OPENING: Becky Shaw at Windy City Playhouse Now In Previews

Chi, IL LIVE Shows On Our Radar:

PREVIEWS UNDERWAY FOR GINA GIONFRIDDO’S “BECKY SHAW,” 

DIRECTED BY SCOTT WEINSTEIN, RUNNING THROUGH NOV. 12

Carly Cornelius and Michael Doonan

Photo Credit for all production shots: Michael Brosilow  

Here at ChiIL Live Shows, we've adored Windy City Playhouse since they first opened their doors. Their stellar productions, comfortable swivel seating and drink tables in the front section, and their cozy bar space up front, make for a fabulous night out year round. This is the future of successful storefront theatre. We'll be out for the press opening this coming Thursday, so check back soon for our full review.

Previews continue this weekend for Gina Gionfriddo’s “Becky Shaw,” playing now through November 12. Under the direction of Jeff Award winner Scott Weinstein, the dark “ferociously funny” (The New York Times) comedy stars Carley Cornelius as the titular character, an emotionally-fragile single woman swept up in the chaos of a blind-date gone array. The cast of “Becky Shaw” also features Michael Doonan as Max Garrett, Suzanne Petri as Susan Slater, Michael Aaron Pogue as Andrew Porter and Amy Rubenstein as Suzanna Slater.

Tickets ($15-$55) are on sale now and can be purchased at the Windy City Playhouse Box Office online or by calling the Box Office at (773) 891-8985.

The cast of “Becky Shaw” includes Carley Cornelius as Becky Shaw, Michael Doonan as Max Garrett, Suzanne Petri as Susan Slater, Michael Aaron Pogue as Andrew Porter and Amy Rubenstein as Suzanna Slater. 

                      Michael Aaron Pogue, Amy Rubenstein, Carly Cornelius and Michael Doonan

“’Becky Shaw’ is exactly the type of play that I wanted to produce when I founded Windy City Playhouse,” said Artistic Director Amy Rubenstein.  “It is thought-provoking, insightful and outrageously funny. I also think that our space – utilized in a new configuration that literally positions the audience just inches away from the actors – will make viewers feel as though they are a ‘fly on the wall’ during the performance.”

Windy City Playhouse’s intimate venue aims to make audience members part of the action. Scenic designer for “Becky Shaw” Jeffrey Kmiec has conceived a uniquely immersive, 360-degree viewing experience to make viewing as exclusive as possible. 70 of Windy City Playhouse’s signature club chair-style seats will be integrated into the three-stage modular set that will transform each night into seven unique locations.

In conjunction with “Becky Shaw,” Windy City Playhouse’s Talkback series offers patrons an intimate Q&A experience with an array of artists to learn more about the creative process behind each production. The series begins with Chicago-based Matchmaker “Stef in the City” Stef Safran, who will lead the discussion on the modern world of dating immediately following the 2 p.m. performance on Sunday, October 1. In addition, audiences have the rare opportunity to sit down with “Becky Shaw” director Scott Weinstein following the 3 p.m. performance on Sunday, October 15 to talk about the production from his unique perspective. All talkbacks are complimentary for Windy City Playhouse patrons; no sign-up is required.

The Playhouse continues the weekly post-performance Nightcap series, inviting patrons to grab a drink at the bar and partake in an intimate discussion around “Becky Shaw” with a member of the cast or creative team. The series takes place every Wednesday and Thursday at 9:30 p.m. through the duration of the run. For the complete schedule of special events at the Playhouse, visit WindyCityPlayhouse.com/Becky-Shaw.

No experience at the Playhouse is complete without a trip to their signature bar, and “Becky Shaw” is no different. The production-specific cocktails, available throughout the run, include:

Two Kinds of Trouble – Catdaddy Moonshine, spiced rum, lemon juice, simple syrup, blood orange San Pellegrino, a dash of bitters and an orange garnish

Reality Check – a twist on a Kentucky Sunrise; bourbon, grenadine and orange juice garnished with a lime and cherry skewer

Pocket of Mystery – a bubbly aviation; gin, violet liqueur, lime juice, and tonic served with a sugared rim and lemon or lime garnish

Alternative Redneck – a bittersweet and sexy martini; chocolate liqueur, vodka, cranberry juice and a cherry garnish

Also new at the bar, Windy City Playhouse has partnered with JR Bakery to provide organic sweets such as carrot cake, chocolate decadence cake, red velvet cake, chocolate chip cheesecake and chocolate dipped cheesecake pops for theatre patrons. For the complete beer, wine and cocktail menu, click here.

The Playhouse has just announced its newest program, Monday Mixers, beginning on October 9 at 7 p.m. (cocktails begin at 6:30 p.m.) and continuing on every Monday throughout the run of “Becky Shaw.” Monday Mixers feature a curated list of headliners performing everything from sketch to standup, singer-songwriters to spoken word with a full bar available to those who attend. Tickets are $5 in advance or $10 at the door.

The performance schedule for “Becky Shaw” is as follows: Wednesdays and Thursdays at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sundays at 3 p.m. For a detailed performance schedule visit WindyCityPlayhouse.com/Becky-Shaw. Tickets for “Becky Shaw” are on sale now and range from $15-$55—with discounts available for seniors and students—and can be purchased by calling 773-891-8985 or visiting WindyCityPlayhouse.com.

The creative team for “Becky Shaw” includes Jeffrey D. Kmiec (Scenic Design), Rachel M. Sypniewski (Costume Design), Brandon Wardell (Lighting Design), Eric Backus (Sound Design) and Jamie Karas (Properties Design). Mara Filler is the Production Stage Manager and Johnnie Schleyer is the Technical Director.

Suzanne Petri, Amy Rubenstein, Michael Aaron Pogue and Carley Cornelius 

About Windy City Playhouse
Windy City Playhouse, Chicago's most sophisticated not-for-profit Equity theater, aims to expand beyond the traditional theatergoing experience by offering audience members a night of high-quality entertainment with a full-service bar, in a lounge-like atmosphere. Windy City Playhouse premiered in March of 2015, with the inaugural production “End Days.” Lauded by audiences and critics alike, Windy City Playhouse promises to rock Chicago's theater scene.
For more information, visit WindyCityPlayhouse.com and follow on Facebook, Twitter and Instagram. 

REVIEW: Frenetic Kinetic "Toad" Microcosm of Life at The Yard at Chicago Shakespeare Through 9/23

ChiIL Live Shows On Our Radar:

James Thierrée’s The Toad Knew 

The Toad Knew has been one of the hottest tickets in Chi, IL this month. The world famous troupe is in from France, the acclaimed production is a very limited five day run, and this is the inaugural show for Chicago Shakespeare Theatre's exciting new space, The Yard. I caught it last night and consider it a must see, though it won't be everyone's cup of tea. 

Theatre goers who like literal, straight forward, easily digestible shows, may find this a mouthful. There is little dialogue and James Thierrée pushes the boundaries of tolerance with unpleasant static and repetition of sound, to the point of discomfort, before treating the audience to beautiful music and soaring vocals. Much of the choreography is twitchy and jerky, rather than a pleasing fluid and flowing style. The set is grimy and ugly, and there is no discernible plot, yet we found it enthralling, particularly the stunning opener and show close with the massive, shabby, red velvet curtain. I've never seen a curtain call where the cast crawled from beneath the curtain on their bellies! This production is utterly unique, and well worth an evening.

The stamina and training needed to pull off a movement based show of this magnitude is astonishing, and we found the alternating bouts of intense action and complete motionlessness among the characters stunning. In a microcosm of life, The Toad Knew includes repetitive motion and rest, machines, music, the elements, humorous accidentally injuries, cooperation, coexistence, isolation, irritation, elation, and a good dose of humor. We were mesmerized by this frenetic kinetic exploration.

Chicago Shakespeare Theater (CST) opens the innovative new performance venue The Yard at Chicago Shakespeare with James Thierrée’s The Toad Knew from France as part of CST’s World’s Stage series, September 19–23, 2017.

James Thierrée's The Toad Knew from France All Production Photos by Richard Haughton.

Chicago Shakespeare welcomes back creator and director James
Thierrée after his wildly popular presentations Farewell Umbrella in
2007 and Bright Abyss in 2005. For nearly two decades, Thierrée
has twisted audiences’ imaginations with astonishing, theatrical
creations, including Junebug Symphony and Tabac Rouge. Born to
circus legends Jean-Baptise Thierrée and Victoria Chaplin,
Thierrée made his circus debut at the age of four and has been

performing ever since. His works have toured the world over and have received critical and popular acclaim.

This spectacle premiered at the Edinburgh International Festival, where it was called “flamboyant, hallucinatory and ravishingly beautiful” by The Guardian. Thierrée returns to CST after his magnificent Farewell Umbrella (2007) and Bright Abyss (2005). 

His newest invention, The Toad Knew, intertwines dreams with childhood terrors, burlesque, and realism to explore the wild, wondrous love shared among siblings. A collective of dancers, high-wire artists, and musicians create an intoxicating world evocative of Salvador Dalí and Tim Burton. This is artistry that defies categorization, but promises to stay with you long after you leave the Theater. 

Click HERE to purchase tickets and discover more about the new space and this production.



Cirque nouveau superstar James Thierrée presents The Toad Knew to open Chicago Shakespeare’s innovative third theater The Yard at Chicago Shakespeare in a limited engagement as part of CST’s World’s Stage series September 19–23, 2017. Photo by Richard Haughton.

OPENING: World Premiere of Immigrant Stories, DON’T LOOK BACK/MUST LOOK BACK Via Pivot Arts 10/20-11/19

Pivot Arts Presents the World Premiere of

DON’T LOOK BACK/MUST LOOK BACK

Conceived by Julieanne Ehre

Written by Tanya Palmer

Directed by Devon De Mayo

October 20 – November 19, 2017

 (left to right) Jin Park, Ashlyn Lozano and Phyllis Liu 

Photo by Austin D. Oie.

Pivot Arts is pleased to present the world premiere of DON’T LOOK BACK/MUST LOOK BACK, a site-specific performance experience in Chicago’s Uptown neighborhood, conceived by Julieanne Ehre, written by Tanya Palmer, directed by Devon de Mayo and devised by an ensemble of actors and designers. Audience members are taken on an immersive journey inspired by the stories and experiences of Uptown residents, many of whom came to Uptown as refugees. 

DON’T LOOK BACK/MUST LOOK BACK will play October 20 – November 19, 2017 in various Uptown locations starting at the Chinese Mutual Aid Association, 1016 W. Argyle St. The intimate performance experience is limited to 16 audience members per show. Tickets, priced at $35, are currently on sale at pivotarts.org/events/.

DON’T LOOK BACK/MUST LOOK BACK will feature Christopher Acevedo, Samantha Beach, Lucy Carapetyan, Phyllis Liu, Sarah Lo, Ashlyn Lozano, Edward Mawere and Jin Park.

The performance is inspired by stories of escape and loss from local residents who fled their countries and arrived here to make Uptown their home – and the systems and people that they’ve encountered along the way. Blending movement, images and storytelling, Don't Look Back/Must Look Back brings audiences into the experience of making a home in a place where everything is unfamiliar and the sands are constantly shifting beneath your feet. 

The performance also features images from documentary artist James Bowey’s exhibit “When Home Won’t Let You Stay,” a portrait of refugees in America and their stories of hope and perseverance in the face of violence and loss. For additional information, visit https://jamesbowey.atavist.com/home. 

“Don’t Look Back/Must Look Back continues Pivot Arts’ initiative to create site-specific performances where audiences participate in unique experiences,” comments Pivot Arts Director Julieanne Ehre. “Last year’s The Memory Tour took audiences on a journey through memory and Don’t Look Back/Must Look Back uses a similar format. Audiences will have the opportunity to experience the lives of local residents and refugees while moving through various locations.” 

The production team includes Patricia Nguyen (associate director), John Blick (production manager), James Bowey (video and photographs), Connor Ciesil (sound designer), kClare  McKellaston (costume designer), Justine B. Palmisano (stage manager), Giau Truong (lighting and installation designer) and Sammy Ziesel (assistant director). 

(front right) Ashlyn Lozano with (back, l to r) Jin Park, Phyllis Liu, Christopher Acevedo, Samantha Beach, Lucy Carapetyan and Edward Mawere 

Photo by Austin D. Oie.

Location: Begins at Chinese Mutual Aid Association, 1016 W. Argyle St.
Dates: Previews: Friday, October 20 at 7:30 pm
Regular run: Friday, October 27 – Sunday, November 19, 2017
Curtain Times: Fridays, Saturdays and Sundays at 7:30 pm.
Tickets: $35.Tickets are currently available at pivotarts.org/events/.

A special event held on Sunday, October 22 at 5:30 pm at 1027 W. Argyle St. includes a discussion with lead artists on DON’T LOOK BACK/MUST LOOK BACK along with an opportunity to learn more about the work of Chinese Mutual Aid Association and other local organizations who serve refugees. More information can be found at pivotarts.org/events/.

DON’T LOOK BACK/ MUST LOOK BACK is funded in part by an Art Works grant from the National Endowment for the Arts with major in-kind support from Chinese Mutual Aid Association.

About the Artists
Julieanne Ehre is the founder and the director of Pivot Arts. She both leads the organization and curates performances including the Pivot Arts Festival, Live Talk series and conceived/directed The Memory Tour. She was the NEA/TCG New Generations “Future Leaders” Fellow at the Goodman Theatre, where she served as producer on Latino Festival, New Stages Series and conceived of and produced the Goodman’s Artists Talk series. Julieanne served as a delegate to the Santiago a Mil Festival in Chile and the ITI World Theater Congress in Xiamen, China through Theater Communications Group and was the co-chair of the Arts and Culture Committee for Chicago’s 48th Ward. As the Artistic Director of Greasy Joan & Co. for five years, she directed and produced critically acclaimed and premiere adaptations of classic plays and worked as a freelance theater director. Ehre holds an MFA in Directing from Northwestern University.

Tanya Palmer is a dramaturg and playwright. Her plays include Body Talk, Fatherland, Barbra Live at Canyon Ranch, Spring and Trash and The Memory Tour, and have been developed or produced at Actors Theatre of Louisville, The Hangar Theatre, Solar Stage, the Montreal Fringe Festival, The Harbourfront Centre, HERE and Pivot Arts, where she is an Artistic Associate. She is a member of MC-10, a newly formed Playwrights Collective in residence at the Greenhouse Theater Center. Her work has been published by Smith & Kraus, Samuel French and Playscripts, Inc. She is the Director of New Play Development at Goodman Theatre, where she coordinates New Stages, the theater’s new play program, and has served as the production dramaturg on a number of plays including the world premieres of 2666 by Roberto Bolaño, adapted and directed by Seth Bockley and Robert Falls; Smokefall by Noah Haidle, The Happiest Song Plays Last by Quiara Hudes and the Pulitzer Prize–winning Ruined by Lynn Nottage. Prior to her arrival in Chicago, she served as the director of new play development at Actors Theatre of Louisville, where she led the reading and selection process for the Humana Festival of New American Plays. She is the co-editor, with Amy Wegener and Adrien-Alice Hansel, of four collections of Humana Festival plays, published by Smith & Kraus, as well as two collections of 10-minute plays published by Samuel French. Originally from Calgary, Alberta, Canada, she holds an MFA in playwriting from York University in Toronto.

Devon de Mayo is a director, devisor and teacher. Most recently, she directed Harvey at Court Theatre. Other directing credits include: You on the Moors Now (The Hypocrites), Sycamore (Raven Theatre), Animals Out of Paper (Shattered Globe Theatre), You Can't Take it With You at (Northlight Theatre), Jet Black Chevrolet (side project), Lost in Yonkers (Northlight Theatre), Compulsion and Everything is Illuminated (Next Theatre); An Actor Prepares (University of Chicago); and Roadkill Confidential, The Further Adventures of Hedda Gabler and Clouds (Dog & Pony). Directing and devising credits include: Guerra: A Clown Play, a collaboration with Mexico City based artists La Piara (performances in Mexico City, Chicago, New York, Bogota, Albuquerque and Madrid); The Whole World is Watching (Dog & Pony Theatre Co. with Chicago Park District), Infiltrating Bounce (San Antonio Luminaria Festival), The Twins Would Like To Say (Dog & Pony at Steppenwolf Theatre), As Told by the Vivian Girls (Dog & Pony). In 2015, she served as Resident Director under Stephen Daldry for The Audience on Broadway. Devon also serves as an Adjunct Professor at Northwestern University, Loyola University and the University of Chicago. She received her MFA in Theatre Directing from Middlesex University in London.

About Pivot Arts
Pivot Arts produces and presents contemporary and multi-disciplinary performance. They develop new work and present performances throughout the year culminating in a multi-arts festival. Their vision is that of a vibrant community where unique collaborations between artists, businesses and organizations lead to the support and creation of innovative performance events.

CASTING ANNOUNCED: Lookingglass Theatre Company's 30th Anniversary Season

Chi, IL LIVE Shows On Our Radar:

The 30th Anniversary Season includes Hard Times,

adapted and directed by Ensemble Member Heidi Stillman from the book by Charles Dickens

in Association with The Actors Gymnasium;

the World Premiere of Plantation! written by Ensemble Member Kevin Douglas,

directed by Ensemble Member David Schwimmer;

and the World Premiere of 20,000 Leagues Under the Seas,

adapted by David Kersnar and Althos Low from the books by Jules Verne,

directed by Ensemble Member David Kersnar

Here at ChiIL Mama & ChiIL Live Shows, we're absolutely elated about Lookingglass Theatre Company's upcoming season. Save the dates! Many of our top favorite directors and actors are back, to bring these stellar stories to life. With the highly anticipated return of Hard Times and two world premiers, this season is one to watch for sure. We're especially excited for the season opener, adapted and directed by Artistic Director and Ensemble Member Heidi Stillman from the book by Charles Dickens. We missed the earlier incarnation of this award-winning, circus-infused Hard Times and can't wait to catch it. 

Hard Times is presented in association with The Actors Gymnasium, another top favorite of ours. My teens have each been cast in 3 youth circus shows there over the past few years, and they also spent last summer in a 6 week summer lab intensive at Lookingglass, culminating in an incredible original show created by all the teens involved. We're huge fans of their professional productions and their education and outreach as well. Chicago is lucky to have them!

Lookingglass Theatre Company announces complete casting 
for its 2017–2018 Season lineup. 

The season begins with the return of the award-winning, circus-infused Hard Times, adapted and directed by Artistic Director and Ensemble Member Heidi Stillman from the book by Charles Dickens and in association with The Actors Gymnasium. Following Hard Times is the World Premiere of Plantation!, written by Ensemble Member Kevin Douglas and directed by Ensemble Member David Schwimmer. Concluding the 2017-2018 Season is the World Premiere of 20,000 Leagues Under the Seas, adapted by Ensemble Member David Kersnar and Althos Low from the books by Jules Verne. Kersnar also directs this new work. Subscriptions to Lookingglass’ 2017-2018 season are on sale now and may be purchased through the box office at (312) 337-0665 or lookingglasstheatre.org/subscribe.

The Lookingglass 2017–2018 Season up close:

Hard Times
Adapted and Directed by Ensemble Member Heidi Stillman
From the Book by Charles Dickens
In Association with The Actors Gymnasium
October 4, 2017 – January 14, 2018
Press Opening: October 14, 2017

Returning to Hard Times are Ensemble Members David Catlin (returning to the role of Stephen and Sleary), Raymond Fox (returning to the role of Mr. Gradgrind, Sissy’s Father and Slackbridge), Louise Lamson (in the role of Rachael, Mrs. Gradgrind and Scherezade through 12/17) and Artistic Associate Troy West (returning to the role of Mr. Bounderby). The cast also includes Artistic Associate Atra Asdou (Rachael, Mrs. Gradgrind and Scherezade beginning 12/19), with Audrey Anderson (Sissy), Amy J. Carle (Mrs. Sparsit, Drunk Woman and Pufflerumpus), Raphael Cruz (Bitzer and Le Papillon), Cordelia Dewdney (Louisa), Marilyn Dodds Frank (returning to the role of Mrs. Pegler), Nathan Hosner (Mr. Harthouse, Mr. M’Choakumchild and Kidderminster) and JJ Phillips (Tom).

The creative team includes Ensemble Members Daniel Ostling (scenic) and Mara Blumenfeld (costumes), with Artistic Associates Brian Sidney Bembridge (lighting), Andre Pluess (sound) and Sylvia Hernandez-DiStasi (circus/choreography). Additional creative team members include Amanda Herrmann (props), Isaac Schoepp (rigging), Eva Breneman (dialect) and Jeri Frederickson (stage manager).

Lookingglass launches its 30th Season with the return of the award-winning, circus-infused Hard Times.

A Dickensian carnival of characters inhabits the streets of smoke-choked Coketown: grim Mr. Gradgrind’s school churns out joyless students; poor Stephen Blackpool toils in the nearby mines; and mill-owner Mr. Bounderby, full of bluster and bombast, presides over it all. Only when a traveling circus alights nearby, and young orphan Sissy Jupe enters their world, does a ray of hope shine through.

Artistic Director Heidi Stillman adapts and directs this timeless love-letter to the power of beauty, hope, and imagination. 



World Premiere
Plantation!
Written by Ensemble Member Kevin Douglas
Directed by Ensemble Member David Schwimmer
February 21 - April 22, 2018
Press Opening: March 3, 2018

Plantation! features Ensemble Member Louise Lamson (Kimberly) and Artistic Associate Ericka Ratcliff (Sydney), with Hannah Gomez (Diana), Lily Mojekwu (London), Linsey Page Morton (Kara), Tamberla Perry (Madison), Grace Smith (Kayley) and Janet Ulrich Brooks (Lillian).

The creative team includes Courtney O’Neill (scenic), Ensemble Member Mara Blumenfeld (costumes), Artistic Associates Christine A. Binder (lighting) and Rick Sims (sound and composition), with Amanda Herrmann (props), Eva Breneman (dialect) and Ari Clouse (stage manager).

Look who’s coming to tea…

A Texas matriarch, bless her heart, discovers that the history of the ancestral home is, well…complicated. When she reveals the news to her Southern Belle daughters, tempers rage hotter than the devil’s armpit and pandemonium runs amok on the pristine plantation…and that’s before the other set of sisters arrive.

Ensemble Member and playwright Kevin Douglas (Thaddeus and Slocum: A Vaudeville Adventure) returns with a sharp pen and sharper wit to slash into America’s thorniest underbrush and most enduring conundrum. Ensemble Member David Schwimmer directs this World Premiere black (and white) comedy. 



World Premiere
20,000 Leagues Under the Seas
Adapted by David Kersnar and Althos Low
From the Books by Jules Verne
Directed by Ensemble Member David Kersnar 
May 23 – August 19, 2018
Press Opening: June 2, 2018

20,000 Leagues Under the Seas features Ensemble Members Kareem Bandealy (Captain Nemo) and Thomas J. Cox (Gideon Spillet/J.B. Hobson) with Artistic Associates Walter Owen Briggs (Ned Land) and Kasey Foster (Professor Aronnax). The cast also includes Owais Ahmed (Harbert), Joe Dempsey (Farragut), Glenn-Dale Obrero (Neb/Mr. Drax) and Lanise Antoine Shelley (Conseil).

The creative team includes Todd Rosenthal (scenic), Sully Ratke (costumes), Artistic Associates Christine A. Binder (lighting) and Rick Sims (sound and composition), with Amanda Herrmann (props) and Mary Hungerford (stage manager).

When a terrifying sea monster is spotted off the coast, renowned scientist Professor Aronnax and fellow explorers set out to investigate. They soon find themselves kidnapped and held under the command, and spell, of the mysterious Captain Nemo. As they circle the globe aboard the most advanced submarine the world has never seen, they confront giant squids, bizarre sea creatures, and the monsters that lurk below…and within.

Adapted from Jules Verne’s epic adventure exploring the murky perils of the seas, Ensemble Member David Kersnar invites you to board the Nautilus and “Dive! Dive! Dive!” into this Lookingglass World Premiere.

Subscriptions
Subscriptions are on sale for the 2017–2018 Season. Performances will be held at Lookingglass Theatre Company, located inside Chicago's historic Water Tower Water Works, 821 N. Michigan Ave. at Pearson.

Subscribers can choose between a 3-play subscription, the Gglasspass program, or for those under 35, the Madhatter’s Club. For the 2017–2018 Season, 3-play subscriptions range from $116–$170.

The Gglasspass is a flex pass available to all ages. For $150, Gglasspass holders receive 3 tickets that can be used in any combination and denomination for any Lookingglass production in the 2017–2018 Season.

The Madhatter’s Club flex pass is available to those 35 or younger. The Madhatter’s Club flex pass is $75 and includes 3 tickets that members can use in any combination and denomination for any Lookingglass production in the 2017-2018 season.

Subscription benefits include access to the best seats in the house, pre-sale opportunities and savings before single tickets go on sale to the general public, special perks at restaurant partners, unlimited ticket exchanges, discounted parking at the nearby John Hancock Center, Water Tower Place and Olympia Centre Garage, reduced tuition for Lookingglass’ renowned classes and summer camps, and access to exclusive subscriber-only events. For season subscription and ticket information, call the Lookingglass Theatre box office at (312) 337-0665 or visit lookingglasstheatre.org.

About Lookingglass Theatre Company
Inventive. Collaborative. Transformative. Lookingglass Theatre Company, recipient of the 2011 Regional Theatre Tony Award, was founded in 1988 by eight Northwestern University students. Now in its 30th season, Lookingglass is home to a multi-disciplined ensemble of artists who create story-centered theatrical work that is physical, aurally rich and visually metaphoric. The Company has staged 64 world premieres, received 144 Joseph Jefferson Awards and nominations, and work premiered at Lookingglass has been produced in New York City, Los Angeles, Seattle, Berkeley, Philadelphia, Princeton, Hartford, Kansas City, Washington D.C., Atlanta, Louisville and St. Louis. Lookingglass original scripts have been produced across the United States. In 2016, Lookingglass received the MacArthur Award for Creative and Effective Institutions.

The Lookingglass Theatre in Chicago's landmark Water Tower Water Works opened in June 2003. In addition to developing and presenting ensemble work, Lookingglass Education and Community programs encourage creativity, teamwork and confidence with thousands of community members each year.

Lookingglass Theatre Company continues to expand its artistic, financial and institutional boundaries under the guidance of Artistic Director Heidi Stillman, Executive Director Rachel Kraft, Producing Director Philip R. Smith, Connectivity and Engagement Director Andrew White, Interim Managing Director Michele Anderson, a 24 member artistic ensemble, 23 artistic associates, an administrative staff and a dedicated board of directors led by Chairman John McGowan and President Nancy Timmers. For more information, visit lookingglasstheatre.org.

Applications Accepted Through 9/25 For Goodman Theatre's BOOT CAMP FOR EARLY-CAREER ARTS JOURNALISTS

GOODMAN THEATRE ANNOUNCES 

“CRITICISM IN A CHANGING AMERICA,” 

A BOOT CAMP FOR EARLY-CAREER ARTS JOURNALISTS, OFFERED IN CONJUNCTION WITH 

THE NEW STAGES FESTIVAL

***APPLICATIONS ARE NOW AVAILABLE AT GOODMANTHEATRE.ORG; DEADLINE TO APPLY IS SEPTEMBER 25***

Goodman Theatre invites emerging theater writers and critics to apply for its new “boot camp” intensive experience—“Criticism in a Changing America”—designed to develop journalists’ understanding of how plays live in the wider context of contemporary issues. Held in conjunction with New Stages, the Goodman’s 14th annual festival of new plays, the training includes workshops, keynotes, panels, readings and staged productions. Participants experience the boot camp in pairs, to encourage discourse and divergent perspectives. Early career journalists from educational institutions and community media are invited to apply. “Criticism in a Changing America” is presented in a two-part series, October 5-7 and October 13-14 at Goodman Theatre (170 N. Dearborn). Applications are due September 25 and are now available at Goodmantheatre.org/criticsbootcamp; writing samples required. “Criticism in a Changing America” is funded through a grant from the Illinois Arts Council.

“Given the recent controversies surrounding theatrical productions in New York and here in Chicago, we strongly recognize the need for the empowerment of a diversity of critical voices,” said Walter Director of Education and Engagement Willa J. Taylor. “With the launch of our intensive, we hope to be part of the solution by providing an opportunity to discuss the nature of criticism in our changing society—and what is lost, or missing, for the arts and audiences when there is not a diversity of critical voices.” 

“Criticism in a Changing America” continues Goodman Theatre’s decade-long dedication to cultivating new critical voices—an effort begun with the Cindy Bandle Young Critics (CBYC) program, which is designed to introduce young women to the world of theater and field of journalism. The young critics attend bi-monthly Saturday workshops in the Alice Rapoport Center for Education and Engagement, where mentors assist help them develop a critical voice and hone professional journalism skills. CBYC participants also interview Goodman artists and staff members for feature stories and attend press opening nights. For more information, visit GoodmanTheatre.org/Engage.

Last week, Goodman Theatre announced the lineup of its 14th annual New Stages Festival—a celebration and discovery of new work by some of the country’s finest established and emerging playwrights. Over the course of three weeks (September 20 – October 8), the annual festival offers Chicago theatergoers a first look at eight new works, completely free-of-charge.

“The New Stages Festival is always exciting because the plays are grappling with issues in real time that impact our lives in real and visceral ways,” said Tanya Palmer, Goodman’s Director of New Play Development. “The Criticism In a Changing America initiative is a perfect way to bring critics and theater-makers together to think about the unique role theater can play in tackling the challenges we all face.”

New Stages 2017 features three developmental productions (fully staged and performed in repertory), including: Lottery Day by Ike Holter, a new work that weaves together characters from Holter’s acclaimed previous plays Exit Strategy, Sender and more; Continuity by Bess Wohl, a comic look at a female director’s attempts to bring climate change to the forefront of a Hollywood blockbuster; and Twilight Bowl by Rebecca Gilman, a tender look at two young women facing very different futures. Four staged readings appear during the final weekend of the festival (“Professionals Weekend”), including: Eden Prairie, 1971 by Mat Smart, the story of a young draft dodger returning home; How to Catch Creation by Christina Anderson, an ode to the art of creating; The Untranslatable Secrets of Nikki Corona by José Rivera, a supernatural tale of a woman’s attempt to communicate with her deceased twin; and We’re Only Alive for a Short Amount of Time by David Cale, a musical reflection of the playwright’s childhood. Plus a sneak peek at an immersive work-in-progress—POSTNATION conceived by Mikhael Tara Garver, an exploration of immigrants’ roles in the creation of the U.S. Postal Service.

Since New Stages’ 2004 inception, more than 70 plays have been produced as a developmental production or staged reading. Nearly half of these plays were authored by playwrights of color and/or authored by female playwrights. More than one-third of all plays developed in New Stages have received a world premiere production at the Goodman or another leading U.S. theater.

About Goodman Theatre
America’s “Best Regional Theatre” (Time magazine), Goodman Theatre is a premier not-for-profit organization distinguished by the excellence and scope of its artistic programming and civic engagement. Led by Artistic Director Robert Falls and Executive Director Roche Schulfer, the theater’s artistic priorities include new play development (more than 150 world or American premieres in the past three decades), large scale musical theater works and reimagined classics (celebrated revivals include Falls’ productions of Death of a Salesman and The Iceman Cometh ). Goodman Theatre artists and productions have earned two Pulitzer Prizes, 22 Tony Awards, over 160 Jeff Awards and many more accolades. In addition, the Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle” and its annual holiday tradition A Christmas Carol, which celebrates its 40th anniversary this season, has created a new generation of theatergoers. The Goodman also frequently serves as a production partner with local off-Loop theaters and national and international companies by providing financial support or physical space for a variety of artistic endeavors.

Committed to three core values of Quality, Diversity and Community, the Goodman proactively makes inclusion the fabric of the institution and develops education and community engagement programs that support arts as education. This practice uses the process of artistic creation to inspire and empower youth, lifelong learners and audiences to find and/or enhance their voices, stories and abilities. The Goodman’s Alice Rapoport Center for Education and Engagement is the home of such programming, most offered free of charge, and has vastly expanded the theater’s ability to touch the lives of Chicagoland citizens (with 85% of youth participants coming from underserved communities) since its 2016 opening.

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 of the new Goodman center in 2000.

Today, Goodman Theatre leadership also includes the distinguished members of the Artistic Collective: Brian Dennehy, Rebecca Gilman, Henry Godinez, Dael Orlandersmith, Steve Scott, Chuck Smith, Regina Taylor, Henry Wishcamper and Mary Zimmerman. David W. Fox, Jr. is Chair of Goodman Theatre’s Board of Trustees, Cynthia K. Scholl is Women’s Board President and Justin A. Kulovsek is President of the Scenemakers Board for young professionals.

LAST CALL: SPAMILTON at The Royal George is Closing 10/8/17

Chi, IL LIVE Shows On Our Radar:

THE CRITICALLY ACCLAIMED CHICAGO PRODUCTION OF 

“SPAMILTON” 

AT THE ROYAL GEORGE THEATRE MUST CLOSE SUNDAY, OCTOBER 8 

After a Seven-Month Run in Chicago, “Spamilton” Premieres in Los Angeles November 12

Kenaz-Mara 2017

Don't miss your chance to keep a souvenir "Playkill"!
A big favorite of ours here at ChiIL Live Shows is leaving Chicago,

so catch it while you can.

Here at ChiIL Mama & ChiIL Live Shows we highly recommend Spamilton. This show is more of an irreverent roast of Lin-Manuel Miranda and the whole Broadway musicals genre than a parody of Hamilton in particular, though it does include brilliantly funny lyric rewrites of Hamilton tunes. Both of my teens adored it as much as I did, and we all laughed early and often throughout the show. It's fabulously funny and exceeded all our expectations.



If you're looking for something to entertain the tough to please teen demographic, Spamilton is a good bet. This is also a fun find for a date night or multigenerational entertainment. If you're searching for a show as funny to the kids as it is to the grandparents, Spamilton is nearly 90 minutes of non stop fun. They keep the sets and costumes minimalist and two of the sisters are puppets, but the over the top creative writing, fabulous vocals, and heartfelt hilarity is more than worth the admission. There's not a bad seat in the place, as the Royal George cabaret space is intimate. There's also a convenient bar, right at the back of the seating. 

This wickedly witty and wonderful production is an absolute must see for anyone familiar with Hamilton and/or Broadway musicals. Don't miss this!

 Check out our full review and more show info HERE then GO already.




The producers of “Spamilton,” the critically acclaimed parody of “Hamilton,” announced an October 8 closing date for the Chicago run at the Royal George Theatre (1641 N. Halsted). Created by Tony Award honoree Gerard Alessandrini, the mastermind behind “Forbidden Broadway,” “Spamilton” officially opened in Chicago on March 12 to rave reviews, with Hedy Weiss of the Chicago Sun-Times calling “Spamilton” an “altogether brilliant, hilarious, cliché-demolishing send-up of ‘Hamilton,’” Chris Jones of Chicago Tribune noting “You really don’t want to miss ‘Spamilton,’” and Barbara Vitello of the Daily Herald exclaiming the show is “deliciously silly. The laughs come fast and furious!” The all-Chicago “Broadway ready” (Chicago Sun-Times) cast includes Becca Brown, Aaron Holland, Adam LaSalle, Yando Lopez, Gabriel Mudd and David Robbins. Original cast members include Donterrio Johnson, Michelle Lauto and Eric Andrew Lewis.

The final tickets for “Spamilton” are available now. The final performance takes place Sunday, October 8 at 5 p.m. Tickets ($59 – $99) can be purchased at the Royal George Theatre’s box office online, at Ticketmaster.com or by calling 312.988.9000.  

“After seven great months in Chicago here at the Royal George with our talented local cast, we feel very lucky to have been so well-received for so long,” said Alessandrini. “While it’s bittersweet to be leaving the Windy City, we’re thrilled about the next steps for ‘Spamilton,’ including continuing our open run in New York and opening the Los Angeles production in November.”

“Spamilton,” which was initially scheduled in New York as an exclusive 18-performance off-Broadway engagement, has extended three times and is now playing its seventeenth smash month of an open engagement at the 47th Street Theatre in the heart of New York’s Theatre District. The New York production earned rave reviews across-the-board, with Ben Brantley of The New York Times calling it “smart, silly and convulsively funny!” and Lin-Manuel Miranda exclaiming “I laughed my brains out!” In its Chicago premiere, the local cast received additional acclaim, with critics hailing the production “endlessly entertaining” (Performink), “A Must-See!” (BroadwayWorld.com), and “razor sharp and filled with wit and humor” (Chicago Theatre Review). On opening night, cast members from the Chicago production of “Hamilton” were in the audience, and following the performance Wayne Brady called the production “Amazing! It’s the perfect blend of funny and parody. Go see ‘Spamilton!’ This fall, “Spamilton” makes its West Coast debut at the Kirk Douglas Theatre with Center Theatre Group November 5 – December 31, 2017.



In addition to Alessandrini, the creative team includes Gerry McIntyre (Choreography), Dustin Cross (Costume Design), Milo Blue (Scenic Design), Andy Kloubec (Lighting Design), Matt Reich (Sound Design), Jamie Karas (Prop Design), Leah Munsey-Konops (Wig Design), Fred Barton (Musical Director), and Richard Danley and Fred Barton (Musical Arrangements).

“Spamilton” is produced in Chicago by John Freedson, David Zippel, Gerard Alessandrini, Margaret Cotter and Liberty Theatricals, in association with JAM Theatricals. Brandon Kinley and Keirsten Hodgens are the understudies for the production.

The performance schedule for “Spamilton” is as follows: Tuesdays through Fridays at 7:30 p.m., Saturdays at 5 p.m. and 8 p.m. and Sundays at 2 p.m. and 5 p.m. For additional details, visit Ticketmaster.com or TheRoyalGeorgeTheatre.com.

For more information, visit Spamilton.com.

OPENING: All-Woman Cast Stage Suffragette Shrew at Chicago Shakespeare 9/16-11/12/17

Chi, IL LIVE Shows On Our Radar:

All-woman cast takes on Shakespeare's 

raucous comedy 

The Taming of the Shrew

Staged by Barbara Gaines, 

September 16–November 12, 2017

Chicago Shakespeare Theater (CST) Artistic Director Barbara Gaines stages Shakespeare’s raucous comedy The Taming of the Shrew with a powerhouse, all-woman cast—setting up a witty and thought-provoking debate on politics, power, and love. Framed as a performance by a band of Suffragettes with additional dialogue by Second City’s Ron West, The Taming of the Shrew launches Chicago Shakespeare’s 2017/18 Season in the Courtyard Theater, September 16–November 12, 2017.

This concept makes my feminist heart proud. I can't wait to check out this version of The Taming of the Shrew in the capable hands of Artistic Director Barbara Gaines! We'll be out for the press opening so check back soon for our full review. 

The year is 1919 and, amidst suffrage marches in Chicago, a women’s theater troupe is convening to rehearse their upcoming comedy: The Taming of the Shrew. In the play, fortune-seeking suitors compete for the hand of the demure Bianca, but her father has decreed that her fiery and tempestuous sister Katherine must first wed. Petruchio takes on the task of wooing and winning her—and so begins the notorious battle of wits. Along the way, the Suffragettes re-examine the characters in Shakespeare’s story, as well as their own status as women in society.

“There is a supreme power in reclaiming this story to be told by women, particularly now,” Director Barbara Gaines notes. “Looking at this play through a woman’s eyes brings the play’s themes into sharp focus with wit, wisdom, and humor, and sheds new light on Shakespeare’s characterizations of both men and women, and their relationships. These women are wickedly smart, and strong—and they will not be tamed.”

Each actress in the ensemble cast performs dual roles: as one of the suffragettes presenting the play, and as a character in their performance of The Taming of the Shrew. Leading the company are Alexandra Henrikson (Mrs. Louise Harrison/Katherine) and Crystal Lucas-Perry (Mrs. Victoria Van Dyne/Petruchio). Henrikson appeared on Broadway in Larry David’s Fish in the Dark and was nominated for a Helen Hayes award for her role in Ironbound at Round House Theatre. Lucas-Perry performed off Broadway in Storm Still: A King Lear Adaptation, and in Lincoln Center’s Bull in a China Shop. Olivia Washington (Mrs. Emily Ingersoll/Bianca) appeared off Broadway as Laura in The Glass Menagerie; and on film in Lee Daniels’ The Butler and Robert De Niro’s The Comedian.

Six-time Jeff Award-winner E. Faye Butler (Dr. Fannie Emmanuel/Baptista) has appeared in multiple national touring productions (Mamma Mia!, Ain’t Misbehavin, Nunsense), and on stages from coast to coast, including The Kennedy Center, Seattle Repertory Theatre, and Signature Theatre. Hollis Resnik (Miss Judith Smith/Gremio) is a twelve-time Jeff Award-winner, including a win for her performance as Carlotta in Chicago Shakespeare’s Follies. She has also appeared in the national touring casts of Les Misérables, Thoroughly Modern Millie, and Dirty Rotten Scoundrels.

Jeff Award-winner Heidi Kettenring (Mrs. Dorothy Mercer/Tranio) returns to Chicago Shakespeare in her eighth production, after having appeared in the Tug of War saga, The Merry Wives of Windsor, and The School for Lies. Tina Gluschenko (Mrs. Beatrice Ivey Welles/Hortensio) was a member of CST’s collaboration with the Second City: Hamlet the Musical, which later played in New York at Ars Nova. Other Chicago credits include Candide and A Little Night Music at the Goodman Theater. Kate Marie Smith (Mrs. Olivia Twist/Lucentio) appeared in Chicago Shakespeare’s productions of King Charles III and Twelfth Night, and on Chicago Fire.

Rounding out the cast are Lillian Castillo (Mrs. Lucinda James/Biondello), Cindy Gold (Mrs. Sarah Willoughby/Vincentio), Ann E. James (Mrs. Elizabeth Nicewander/Pedant), Rita Rehn (Mrs. Mildred Sherman/Grumio), and Faith Servant (Mrs. Barbara Starkey/Curtis).

Ron West creates additional dialogue for the production, setting the Suffragette’s story alongside Shakespeare’s play. West’s illustrious career spans over two decades, having written for shows like Whose Line Is It Anyway?, as well as serving as a writer and associate artistic director at The Second City. West previously collaborated with Gaines on The Comedy of Errors in 2008, which garnered Jeff Awards for Best Production and Best Adaptation. West also wrote the book, music, and lyrics for The Second City’s Romeo and Juliet Musical: The People vs. Friar Laurence, The Man Who Killed Romeo and Juliet, which had a wildly popular run at Chicago Shakespeare in 2005.

Joining Barbara Gaines on the creative team are Scenic Designer Kevin Depinet and Costume Designer Susan Mickey. Depinet returns to Chicago Shakespeare, where he has designed more than a dozen productions, including most recently Love’s Labor’s Lost, The Heir Apparent, and Sense and Sensibility. Jeff Award-winning designer Mickey is best known for her sumptuous and playful costumes—exemplified in her previous CST designs for Shakespeare in Love, Sense and Sensibility, and The School for Lies. Chicago Shakespeare’s resident Wig and Make-up Designer Richard Jarvie completes the character’s looks with period hairstyles. Lighting Designer Thomas Hase is a veteran designer for international opera and theater stages, including the 2006 Broadway revival of Company. David van Tieghem, who most recently worked on CST’s Measure for Measure, leads the production’s sound design. Completing the creative team are Rinska Carrasco as Assistant Director and Kevin Gudahl as Verse Coach.

For more information, visit www.chicagoshakes.com/shrew.

The Taming of the Shrew will be presented in Chicago Shakespeare’s Courtyard Theater, September 16–November 12, 2017. Single tickets are on sale now for $48–$88 (subject to change). Special discounts are available for groups of 10 or more, as well as CST for $20 tickets available for patrons under 35. For more information or to purchase tickets, contact Chicago Shakespeare Theater’s Box Office at 312.595.5600 or visit the Theater’s website at www.chicagoshakes.com.

CST strives to make its facility and performances accessible to all patrons through its Access Shakespeare programs. The Taming of the Shrew will have an Audio-described performance on Sunday, October 22 at 2:00 p.m. (with optional touch tour at 12:00 p.m.); Open-captioned performances on Thursday, November 2 at 1:00 p.m. and 7:30 p.m.; and an ASL Duo-interpreted performance on Friday, October 27 at 7:30 p.m.

ABOUT CHICAGO SHAKESPEARE THEATER

Chicago Shakespeare Theater (CST) is a leading international theater company and the recipient of the Regional Theatre Tony Award®. Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, CST is dedicated to creating extraordinary production of classics, new works and family programming; to unlocking Shakespeare’s work for educators and students; and to serving as Chicago’s cultural ambassador through its World’s Stage Series. Through a year-round season encompassing more than 650 performances, CST attracts 225,000 audience members annually. One in four of its audience members is under eighteen years old, and today its education programs have impacted the learning of over one million students. CST is proud to take an active role in empowering the next generation of literate, engaged cultural champions and creative minds. During 2016, CST spearheaded the Shakespeare 400 Chicago festival in addition to announcing the creation of an innovative performance venue, The Yard at Chicago Shakespeare.