Fabrication by Mio Design Studio, Chicago Casting Director Bob Mason, New York Casting Director Laura Stanczyk, C.S.A., Assistant Director Mallory Metoxen, Assistant Scenic Designer Alexis Distler, Assistant Costume Designer Caity Mulkearns, Assistant Lighting Designer Max Grano De Oro, Young Performer Supervisor Gabe Anderle, Production Stage Manager Jinni Pike, Assistant Stage Manager Mary Zanger, and Production Assistant Jojo Wallenberg.

Judgment Day is the latest opportunity for Chicago Shakespeare audiences to be the first to experience thrilling new theatrical events. A celebrated incubator for new work development, CST has commissioned more than 30 world premieres that have gone on to productions on hundreds of stages around the world. Chicago Shakespeare’s artistic team nurtures and empowers theatermakers in crafting new plays, musicals, and adaptations through readings, workshops, and direct support. There are currently three Chicago Shakespeare productions on Broadway: Illinoise, which had its sold-out press premiere at CST in February; CST’s world premiere musical The Notebook; and CST’s North American premiere of SIX. Also on tour across the US and Canada, SIX garnered the Tony Award for Best Original Score, the Outer Critics Circle Award for Best Musical, and a Grammy Award nomination.

Accessible and enhanced performances for Judgment Day include:

ASL-interpretation – Friday, May 10, 2024, 7:30

All dialogue and lyrics are translated into American Sign Language by two certified interpreters.

Open-captioning – Wednesday, May 15, 2024, 1:00 & 7:30

A text display of the words and sounds heard during a play, synced live with the action onstage.

Projected Spanish Translation – Thursday, May 16, 2024, 7:30

A text display of the words and sounds heard during a play, synced live with the action onstage.

Audio-description with optional touch tour –

Sunday, May 19, 2024, 2:00

A program that provides spoken narration of a play’s key visual elements for patrons who are blind or have low vision. Touch Tours provide patrons the opportunity to experience, firsthand, a production’s design elements.

More information at www.chicagoshakes.com/judgment or social media at @chicagoshakes and @judgmentdaybroadway.

Judgment Day will be presented April 23–May 26, 2024, in The Yard at Chicago Shakespeare Theater. Single tickets starting at $45 are on sale now. Special discounts are available for audience members under the age of 35 and for groups of 10 or more. For more information or to purchase tickets, contact the Box Office at 312.595.5600 or visit www.chicagoshakes.com.

ABOUT CHICAGO SHAKESPEARE THEATER

Regional Tony Award-recipient Chicago Shakespeare Theater produces a bold and innovative year-round season—plays, musicals, world premieres, family productions, and theatrical presentations from around the globe—alongside nationally recognized education programming serving tens of thousands of students, teachers, and lifelong learners each year. Founded in 1986, Chicago Shakespeare’s onstage work has expanded to as many as twenty productions and 650 performances annually. CST is dedicated to welcoming the next generation of theatergoers; one in four of its audience members is under the age of eighteen. As a nonprofit organization, Chicago Shakespeare works to embrace diversity, prioritize inclusion, provide equitable opportunities, and offer an accessible experience for all. On CST’s three stages at its home on Navy Pier, in classrooms and neighborhoods across the city, and in venues around the world, Chicago Shakespeare Theater is a multifaceted cultural hub—inviting audiences, artists, and community members to share powerful stories that connect and inspire www.chicagoshakes.com.

Behind The Scenes: Rehearsal Photos

Jason Alexander makes his Chicago stage debut in the world premiere comedy Judgment Day at Chicago Shakespeare Theater, directed by Moritz von Stuelpnagel. Performances begin April 23, 2024. Photo by Liz Lauren.

Director Moritz von Stuelpnagel in rehearsal for Judgment Day. Photo by Liz Lauren.

Jason Alexander, Olivia Denise Dawson, and Daniel Breaker in rehearsal for Judgment Day. Photo by Liz Lauren.

The company of Judgment Day in rehearsal, including Candy Buckley (far left) and Jason Alexander (far right). Photo by Liz Lauren.

Ellis Myers and Jason Alexander in rehearsal for Judgment Day. Photo by Liz Lauren.

Daniel Breaker and Jason Alexander in rehearsal for Judgment Day. Photo by Liz Lauren.

Ellis Myers and Jason Alexander receive notes from playwright Rob Ulin and director Moritz von Stuelpnagel in rehearsal for Judgment Day. Photo by Liz Lauren.

Maggie Bofill and Jason Alexander in rehearsal for Judgment Day. Photo by Liz Lauren.

The cast of Judgment Day features, from left to right seated, Meg Thalken, Gabriel Solis, Ellis Myers, and Daniel Breaker, from left to right standing, Steve McDonagh, Joe Dempsey, Olivia Denise Dawson, Jason Alexander, Maggie Bofill, Michael Kostroff, and Candy Buckley. Photo by Liz Lauren.

Judgment Day, a world premiere comedy starring Jason Alexander in his Chicago stage debut, runs April 23–May 26 in The Yard at Chicago Shakespeare. Photo by Vito Palmisano.