OPENING: CHICAGO PREMIERE OF ADMISSIONS AT THEATER WIT MARCH 21-MAY 12, 2019

ChiIL Live Shows on our radar

WHITE LIBERALS FORCED TO DEFEND THEIR

WHITE PRIVILEGE IN 

ADMISSIONS

THEATER WIT TO PRESENT CHICAGO PREMIERE OF JOSHUA HARMON’S NEW CONTEMPORARY SATIRE, 

MARCH 21-MAY 12

Racial diversity in private schools. College apps and quotas. White liberal guilt. Playwright Joshua Harmon takes aim at all of this along with political correctness of all kinds in his newest play, Admissions.

Theater Wit, Chicago’s “smart art” theater, is excited to announce it will present the Midwest premiere of Admissions, Harmon’s hilarious and scathing family drama, sure to press audience members’ buttons as it tackles hallowed, yet thorny, contemporary issues, skewering them with Harmon’s signature humor and satiric wit.

Performances are March 21-May 12, 2019: Thursday, Friday and Saturday at
8 p.m.; Sunday at 3 p.m. Press opening is Monday, April 1 at 7 p.m. No show April 4.

Theater Wit is located at 1229 N. Belmont Ave., in the Belmont Theatre District in Chicago’s Lakeview neighborhood. Tickets start at $12 and go on sale February 4. For tickets and information, visit TheaterWit.org or call the Theater Wit box office, (773) 975-8150.

Meet Bill and Sherri Mason, the headmaster and head of admissions respectively of Hillcrest, a second-tier New Hampshire boarding school. When this very liberal, very progressive couple arrived 15 years ago, the student population at Hillcrest was 94 percent white. Deeply committed to diversity, Sherri has boosted the number of students of color from six to 18 percent, a figure she still considers embarrassingly low.

However, Bill and Sherri’s dedication to diversity is put to the test when their son Charlie, an outstanding Hillcrest student who has dreamed of attending Yale since he was a child, learns his application has been deferred.

Complicating matters, Charlie’s classmate and best friend Perry, whose father is African-American, has been admitted to Yale even though his academic and extracurricular achievements are nowhere near Charlie’s.

Convinced that Yale based its decisions on race, Charlie claims to be a victim of reverse discrimination. And as their son lashes out, Sherri and Bill are forced to examine just how far their commitment to diversity goes. Are they true disciples? Or total hypocrites.

When Admissions premiered last year at Lincoln Center Theater, The New York Times called it “an extraordinarily useful and excruciating satire - of the left, by the left, for the left - for today.”

The Hollywood Reporter pegged Harmon’s newest play as “a smart, provocative drama with a rich vein of humor that pulls the rug out from under liberal white America.”

Indeed, Admissions is funny, sharp-witted, devastating and shockingly blunt, much like Harmon’s earlier plays Bad Jews, the most successful production in Theater Wit history, which ran an unprecedented eight months in 2015, and Significant Other, a Wit co-production with About Face Theater in 2017.

Admissions is also seductive - and, perhaps, controversial - as it splays open issues that have rarely been explored in the theater, at least not in Harmon’s comedic and biting manner.

"There's only one author who consistently makes me laugh helplessly and flinch in terror simultaneously. Joshua Harmon has done that to me twice now—first with Bad Jews and again when I read Admissions,” explains Jeremy Wechsler, Artistic Director at Theater Wit, who will also stage Wit’s production of Admissions. “Once again, Joshua’s immense compassion and wicked sense of humor is deployed to illuminate some of the key stresses of contemporary life: the intersection of diversity issues, white liberal guilt and privilege in education. His newest work is a keen satire, equally merciless and kind. As such, I hope Admissions sparks the same level of conversation that made our previous collaborations such deep, memorable experiences for our audience."

Theater Wit’s cast and production team for Admissions are to be announced.



About Theater Wit

Theater Wit, Chicago’s “smart art” theater, is a major hub of the Chicago neighborhood theater scene, where audiences enjoy a smorgasbord of excellent productions in three, 99-seat spaces, see a parade of talented artists and mingle with audiences from all over Chicago.

Currently on stage at Theater Wit is the company’s acclaimed co-production of Will Eno’s The Realistic Joneses with Shattered Globe Theatre, now through March 9. Try and keep up with the Joneses as they muddle through the small beauties, immense fears, and amazing moments of each day. Time is short but there are gift certificates to enjoy, tiny fireworks to light and another perfect summer evening to take for granted. “Very Funny! ★★★ Director Jeremy Wechsler’s production grounds the flightier aspects of the play in a Chicago-style reality,” wrote the Chicago Tribune. “★★★1/2 Sublime! Endless profundity (and marvelous wit),” said the Chicago Sun-Times.

To purchase tickets, a Theater Wit Membership or to inquire about Flex Pass options, visit TheaterWit.org or call the Theater Wit box office, 773.975.8150.

Biographies



Joshua Harmon’s plays include Bad Jews (Roundabout Theatre Company), Significant Other (Roundabout Theatre Company; Broadway/Booth Theatre), Admissions (Lincoln Center Theater); Ivanka (staged readings across the country on Election Eve, 2016) and Skintight (Roundabout Theatre Company). Bad Jews is one of the most produced plays in the United States of the last few years and has received international productions in Australia, Canada, Germany, Israel, South Africa and London’s West End, following sold-out runs at Theatre Royal Bath and the St. James. Fellowships include the MacDowell Colony, Atlantic Center for the Arts, and NNPN. Harmon is an associate artist at Roundabout Theatre Company and under commission from Manhattan Theatre Club. He is a graduate of The Juilliard School. 




Theater Wit’s 2015 hit production of Harmon’s Bad Jews (which featured, from left)
Laura Lapidus, Ian Paul Custer and Erica Bittner. Credit: Charles Osgood



Jeremy Wechsler (director) most recent directing credits at Theater Wit include Will Eno’s The Realistic Joneses, Eric John Meyer’s The Antelope Party, Mitchell Fain’s This Way Outta Santaland, Anne Washburn’s 10 Out of 12, and Mat Smart’s Naperville. Other directing credits include the company’s election night reading of The Trump Card by Mike Daisey, The New Sincerity by Alena Smith, The (curious case of the) Watson Intelligence by Madeleine George, Bad Jews by Joshua Harmon, Mr. Burns, a post-electric play by Anne Washburn, Madeline George’s Seven Homeless Mammoths Wander New England, and that show’s summer remount at Art Square Theatre in Las Vegas. Wechsler also staged Wit’s acclaimed Completeness and The Four of Us (Itamar Moses), Tigers Be Still (Kim Rosenstock), This (Melissa James Gibson), Spin (Penny Penniston), Feydeau-Si-Deau (Georges Feydeau), Men of Steel (Qui Nguyen), Thom Pain (Based on Nothing) (Will Eno), Two for the Show (James Fitzpatrick and Will Clinger) and The Santaland Diaries. A veteran director in Chicago with over 50 productions, his work has been nominated for and won multiple awards for design, performance, adaptation and best new plays.

OPENING: Court Theatre continues 64th Season with For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf March 14 – April 14, 2019

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Court Theatre continues 64th Season with

For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf 

By Ntozake Shange

Directed by Seret Scott

March 14 – April 14, 2019

I'll be ChiILin' with Chi, IL's Court Theatre for the press opening Saturday, March 23rd, so check back soon for my full review.

Court Theatre, under the leadership of Charles Newell, Marilyn F. Vitale Artistic Director, and Executive Director Angel Ysaguirre, continues its 2018/19 season with For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf by Ntozake Shange and directed by Seret Scott. For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf runs March 14 – April 14, 2019 at Court Theatre, 5535 S. Ellis Ave.

A sisterhood of eight women tell their stories through dramatic prose poetry, music, and movement. Told in vivid language, their experiences resound with fearless beauty and unity, despite exposing the unending challenges and oppressions that women of color face every day.

Director Seret Scott (Native Son) returns to playwright Ntozake Shange’s cherished work after performing as a member of the original Broadway cast from 1976-1978. She will inspire new audiences with this series of stories that still resonate profoundly forty years later.

"When we selected Ntozake Shange's For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf for our season, we knew it was cherished. We’ve come to understand this depth of feeling even more clearly as we’ve heard from our patrons over the past months. With this production, it seems we’re offering something that actually belongs to our community. We are so thrilled to be sharing Shange's powerful words in a city and at a moment when its messages of hope, resilience, and empowerment are needed more than ever,” notes Charles Newell, Marilyn F. Vitale Artistic Director.

The cast of For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf includes Melody Angel, Melanie Brezill, Leah Casey, Melissa DuPrey, Angelica Katie, Patrese D. McClain, Alexis J. Roston, and AnJi White.

The creative team of For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf includes Samantha C. Jones (costume design), Paul Toben (lighting design), Andre Pluess (sound design), Melody Angel (additional music), Leah Casey (choreography), and Gabrielle Randle (production dramaturg).

About the Artists
SERET SCOTT (Director) directed Spunk, Native Son and Electra at Court Theatre. Directing credits: Old Globe Theatre (San Diego–Associate Artist), Oregon Shakespeare Festival, Denver Center Theatre Company, New Victory Theatre, and Second Stage Theatre (Off-Broadway), Philadelphia Theatre Company, Arena Stage, Ford’s Theatre, Woolly Mammoth Theatre Company and Studio Theatre (DC), American Conservatory Theatre (San Francisco), South Coast Repertory and L.A. Theatreworks (CA), Long Wharf Theatre and Yale Repertory Theatre (New Haven), Two River Theatre Company (NJ), Hartford Stage (CT), Indiana Repertory Theatre, Pan Asian Repertory Theatre and National Black Theatre (NYC), Alliance Theatre (Atlanta), Alley Theatre (Houston), Actors Theatre of Louisville, Virginia Stage Company, New Mexico Repertory, and Playmakers Repertory Company (NC). She is a member of the executive board of the Stage Directors and Choreographer’s Society and a recipient of a TCG/PEW Residency Grant (Long Wharf Theatre) and Drama Desk Award in acting (My Sister, My Sister). Ms. Scott’s play Second Line was produced by Passage Theatre (NJ) and Tribute Productions (DC).

MELODY ANGEL (Lyric/Additional Music) was recently named one of 2018’s HOT New Faces of Chicago Theatre by Chris Jones at the Chicago Tribune. She made her theatre debut at Goodman Theatre in the highly rated production of Father Comes Home From the Wars by Pulitzer Prize-winner Suzan-Lori Parks. Melody’s performance led her to star in the short film Knockout by Alley Cake Films, for the 48 Hour Film Project (Chicago). This short film went on to win best film, and will now be a part of the International Film Festival Filmapalooza 2019. Melody Angel is also a singer/songwriter/guitarist, who has performed all over the world with her “Blues-Rock-Soul.”

MELANIE BREZILL (Lady in Yellow) returns to Court Theatre. Previous Court Theatre credits include Man in the Ring and Caroline, or Change, for which she received a Jeff Nomination. Broadway and National Tour Credits: The Book of Mormon and Mamma Mia! Regional Credits: Nina Simone: Four Women (Northlight Theatre); Little Shop of Horrors, Aida (Drury Lane Oakbrook Theatre); Crowns, A Christmas Carol (Goodman Theatre); Last Stop on Market Street, My Wonderful Birthday Suit, and The Miraculous Journey of Edward Tulane (Chicago Children’s Theatre); The MLK Project (Writers Theatre); Yeast Nation (American Theater Company); Living Green (Victory Gardens Theater); Once on this Island (Porchlight Music Theatre); and Seussical, Willy Wonka (Chicago Shakespeare Theater). TV Credits: Empire. Melanie is the creator and producer of The Grandmother Project, an original docu-series featured on YouTube and Vimeo.

LEAH CASEY (Lady in Purple/Choreographer) is a Chicago-based performer. She was most recently seen on Court Theatre’s stage in Manual Cinema’s Frankenstein as Mary Wollstonecraft, Percy Shelley, and Caroline Frankenstein. Some of her previous credits include Romeo and Juliet with Teatro Vista, and STORM with Walkabout/Moonfool. When not onstage, Leah can be found behind the mic narrating audiobooks, or working with the cast of Project STELLAR, a science fiction podcast.

MELISSA DUPREY (Lady in Blue) is an actor, stand-up comic, activist, playwright, and musician from Humboldt Park, Chicago. She has 3 critically acclaimed solo shows with two more in development. Her play Brujuja is an official selection of 16th Street’s 2019 Pop Up Reading Series. She was a new talent for the 2014 ABC Diversity Showcase in NYC. She is featured in the Emmy-nominated web series, “Brown Girls,” in development with HBO. She has multiple credits in TV and Film. She has been seen at The Goodman, Steppenwolf, Victory Gardens, Free Street Theater, and is honored to be making her Court Theatre debut. She is an Ensemble Member at Urban Theater Company, and the Director of Production and Community Relations at Free Street Theater.

ANGELICA KATIE (Lady in Green) After receiving her degree in Theatre Performance from Bradley University, Angelica has spent her acting career in LA, NYC, and at the Williamstown Theatre Festival in Williamstown, MA. She was most recently seen off-Broadway in the premiere of The Parlour at The Rattlestick Theatre in NYC. Angelica is making her Chicago debut in the city where she was born and raised.

PATRESE D. MCCLAIN (Lady in Brown) returns to Court Theatre where she previously appeared in: Tartuffe, The Misanthrope, and Spunk. Additional theatre credits: The Mountaintop, Skeleton Crew (People’s Light and Theatre Co.), Skeleton Crew (Actors Theatre of Louisville); Hang (Remy Bumppo); Bright Half Life (About Face); SS! Romeo and Juliet(Chicago Shakespeare Theater); Cocked (Victory Gardens); Things You Shouldn’t Say Past Midnight (Windy City Playhouse); White Guy on the Bus (Northlight). Regional Theatre: Two Trains Running (GEVA Theatre Center); Crumbs From The Table Of Joy (Mustard Seed), Romeo and Juliet, Pericles, For Colored Girls, No Child… (Black Rep). Recent Film/Television: NBC Chicago Fire, Chicago Med, USA Sirens, ABC Detroit 1-8-7, WIDOWS (directed by Steve McQueen), and CAPTIVE STATE (Directed by Rupert Wyatt). Recognitions include: Barrymore Winner for Outstanding Leading Actress (Mountaintop), Barrymore Nomination for Outstanding Leading Actor (Skeleton Crew), Jeff Nomination for Outstanding Supporting Actress (White Guy on the Bus and Spunk), and St. Louis Circle Theatre Award for Best Actress (No Child…). Training: MFA Pennsylvania State University, BFA Howard University.

ALEXIS J. ROSTON (Lady in Orange) has been deemed a seasoned triple threat. Her list of accomplishments in musical theatre aren’t simply on stage. She has directed as well as arranged vocals for several productions throughout the Chicagoland area. She most recently directed a well-received Aurin Squire piece, Defacing Michael Jackson (BTAA nomination for Best Direction of an Ensemble), for Flying Elephants Productions. Alexis is an award winner (Jeff Award, Black Excellence Award, Black Theatre Alliance Award) for her performance as Billie Holiday in Lady Day at Emerson’s Bar and Grill (Porchlight Music Theatre). Other Chicago credits include: Jesus Christ Superstar, Hair (Paramount Theatre); Ain’t Misbehavin’, Crowns (Goodman Theatre); Porgy and Bess, Spunk, The Piano Lesson (Court Theatre); Shrek (Chicago Shakespeare Theatre); What I Learned in Paris, Black Nativity, Seven Guitars (Congo Square Theatre Company); and Company, The Old Settler (Writers Theatre). Her TV credits include The Chi, Chicago PD, Chicago Code, and a national commercial for Land O’Frost lunch meat. Alexis is a proud ensemble member of Congo Square Theatre Company, as well as a member of Actor’s Equity and SAG-AFTRA. She is represented by Paonessa Talent Agency.

ANJI WHITE (Lady in Red) Theatre credits include: TimeLine Theatre’s The Last Wife (US Premiere), the critically acclaimed Chicago premiere; Sunset Baby (Equity Jeff nomination-Best Actress, Black Excellence Awards nomination, Black Theatre Alliance Award-Best Actress); and Pulse Theatre’s Fabulations, or the Re-education of Undine Barnes (Black Theatre Alliance nomination-Best Ensemble). She originated the role of Regina “G” Whitnall in TimeLine Theatre’s To Catch A Fish, and was in American Theatre Company’s docudrama of The Project(s) (Black Theatre Alliance Award-Best Ensemble), and more. TV/Film credits: The Chi (Showtime), Empire (FOX), Chicago PD (NBC), and Home for the Weekend pilot (Comedy Central).

beyond the rainbow: Court Community Conversations
In conjunction with the play, Court will be hosting a series of community-focused events to engage new audiences with this classic from the African American canon.

beyond the rainbow: Court Community Conversations features a number of exciting opportunities for audiences to engage further with the central themes of the play. Planned events include a reading of Boogie Woogie Landscapes, another work by seminal playwright Ntozake Shange, as part of Court’s Spotlight Reading Series, on March 8 at 6:30pm at Experimental Station in Woodlawn. beyond the rainbow will also feature a number of post-performance conversations, panel discussions, and a night of poetry and storytelling open to the community.

Tickets, priced $50-$74 ($38-$52 for previews), are available at the Court Theatre box office (5535 S. Ellis Avenue, Chicago), by calling (773) 753-4472, or online at www.CourtTheatre.org.


Dates:
Previews: March 14 – 22, 2019
Press Opening: Saturday, March 23, 2019 at 7:30pm
Regular Run: March 24 – April 14, 2019

Schedule:     
Wednesdays: 7:30 p.m.
Thursdays: 7:30 p.m.
Fridays: 7:30 p.m.                         
Saturdays: 2:00 p.m. (except March 23) and 7:30 p.m.
Sundays: 2:00 p.m. and 7:30 p.m.

Location: Court Theatre, 5535 S. Ellis Ave.

Tickets:
$38-$52 previews
$50-$74 regular run

Box Office: Located at 5535 S. Ellis Avenue, Chicago; (773) 753-4472 or www.CourtTheatre.org.

For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf’s lead sponsor is Poetry Foundation, with additional support from The Sidley Austin Foundation.



Court Theatre’s 2018/19 season is dedicated to Court’s late Executive Director, Stephen J. Albert.

Court Theatre is the professional theatre of the University of Chicago, dedicated to innovation, inquiry, intellectual engagement, and community service. Functioning as the University’s Center for Classic Theatre, Court and its artists mount theatrical productions and audience enrichment programs in collaboration with faculty. These collaborations enable a re-examination of classic texts that pose the enduring and provocative questions that define the human experience. Court endeavors to make a lasting contribution to classic American theatre by expanding the canon of translations, adaptations, and classic texts. The theatre revives lost masterpieces; illuminates familiar texts; explores the African American theatrical canon; and discovers fresh, modern classics. Court engages and inspires its audience by providing artistically distinguished productions, audience enrichment activities, and student educational experiences.

OPENING: World Premiere of Landladies at Northlight Theatre March 14 – April 20, 2019

ChiIL Live Shows on our radar

Northlight Theatre continues its 2018-19 season with 

the World Premiere of

Landladies

Written by Sharyn Rothstein

Directed by Jess McLeod

Featuring Shanesia Davis, Leah Karpel and Julian Parker

 

March 14 – April 20, 2019

I'll be checking this world premiere out the last weekend of March, so circle back soon for my full review. Northlight Theatre, under the direction of Artistic Director BJ Jones and Executive Director Timothy J. Evans, continues its 2018-19 season with the World Premiere of Landladies, written by Sharyn Rothstein and directed by Jess McLeod. Landladies runs March 14 – April 20, 2019 at Northlight Theatre, 9501 Skokie Blvd in Skokie. 

Marti and Christine are both working their way to a better life – one a self-made building owner, the other a single mom juggling the care of her daughter with a part-time job and a complicated ex-boyfriend. The two women have a lot in common, but as landlady and tenant their friendship walks a delicate balance. Faced with dilemmas of fairness versus kindness and honesty versus eviction, both women are determined to build a home, and know the threat of losing one.  

Landladies by Sharyn Rothstein was commissioned by Northlight Theatre and this production marks its World Premiere. Northlight presented Rothstein’s By the Water during the 2016-2017 Season.

“As I write this, we are experiencing arguably the coldest set of days in Chicago's history. Businesses, schools, restaurants, and theatres, including Northlight, closed for safety’s sake. The streets were empty in my one foray out into the 20 below. The shelters in Evanston were full and the heroes who serve the homeless population were pitching in to house as many as they could during the cold crisis. In this extreme weather, I thought about Landladies. I thought about all the families who struggle to make the rent, let alone heat their homes, in times like these,” comments BJ Jones. “Nationwide, one in five renting families miss their utility bills and are disconnected. There are 900,000 evictions every year in America amounting to 2.6 million people, many of them children. There are thousands on the edge of poverty struggling to keep their heads above water, when at one time they were securely in the middle class.”

Sharyn Rothstein was inspired to write Landladies after reading Matthew Desmond's book Evicted: Poverty and Profit in the American City, a study of eight families living in low-income housing in Milwaukee.

The cast of Landladies includes Shanesia Davis (Marti), Leah Karpel (Christine) and Julian Parker (Poet).

The creative team includes Arnel Sancianco (set design), Christine Pascual (costume design), Sarah Hughey (lighting design) and Stephen Ptacek (sound design). The stage manager is Katie Klemme.

This production is supported in part by an Edgerton Foundation for New American Plays Award, the National Endowment for the Arts, and PNC.

ABOUT THE ARTISTS

Sharyn Rothstein (Playwright) is a playwright and television writer, whose plays and musicals have been workshopped and produced around the country, as well as internationally. Her play By The Water was first produced by Manhattan Theater Club and Ars Nova and was the recipient of the American Theater Critic’s Association Francesca Primus Prize. Her play All The Days was the recipient of the Edgerton Foundation Award and was produced at the McCarter Theater Center, directed by Emily Mann. In addition to playwriting, Sharyn is a writer and consulting producer for the USA Network drama SUITS. She is currently working on a television pilot for Apple, a theater commission from Manhattan Theater Club, as well as a stage adaptation of the beloved film Hester Street. In 2019, Sharyn’s comedy Tell Me I’m Not Crazy will premiere at The Williamstown Theater Festival and her drama Right To Be Forgotten will premiere at Arena Stage in Washington, DC. She holds an MFA in dramatic writing from NYU and a Masters in Public Health from Hunter College, with a concentration in Urban Health. 

This is Director Jess McLeod’s first production with Northlight Theatre. She is currently the Resident Director of Hamilton Chicago. Fulfillment Center, under McLeod’s direction is currently playing at A Red Orchid.

Jess McLeod (Director) is the Resident Director of Hamilton Chicago. Recent Chicago credits include Fulfillment Center (A Red Orchid Theatre), There’s Always the Hudson (Goodman Theatre, 2017 Michael Maggio Fellow), Hang Man (The Gift Theatre), Marry Me A Little (Porchlight Music Theatre), How We Got On (Haven), Season on the Line (The House Theatre), L-vis Live! (Victory Gardens Theater, 2018 Next Generation Artistic Fellow), Venus (Steppenwolf Next Up!), Short Shakes! Midsummer (Chicago Shakespeare), and five short operas developed with Chicago community groups (Lyric Opera of Chicago).  New York credits include The Last Five Years and The Unauthorized Musicology of Ben Folds (New York Musical Theatre Festival, Director of Programming).  She was the Festival Coordinator for the Louder Than A Bomb Youth Poetry Festival @ Young Chicago Authors (2016-17) and a Teaching Artist for Storycatchers Theatre. She holds a M.F.A. from Northwestern University.

Shanesia Davis (Marti) returns to Northlight where she previously appeared in Permanent Collection and Bee-luther-hatchee. She was last seen as Gertrude in The Gift Theatre’s Hamlet. Chicago credits include: Billy Elliot the Musical (Porchlight, Jeff Nomination); Richard III (Gift Theatre); The Glass Menagerie, Our Lady of 121st St. (Steppenwolf); Brothers of the Dust (Best Actress, Black Theater Alliance Award, Black Excellence Award), What I Learned in Paris (Congo Square); Immediate Family, Drowning Crow, Black Star Line (Goodman); Native Son, Othello (Court) among others. Regional credits include: Jazz (Baltimore Center Stage); Immediate Family (Mark Taper Forum); Gee’s Bend (Cleveland Playhouse); The Syringa Tree, A Raisin in the Sun (Kansas City Repertory); Intimate Apparel (Baltimore Center Stage, South Coast Repertory); and Hamlet (San Diego Repertory). Film credits include: Blueprint, External Rivals, Working Man, Consumed, Morning Due, The Weatherman, Life Sentence, and Chicago Cab with Honors. TV credits include: Proven Innocent, The Chi, Cleveland Abduction, Empire, Chicago Fire, Making a Case for Murder: The Howard Beach Story, CRISIS, Detroit 187, Missing Person, and Early Edition.

Leah Karpel (Christine) returns to Northlight after previously appearing in The Commons of Pensacola. Other Chicago credits include: Appropriate, The Whale, We Are Proud to Present… (Victory Gardens); Buena Vista, The Glass Menagerie, The Hot L Baltimore (Steppenwolf); The Diary Of Anne Frank (Writers); and Punk Rock (Griffin). NYC/regional credits include: Lewiston/Clarkston (Rattlestick), The Harvest (LCT3), Pocatello (Playwrights Horizons), and Porto (Women’s Project). Regional credits include: Miller, Mississippi (Dallas Theatre Center, Longwharf Theatre), Residence (Actors Theatre of Louisville Humana Festival), 4000 Miles (Long Wharf Theatre), and Ten Chimneys (Milwaukee Repertory). Film/TV credits include: Chicago Med, Patriot, and Olympia.

Julian Parker (Poet) returns to Northlight after appearing in Charm. Stage credits include: Pass Over, Gospel of Franklin, BlackTop Sky, and understudy in Head of Passes (Steppenwolf); Genesis, Dutchman, and The Brothers’ Size (Definition Theatre Company); Seize the King (La Jolla Playhouse); Hamlet, Julius Caesar, Smart People (Writers); Prowess (Jackalope); Hairy Ape (Oracle Productions, Jeff Award recipient for Actor in a Principal Role); and The Royale (American Theatre Company). TV/Film credits include: Pass Over (Amazon Studios, directed by Spike Lee); The Chi (Showtime); Chicago PD and Chicago Fire (NBC); and Home for the Weekend (Comedy Central). He is represented by Grossman & Jack Talent and managed by Authentic Talent. He is a co-founding member of Definition Theatre Company and received his BFA from the University of Illinois Urbana-Champaign.

The Box Office is located at the North Shore Center for the Performing Arts, 9501 Skokie Boulevard, in Skokie. Box Office hours are Monday-Friday 10:00am-5:00pm, and Saturdays 12:00pm-5:00pm. On performance days, the box office hours are extended through showtime. The Box Office is closed on Sundays, except on performance days when it is open two hours prior to showtime.

Curtain times are: Tuesdays: 7:30pm (March 19 only); Wednesdays: 1:00pm (except April 3); and 7:30pm; Thursdays: 7:30pm; Fridays: 8:00pm; Saturdays: 2:30pm (except March 16); and 8:00pm; and Sundays: 2:30pm; and 7:00pm (March 17 and April 7 only).

Backstage with BJ: Landladies
Friday, March 8 at noon 
at Northlight Theatre 

Backstage with BJ is a mid-day discussion with Artistic Director BJ Jones, featuring special guest artists, actors, directors and designers, offering behind-the-scenes insight into each production while it is still in rehearsal. Backstage with BJ for Landladies will last approximately one hour. The event is free, but reservations are required. Visit https://northlight.org/events/backstage-with-bj/ to reserve your spot. 

Post Show Discussions will be held after the following performances:
March 19, April 4, and April 11 following the evening performance and March 17, March 27, March 31, and April 10 following the matinees.

An Open Captioning performance will be held on Saturday, April 13 at 2:30pm.



Northlight Theatre aspires to promote change of perspective and encourage compassion by exploring the depth of our humanity across a bold spectrum of theatrical experiences, reflecting our community to the world and the world to our community. 

Now in its 44th season, the organization has mounted over 200 productions, including more than 40 world premieres. Northlight has earned 207 Joseph Jefferson Award nominations and 36 Awards, as well as ten Edgerton Foundation for New Play Awards. As one of the area’s premier theatre companies, Northlight is a regional magnet for critical and professional acclaim, as well as talent of the highest quality. 

Northlight is supported in part by generous contributions from Allstate Insurance; the Paul M. Angell Family Foundation; Robert & Isabelle Bass Foundation; BMO Harris Bank; Henrietta Lange Burk Fund; The Elizabeth F. Cheney Foundation; The Chicago Community Trust; ComEd, An Exelon Company; The Davee Foundation; Edgerton Foundation for New American Plays Award; Evanston Community Foundation; Full Circle Foundation; Illinois Arts Council, a state agency; Kirkland & Ellis Foundation; The John D. and Catherine T. MacArthur Foundation; Melvoin Award for Playwriting; Modestus Bauer Foundation; National Endowment for the Arts; Niles Township; The Offield Family Foundation; The Pauls Foundation; Room & Board; Sanborn Family Foundation; Dr. Scholl Foundation; The Shubert Foundation, Inc.; The Harold and Mimi Steinberg Charitable Trust; The Sullivan Family Foundation; and Tom Stringer Design Partners.

Dates:
Previews: March 14 – 21, 2019
Regular run: March 23 – April 20, 2019

Schedule:
Tuesdays: 7:30pm (March 19 only)
Wednesdays: 1:00pm (except April 3); and 7:30pm
Thursdays: 7:30pm 
Fridays: 8:00pm
Saturdays: 2:30pm (except March 16); and 8:00pm
Sundays: 2:30pm; and 7:00pm (March 17 and April 7 only)

Location: Northlight Theatre is located at the North Shore




Center for the Performing Arts, 9501 Skokie Blvd,
Skokie

Tickets:
Previews: $30-$60
Regular run: $30-$88
Student tickets are $15, any performance 
(subject to availability)

Box Office:
The Box Office is located at 9501 Skokie Blvd, Skokie.
847.673.6300; northlight.org

2019 Year of Chicago Theatre 
Northlight Theatre is proud to be part of the 2019 Year of Chicago Theatre, presented by the City of Chicago and the League of Chicago Theatres. To truly fall in love with Chicago, you must go to our theatres. This is where the city bares its fearless soul. Home to a community of creators, risk-takers, and big hearts, Chicago theatre is a hotbed for exciting new work and hundreds of world premieres every year. From Broadway musicals to storefront plays and improv, there’s always a seat waiting for you at one of our 200+ theatres. 

THREE SHOWS ONLY: PORCHLIGHT REVISITS COLE PORTER’S CAN-CAN AT RUTH PAGE CENTER FOR THE ARTS MARCH 6 AND 7, 2019

ChiIL Live Shows on our radar

PORCHLIGHT MUSIC THEATRE CONTINUES ITS “LOST” MUSICALS IN STAGED CONCERT SERIES, 

PORCHLIGHT REVISITS WITH 

COLE PORTER’S CAN-CAN, 

THREE PERFORMANCES ONLY AT RUTH PAGE CENTER FOR THE ARTS, MARCH 6 AND 7

The High Kicking Montmartre Musical Features Book by Abe Burrows and Stars Porchlight Veterans Keely Vasquez, Devin DeSantis, David Girolmo and Kayla Boye in the role 

Ben Brantley said "made Gwen Verdon a star."

Porchlight Music Theatre continues its “lost” musicals in staged concert series with Porchlight Revisits Can-Can, music and lyrics by Cole Porter and book by Abe Burrows with direction by Adrian Abel Azevedo, musical direction by Linda Madonia and choreography by Shanna VanDerwerker.  Porchlight Revisits Can-Can is presented for three performances-only Wednesday, March 6 at 7:30 p.m. and Thursday, March 7 at 2 p.m. and  7:30 p.m. at The Ruth Page Center for the Arts, 1016 N. Dearborn Street. Two-show discounted subscriptions and single tickets for $37 are available at porchlightmusictheatre.org or by calling the Porchlight Music Theatre box office at 773.777.9884. 

Set in Paris in 1893, it’s the story of Pistache, a café owner who decides to feature the then-scandalous and illicit dance, the Can-Can, on the stage of her establishment. Meanwhile, Aristide Forestier, a young, newly-appointed and over-zealous magistrate, decides to undertake a reform movement and sets his sights to clean up Paris, starting with a prohibition of the titillating dance. Will Pistache’s defiance of the law end her business—and her love life? Featuring the hit Cole Porter songs “I Love Paris,” “C’est Magnifique” and “It’s All Right with Me,” Can-Can is a romantic, dancing, musical classic.

Devin DeSantis & Keely Vasquez

The cast of Porchlight Revisits Can-Can includes: Devin DeSantis, “Aristide ;”  Keely Vasquez, “Pistache;” Kayla Boye, “Claudine;” Nik Kmiecik, “Boris;” Laz Estrada, “Theo;” Tony Cater, “Hilaire;” Ariel Triunfo, “ensemble/dancer;” Mollyanne Nunn, “ensemble/dancer;” Liz Conway, “ensemble/dancer;” Maya Kitayama, “ensemble/dancer;” Parker Guidry, “featured ensemble;” Isaiah Silvia-Chandley, “featured ensemble/assistant choreographer;” and David Girolmo, “Judge Paul Barriere.”

The production team includes: Adrian Abel Azevedo, director; Linda Madonia, music director; Shanna VanDerwerker, choreographer; Casey Wood, costume designer; Rachel West, lighting designer and Kaitlin Moser, stage manager.

ABOUT KEELY VASQUEZ, “Pistache”
Keely Vasquez returns to Porchlight, where she last was seen as “Gussie” in Merrily We Roll Along. Her Chicago theatrical credits include: Dee Snider's Rock and Roll Christmas Tale at the Broadway Playhouse, In the Heights at the Paramount Theatre and Hairspray at the Drury Lane Oakbrook theatre, as well as roles at Theatre at the Center, The Mercury Theatre and The Goodman Theatre. Vasquez spent eight years performing in Las Vegas with Barry Manilow and touring with him to more than 50 US cities, several countries and appearing on television shows such as "Ellen,” "The Today Show,” "Good Morning America,” "The Emmy Awards,” "The American Music Awards,” "Dancing With The Stars,” PBS' "A Capitol Fourth" and six DVD concert specials. She will next be seen starring in Next to Normal at Writers Theatre.

ABOUT DEVIN DESANTIS, “Aristide”
Devin DeSantis returns to Porchlight, where he last was seen as “Buddy” in Side Show. Chicago credits include “Prince Eric” in The Little Mermaid, “Tommy” in The Who’s Tommy (Paramount Theatre), “Dr. Frederick Frankenstein” in Young Frankenstein (Drury Lane Oakbrook), “Judas” in Godspell (Marriott Theatre), The Three Musketeers (Chicago Shakespeare Theatre) and “Matthew” in Altar Boyz (Broadway Playhouse).

ABOUT KAYLA BOYE, “Claudine”
Kayla Boye returns to Porchlight, where she was last seen in Billy Elliot, the Musical. At Porchlight she also has performed in Porchlight Revisits Little Me and New Faces Sing Broadway 1969. Recent Chicago credits include South Pacific (Drury Lane Theatre), Pippin, Mary Poppins (Mercury Theater Chicago) and Anything Goes, Gypsy and Mame (Music Theater Works, formerly Light Opera Works).

ABOUT DAVID GIROLMO, “Judge Paul Barriere”
David Girolmo returns to Porchlight, where he was last seen as the title role in Sweeney Todd. Broadway credits include War Paint and Candide. Chicago credits include work with Drury Lane Theatre, Chicago Shakespeare Theater, Porchlight Music Theatre, Marriott Theatre, Paramount Theatre, Ravinia Festival, Theatre at the Center, Candlelight Dinner Playhouse, Mercury Theatre, Mayfair Theatre, Metropolis Performing Arts Center and Oak Park Festival. Girolmo received a Jeff Award for Phantom and is a multiple nominee in both musical and play categories. Film and television credits include “Death of a President,” “ER,” “Crisis,” “Chicago P.D.” and “Empire.”

ABOUT PORCHLIGHT REVISITS
Continuing to forge its role as “Chicago’s Music Theatre,” Porchlight launched the exciting new series Porchlight Revisits in 2013; especially created for the die-hard music theatre aficionado. Each season, Porchlight Music Theatre shares with audiences the rare opportunity to visit three musicals that opened on the Great White Way but have since gone “unsung.” The finest music theatre artists in Chicago dust off these neglected treasures and, with script in hand and minimal staging, escort audiences to a world of Broadway long past. Previous Porchlight Revisits productions include: 
(2018/19) 1776
(2017/18) Do Re Mi, They’re Playing Our Song, Woman of the Year;
(2016/17) The Rink, Little Me, On a Clear Day You Can See Forever; 
(2015/16) Chess, Applause, Babes in Arms; 
(2014/15) Bells Are Ringing, City of Angels, Mack & Mabel and
(2013/14) Anyone Can Whistle, Golden Boy, Fade Out-Fade In.

ABOUT PORCHLIGHT MUSIC THEATRE AS RUTH PAGE ARTIST IN-RESIDENCE
Porchlight Music Theatre is proud to be a member of the vibrant Ruth Page Center for the Arts community and an Artist In-Residence. Central to the Ruth Page Center for the Arts’ programming is the Artists In-Residence program, which is designed to serve organizations looking for a home base while they grow or expand their artistic and organizational capabilities. The Center is committed to nurturing and assisting dance and other performing artists, allowing for exchange and collaborative relationships to develop within the artistic community. The Ruth Page Center for the Arts is a destination for quality performing arts, accessible to a wide community regardless of race, gender, age, education or disability. An incubator of artistic energy and excellence, the Ruth Page Center for the Arts carries forward the vision of its founder, legendary dance icon Ruth Page, to be a platform for developing great artists and connecting them with audiences and community.

ABOUT PORCHLIGHT MUSIC THEATRE
As Chicago’s home for music theatre, Porchlight Music Theatre enters its 24th season and its second as an Artist In-Residence at the historic Ruth Page Center for the Arts in Chicago’s Gold Coast. Porchlight Music Theatre is nationally recognized for reimagining classic productions, developing new works and showcasing musical theatre’s noted Chicago veterans and rising stars. Porchlight elevates the genre by providing intimate and powerful theatrical experiences of music theatre through the lens of the “Chicago Style.” Porchlight’s rich history includes the staging of more than 60 productions with 15 Chicago premieres and five world premieres. Through Porchlight’s “Off the Porch” new works program, the musicals of the next generation are developed and given a first audience. The School at Porchlight is Chicago’s center for music theatre training in the areas of performance, writing and appreciation including a youth summer “Make Your Own Musical” camp and a Saturday morning youth program. The company’s many accolades include 28 Black Theatre Alliance nominations and twelve awards, as well as a total of 151 Joseph Jefferson Award nominations resulting in 42 Jeff Awards including five consecutive Best Production awards for The Scottsboro Boys (2017), Dreamgirls (2016), Sondheim on Sondheim (2015), Ain’t Misbehavin’ (2014) and A Class Act (2013).

Porchlight Music Theatre continues its “lost” musicals in staged concert series with Porchlight Revisits Can-Can, music and lyrics by Cole Porter and book by Abe Burrows with direction by Adrian Abel Azevedo, musical direction by Linda Madonia and choreography by Shanna VanDerwerker.  Porchlight Revisits Can-Can is presented for two-nights-only Wednesday, March 6 at 7:30 p.m. and Thursday, March 7 at 2 and  7:30 p.m. at The Ruth Page Center for the Arts, 1016 N. Dearborn Street. Two -show discounted subscriptions and single tickets for $37 are available at porchlightmusictheatre.org or by calling the Porchlight Music Theatre box office at 773.777.9884. 

Porchlight Music Theatre is supported by generous contributions from Actors’ Equity Foundation, Bayless Family Foundation, Abe and Ida Cooper Foundation, Chapman | Spingola, Attorneys at Law, Gaylord & Dorothy Donnelley Foundation, Elegant Events Lighting, James P. and Brenda S. Grusecki Family Foundation, Harris Family Foundation, Hopsmith, MacArthur Fund for Arts & Culture at the Prince Foundation, Daniel and Genevieve Ratner Foundation, The Saints, Stuart Family Foundation and Topfer Family Foundation. 

The season program is partially supported by a grant from the Illinois Arts Council Agency, a state agency, and by a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events. 

NEW RELEASE: Psychic Powers From Swedish Artist Small Feet Out March 29 on Barsuk Records

SMALL FEET PREMIERES “MASQUERADE” VIDEO VIA

FLOOD MAGAZINE

SOPHOMORE ALBUM WITH PSYCHIC POWERS OUT MARCH 29 VIA BARSUK RECORDS

EUROPEAN TOUR DATES CONFIRMED

“[Small Feet’s] guitar-driven refrains call to mind Band of Horses and Edward Sharpe and the Magnetic Zeros.”—The New York Times

“The group’s otherworldly sound comes from the music of leader Simon Stålhamre, an artist who knew exactly what he wanted when he left school at 15.”—NPR “World Café”

“immediately contagious”—Clash

“Quality Swedish folk pop trio led by Simon Stålhamre whose cracked tenor is a vessel for unsettling emotional truths.”—MOJO

With Psychic Powers, the sophomore effort from Swedish artist Small Feet, is due March 29 on Barsuk Records. In anticipation of the upcoming release, the video for the track “Masquerade” is premiering at FLOOD Magazine. 



“‘Masquerade’ deals with loneliness and alienation in the digital age,” notes frontman and songwriter Simon Stålhamre. “That has always been a recurring theme for me in my music and in life.” FLOOD Magazine adds, “The song’s delicate yearnings and shuffled rhythms are visualized through a conceptual music video that mirrors the lyrics’ frustrations. The clip takes a profound look at modern mating rituals, often reduced to little more than an exchange of staged photographs.”

Small Feet also recently premiered the first single from With Psychic Powers, “Let the Guys Down,” via Brooklyn Vegan.

Recorded over the winter of 2017-18 at Stålhamre’s own Studio Kvastis in Stockholm, the album marks a move in a more experimental direction from Stålhamre’s critically acclaimed debut full-length, 2015’s Far Enough Away Everything Sounds Like The Ocean, which received praise from The New York Times, NPR’s “World Café,” Clash, MOJO, KEXP FM and many more while earning Stålhamre positive comparisons to Neil Young and Jason Molina.
Small Feet is set to tour Europe throughout the spring in support of the new album, see below for a list of dates.

Stålhamre began writing the songs for With Psychic Powers in 2016 while on tour in the U.S. “By that time, I felt like I’d learned so incredibly much from the process with the first album and from other musicians and producers around me,” he explains. “Christopher Cantillo was a huge influence on me; besides playing drums in Small Feet he’s also a professional jazz musician. The way they work was very inspiring, they’re like blue collar-workers, getting in the studio early in the morning, doing 20 super tight takes…and then they’re done. Bam, thanks folks! Let’s record another album tomorrow morning! They have a way of unsentimentally just moving on, relying on their skills, talent and intuition rather than overthinking every detail. That is something I’ve learned a lot from.”
Stålhamre formed Small Feet with bassist Jacob Snavely and drummer Cantillo along with the help of producer and The Concretes’ drummer Dante Kinnunen. The band went on to record their debut record in a 16th century cabin in Stockholm, after which Stålhamre founded the Studio Kvastis label (which is releasing With Psychic Powers in Europe). “It’s been a dream to me ever since I hung out at Café Brevé a hundred years ago and heard the news that Robyn had started her own Konichiwa label,” Stålhamre explains about owning his own label. He continues, “with Studio Kvastis I feel for the first time ever that I have the possibility to kindle and finalize all my ideas.”

photo credit Lisa Mattisson

SMALL FEET LIVE
March 1                                                         Oslo, NO                                                         By:larm
March 2                                                         Oslo, NO                                                         By:larm
April 3                                                         Leipzig, DE                                                Horns Erben
April 6                                                          Nyon, CH                                               La Parenthese
April 7                                                          Zürich, CH                                                Gotthard Bar
April 9                                                     Manchester, UK                                            House Show
April 11                                                      London, UK                                            Sebright Arms
April 16                                                     Dortmund, DE                                                          FZW
April 25                                                     Solothurn, CH                                                Altes Spital

OPENING: BEST FOR WINTER, BEING A SHORT SHAKESPEARE ADAPTED FROM THE WINTER’S TALE AND OTHER WORKS AT THE EDGE THEATER OFF-BROADWAY MARCH 21 – APRIL 20

ChiIL Live Shows on our radar

IDLE MUSE THEATRE COMPANY ANNOUNCES CAST AND CREW FOR 

BEST FOR WINTER, 

BEING A SHORT SHAKESPEARE ADAPTED FROM THE WINTER’S TALE AND OTHER WORKS, 

MARCH 21 – APRIL 20, 

AT THE EDGE THEATER OFF-BROADWAY

 William Shakespeare’s The Winter’s Tale is Adapted and Directed by Evan Jackson in this Tale of Laughter, Survival, Transformation and What it Means to be Alive Right Now

Idle Muse Theatre Company proudly announces its first play of 2019, Best for Winter, being a short Shakespeare adapted from The Winter’s Tale and other works, adapted and directed by Evan Jackson, March 21 – April 20, at The Edge Theater Off-Broadway, a new space at 1133 W. Catalpa Ave. Previews are Thursday, March 21 and Friday, March 22 at 8 p.m. Opening night is Saturday, March 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. with an added performance Wednesday, March 27 at 8 p.m. Industry nights are every Thursday performance with tickets for industry professionals at $10. 

Tickets are $10 for previews and $20 for regular performances and are on sale now at idlemuse.org or by calling 773.340.9438.

The ensemble of Idle Muse Theatre Company explores this classical fantasy with an impossible ending. Shakespeare’s story of human beings living in a world broken by the unforgivable acts of a man in power is the basis for this new adaptation focused on feelings and actions and as recognizable in 2019 as they were in the Bard’s time. 

“The Idle Muse Ensemble felt it was deeply necessary that we tell a story about being alive right now, both for our audiences and for ourselves,” said Artistic Director Evan Jackson.  “By definition, a play is a set of circumstances and story that have no choice but to find an ending – and you could say this is a play with no roadmap to get there.  At the same time, Idle Muse was formed in the belief that we can uncover truths about the human experience through the work of theatre.  That if we do everything we can to approach the work in good faith and live truthfully under those imaginary circumstances, then we can use the vehicle of a play to approach impossible questions.  So, we’re not looking to find forgiveness at the end of this story.  Maybe forgiveness isn’t possible for some things.  But maybe the act of finding the human part of what it is to be alive right now can be something like forgiveness.  Maybe something more important – something like hope,” continued Jackson.

The cast of Best for Winter, being a short Shakespeare adapted from The Winter’s Tale and other works features: Brian Bengtson*, “Leontes;” Mara Kovacevic*, “Hermione;” Erik Schnitger, “Polixenes;” Laura Jones Macknin*, “Camilla;” Elizabeth MacDougald*, “Paulina;” Brian Healy, “Florizel;” Kristen Alesia, “Perdita;” Michael Dalberg*, “Autolycus;” Sara Robinson*, “Antigonis;” Paula Hlava, “Mamillias;” Eric Duhon, “Shepherd;” Joel Thompson*, “Clown;” Watson Swift, “Cleomenes;” Morgan Manasa, “Time;” and Lauren Grace Thompson, “U/S Perdita/Cleomenes.”

The production team for Best for Winter, being a short Shakespeare adapted from The Winter’s Tale and other works features: Evan Jackson*, director; Heather Zink, calling stage manager; Shellie DiSalvo*, production manager and rehearsal stage manager; Laura Wiley*, echnical director, lighting design and projection design; Milo Bue, scenic design; Joshua Allard, costume design; Tristan Brandon*, dramaturgy and prop design; L. J. Luthringer, sound and music design; William Sidney Parker*, consultant; Kati Lechner, vocal coach and Sarah Scanlon, intimacy design.  

*connotes an Idle Muse Theatre Company Ensemble Member

ABOUT EVAN JACKSON, adapter and director

Evan Jackson is the artistic director and co-founder of Idle Muse Theatre Company.  He is an 18-year veteran of Chicago Storefront theatre as an actor, director, playwright and producer.  Jackson is a graduate of The Theatre School, DePaul University in Chicago, where he received his MFA in Directing Theatre.  At Idle Muse, he has directed 11 productions, including the company’s Jeff-recommended productions of Sherlock Holmes: The Final Adventure and The Lion in Winter.


ABOUT 2019 YEAR OF CHICAGO THEATRE

Idle Muse Theatre Company is proud to be part of the 2019 Year of Chicago Theatre, presented by the City of Chicago and the League of Chicago Theatres. To truly fall in love with Chicago, you must go to our theatres. This is where the city bares its fearless soul. Home to a community of creators, risk-takers and big hearts, Chicago theatre is a hotbed for exciting new work and hundreds of world premieres every year. From Broadway musicals to storefront plays and improv, there’s always a seat waiting for you at one of our 200+ theatres.



ABOUT IDLE MUSE THEATRE COMPANY

Idle Muse Theatre Company is a 501 (c3) non-profit charity organization that produces theatre that transports. Established in 2006 by theatre artists who were interested in exploring the relationship between individuals and worlds they inhabit and seeking to create production opportunities for themselves and other artists. In order to do this, Idle Muse created a “modern guild” of players, an environment where theatre artists of different experience levels and backgrounds could develop their craft and learn from each other. Visit Idle Muse virtually at IdleMuse.org and on Twitter (@IdleMuseTheatre), Facebook (/IdleMuseTheatre) and Instagram (@IdleMuseTheatre).

Idle Muse Theatre Company proudly announces its first play of 2019, Best for Winter, being a short Shakespeare adapted from The Winter’s Tale and other works, adapted and directed by Evan Jackson, March 21 – April 20, at The Edge Theater Off-Broadway, a new space at 1133 W. Catalpa Ave. Previews are Thursday, March 21 and Friday, March 22 at 8 p.m. Opening night is Saturday, March 23 at 8 p.m. The performance schedule is Thursdays – Saturdays at 8 p.m. and Sundays at 3 p.m. with an added performance Wednesday, March 27 at 8 p.m. Industry nights are every Thursday performance with tickets for industry professionals at $10. Tickets are $10 for previews and $20 for regular performances and are on sale now at idlemuse.org or by calling 773.340.9438.


Idle Muse Theatre Company is partially supported and funded by generous grants from The MacArthur Funds for the Arts and Culture at The Richard H. Driehaus Foundation.  

The Edge Theater Off-Broadway has paid street parking and is wheelchair accessible with complimentary assisted listening devices available. It is located near both the Red Line Berwyn and Bryn Mawr stops and is on the 36 Broadway bus route.

OPENING: HANDS ON A HARDBODY at REFUGE THEATRE MARCH 15 – APRIL 27 AT PRESTON BRADLEY CENTER

ChiIL Live Shows on our radar

REFUGE THEATRE PROJECT 2018 – 2019 SEASON CONTINUES WITH 

HANDS ON A HARDBODY, 

MARCH 15 – APRIL 27, 

AT PRESTON BRADLEY CENTER

Ten People Enter a Contest to Win a Truck, but Only One Can Win in this Chicago Premiere Inspired by True Events. Chris Pazdernik Directs with Music Direction by Jon Schneidman of Doug Wright’s Book with Lyrics by Amanda Green and Music by Trey Anastasio and Amanda Green

I'll be out for the opening/press night Sunday, March 17th, so check back soon for my full review. 

Refuge Theater Project is proud to announce the cast and production team for its second production in its 2018 – 2019 season, Hands on a Hardbody, March 15 – April 27, book by Doug Wright, with lyrics by Amanda Green,  and music by Trey Anastasio and Amanda Green, directed by Refuge Theatre Project’s Artistic Director Christopher Pazdernik and music directed by Jon Schneidman.  Hands on a Hardbody runs Fridays through Sundays at 8 p.m. at Mason Hall in the Preston Bradley Center, 941 W. Lawrence Ave. 

Previews are Friday, March 15 and Saturday, March 16 at 8 p.m. NOTE: There are no performances Friday, April 5 and Saturday, April 6 and added performances Monday, April 1 and Thursday, April 4. Preview tickets are $15, regular run tickets are $30 each and available at RefugeTheatre.com. 

Nominated for Best Musical by the New York Drama League and inspired by true events, the hilarious and hopeful Hands on a Hard Body is based on the acclaimed 1997 documentary of the same name by S.R. Bindler, produced by Kevin Morris and Bindler. Only one winner can drive home the American Dream and 10 hard-luck Texans all want the keys. Under a scorching sun for days on end, they will each fight to keep at least one hand on a brand-new truck in order to win it.

Hands on a Hardbody  marks the third collaboration between Director Christopher Pazdernik and Music Director  Jon Schneidman at Refuge. They previously worked together on the Jeff-Award winning High Fidelity and last season’s Jeff-Award nominated Spitfire Grill. New York Magazine said Hands on a Hardbody is “Hands down … musical theater heaven!” and The New York Times said, “You can hear the voice of America singing in this daring new musical.”

The cast of Hands on a Hardbody includes Alli Atkenson, “Kelli Mangrum;” Max Cervantes, “Chris Alvaro;” Katherine Condit, “Janis Curtis;” Derek Fawcett, “Benny Perkins,” Dan Gold, “Mike Ferris;” Jenna Fawcett, “Cindy Barnes”; Jared David Michael Grant, “Ronald McCowan;” Tim Kough, “JD Drew;” Molly Kral, “Heather Stovall;” Matt Patrick, “Frank Nugent;” Cathy Reyes McNamara; “Norma Valverde;” Roy Samra, “Greg Wihote;” Judy Lea Steele, “Virginia Drew;” Sebastian Summers, “Jesus Pena;” Anthony Whitaker, “Don Curtis/Dr. Stokes;” Jasmine Young, female swing.

The production team includes Christopher Pazdernik*, director; Jon Schneidman, music director; Ben Baylon, production manager; Mark Bracken*, technical manager; Ariel Triunfo, choreographer; Matt Dominguez*, associate director; Sean Mohler, stage manager; Evan Frank*, set designer/props master; Collin G. Helou* and Jennifer Kules, lighting designers; Isaac Mandel, sound designer/audio designer; Uriel Gomez, costume designer and Brendan Siddall, production assistant.

*Denotes Refuge Theatre Project company member

ABOUT CHRISTOPHER PAZDERNIK, DIRECTOR

Christopher Pazdernik is a director/choreographer with "a near encyclopedic knowledge of musicals" (Newcity).  He recently directed Refuge’s The Last Session and is best known for the critically acclaimed production of High Fidelity (Jeff Awards for Best Director and Best Production of a Musical) also at Refuge Theatre Project, where he also serves as artistic director. With Porchlight Music Theatre, Pazdernik is a proud artistic associate, and serves as company manager and casting associate. He has directed and choreographed many Porchlight Revisits productions including The Rink, Anyone Can Whistle, City of Angels, Applause and Do Re Mi; served as associate director for Porchlight’s Merrily We Roll Along and has co-curated the Porchlight New Faces Sing Broadway series.  Recent other credits include Carrie (Ohio Northern University), Wicked City (Chicago Theatre Workshop), Planted (Chicago Musical Theatre Festival), Make Me a Song (Eclectic Theatre Co.) and Story of A Story (The Untold Story) (Underscore Theater Co.). He is also a frequent cabaret director and curator including Broadway's Cult Classics at Davenport's Piano Bar and the His & His series at Pride Films & Plays. An openly HIV+ artist, Pazdernik was a 2016 Windy City Times 30-Under-30 honoree for his contributions to Chicago's LGBTQ community. He currently serves on the Ambassador Committee for the AIDS Run/Walk Chicago and as chairperson on the Community Advisory Board for Howard Brown Health, one of the nation’s largest LGBTQ organizations.

ABOUT JON SCHNEIDMAN, MUSIC DIRECTOR

Jon Schneidman is a two-time Jeff award-nominated music director, pianist and songwriter based in Chicago. He has been studying and playing music since he was seven years old, and has performed on stages all throughout the United States. As a music director, Schneidman’s work has covered a vast array of styles, from country and rockabilly, to rock and grunge, to hip-hop and rap, to musicals and easy listening, to everything in between. His knowledge and understanding of such diverse genres has afforded him the opportunity to work on varied projects such as cover bands, rap albums, circus acts and beyond. Schneidman is currently working on his first solo album.

ABOUT 2019 YEAR OF CHICAGO THEATRE

Refuge Theatre Project is proud to be part of the 2019 Year of Chicago Theatre, presented by the City of Chicago and the League of Chicago Theatres. To truly fall in love with Chicago, you must go to our theatres. This is where the city bares its fearless soul. Home to a community of creators, risk-takers and big hearts, Chicago theatre is a hotbed for exciting new work and hundreds of world premieres every year. From Broadway musicals to storefront plays and improv, there’s always a seat waiting for you at one of our 200+ theatres. 



ABOUT REFUGE THEATRE PROJECT

Refuge Theatre Project strives to foster a broader, more accessible theatre community. They promote the production of under-produced, under-appreciated musical theatre in traditional and non-traditional theatrical spaces creating a unique, affordable, only-in-Chicago theatrical experience.

Refuge Theater Project is proud to announce the cast and production team for its second production in its 2018 – 2019 season, Hands on a Hardbody, March 15 – April 27, book by Doug Wright, lyrics by Amanda Green, and music by Trey Anastasio and Amanda Green, directed by Refuge Theatre Project’s Artistic Director Christopher Pazdernik and music directed by Jon Schneidman.  Hands on a Hardbody runs Fridays through Sundays at 8 p.m. at Mason Hall in the Preston Bradley Center, 941 W. Lawrence Ave. Previews are Friday, March 15 and Saturday, March 16 at 8 p.m. with opening/press night Sunday, March 17 at 8 p.m. NOTE: There are no performances Friday, April 5 and Saturday, April 6 and added performances Monday, April 1 and Thursday, April 4. Preview tickets are $15, regular run tickets are $30 each and available at RefugeTheatre.com.