World Premiere of The Posthumous Trial of Giulia Tofana March 20th - April 5th at The Den Theatre

ChiIL Live Shows On Our Radar

Larkspur Productions Opens World Premiere of
The Posthumous Trial of Giulia Tofana
By Gwyneth Forsythe
Directed by Cheryl Snodgrass
March 20th - April 5th at The Den Theatre

Larkspur Productions is pleased to announce the world premiere of The Posthumous Trial of Giulia Tofana. Directed by Cheryl Snodgrass, The Posthumous Trial of Giulia Tofana will play March 20th - April 5th at The Den Theatre, 1331 N Milwaukee Ave, Chicago IL.

Tickets are on sale at https://thedentheatre.com/performances/2026/3/20/the-posthumous-trial-of-giulia-tofana-the-den-theatre-comedy-club-chicago

Murderer. Witch. Savior. Executed in 1659 for the murder of 600 men. That's how history remembers Giulia Tofana, the infamous creator of the Aqua Tofana poison. This is her story straight from Purgatory.

This one person show is performed by Sydney Genco. 

Comments playwright Gwyneth Forsythe: In a time when bodily autonomy and human rights are being actively taken away and the very idea of justice seems out of reach, stories from the past, like Giulia Tofana’s, are more important than ever. We cannot wait to share hers with you.

The production team includes Matthew York (Scenic Designer), Kate Kamphausen (Costume Designer), Garrett Bell (Lighting Designer), DJ Douglass (Sound Designer), Tina Haglund-Spitza (Props Designer), Tom Daniel (Scenic Carpenter), Henry Bender (Master Electrician) and Drew Donnelly (Technical Director).

PRODUCTION DETAILS:

Title: The Posthumous Trial of Giulia Tofana

Playwright: Gwyneth Forsythe

Director: Cheryl Snodgrass

Cast: Sydney Genco (Giulia Tofana)

Location: The Den Theatre, 1331 N Milwaukee Ave., Chicago, IL 60622

Regular run: March 20 – Sunday, April 5, 2026

Curtain Times: Fridays & Saturdays at 8pm. Sunday, April 5th at 3pm. Please note: there will be an added performance on Monday, March 30th @ 8pm (Industry Night).

Tickets: General admission: $25. https://thedentheatre.com/performances/2026/3/20/the-posthumous-trial-of-giulia-tofana-the-den-theatre-comedy-club-chicago

About the Artists:

Gwyneth Forsythe (Playwright) is a writer, educator and theatre artist who splits her time between Iowa City and Chicago. She received two BAs (Theatre Arts and History) from the University of Iowa and her MFA in Writing for the Screen and Stage from Northwestern University, where she was awarded the Krevoy Screenwriting Prize. Gwyneth has worked as a freelance writer, taught for the Chicago City Colleges, and was a 2024 semi-finalist for the Eugene O'Neill Center's National Playwrights Conference. Last summer, her work was featured in the Heretic Theatre Festival produced by RJ Theatre Company in New York City. In the fall, she directed and produced “Ghosts on the Radio Vol. II: A Haunted Audio Anthology” for the Iowa Youth Writing Project and assistant-directed Global Express for the International Writing Program at the University of Iowa. She has taught and developed writing courses in playwriting, screenwriting, horror, humor, and creative non-fiction for writers worldwide of all ages and experience levels.

Cheryl Snodgrass (Director) is passionate about directing new works. She is an alumni ensemble member of Hell in a Handbag where she’s directed multiple premieres including The Drag Seed, which performed at the famous LaMama Theatre in NYC. Other Handbag shows include The Birds, Scary Town, L’Imitation of Life, and Die, Mommie! Die! Cheryl has worked extensively as a visiting artist at Mill Mountain Theatre and Studio Roanoke (Roanoke, VA). She has also directed for a number of Chicago companies that include Sweetback, Glass Apple, Trap Door, The Foundlings, Tellin’ Tales, Jonny Staxx Presents, and Filet of Solo. Most recently, Cheryl directed John Cariani’s (playwright of Almost, Maine) new play Darker the Night Brighter the Stars for Penobscot Theatre in Bangor, ME and is very excited to be included in the published version as a premiere production.

Lyric Opera of Chicago Presents El último sueño de Frida y Diego March 21 – April 4, 2026

ChiIL Live Shows On Our Radar: 

When art transcends death: What you need to know about 

El último sueño de Frida y Diego

the new Spanish-language opera at Lyric

Gabriela Lena Frank and Nilo Cruz’s rapturous opera brings Frida Kahlo’s art and world to vivid operatic life, March 21 – April 4, 2026

Language: Sung in Spanish, with easy-to-follow projected English titles above the stage.
Running time: Approximately 2 hours and 15 minutes, including one intermission.

Lyric Opera of Chicago presents Gabriela Lena Frank and Nilo Cruz’s El último sueño de Frida y Diego (The Last Dream of Frida and Diego), on stage March 21 – April 4, 2026. This new opera poses an impossible question: How would you spend a single day reunited with lost love? On the Day of the Dead, three years after her death, Mexican artist Frida Kahlo crosses over from the underworld for 24 fleeting hours with husband and artist Diego Rivera. What unfolds is a dreamlike journey through memory, passion, and everything they created together — both on canvas and in life.

I'll be there this Saturday for opening night, reviewing for ChiIL Live Shows. Check back soon for my full review. We've long adored Frida Kahlo's art and have seen several other iterations of her life and relationship with Diego Rivera on stage. We're excited to see Lyric's operatic take on this iconic couple.  

Following its critically praised 2022 world premiere in San Diego, this opera, steeped in magical realism, arrives as the second full-length Spanish-language opera presented by Lyric, following Daniel Catán and Marcela Fuentes-Berain’s Florencia en el Amazonas in the 2021/22 Season. With vivid colors, music inspired by Mexican folk traditions, and staging that transforms the Lyric Opera House into a portal between worlds, this production brings Frida Kahlo’s artistic vision to theatrical life. Mezzo-soprano Daniela Mack stars as Frida in her return to Lyric, joined by baritone Alfredo Daza in his Lyric debut as Diego, soprano Ana María Martínez as Catrina, and countertenor Key’mon W. Murrah in his Lyric debut as Leonardo. Director Lorena Maza and conductor Roberto Kalb, both in their Lyric debuts, lead a creative team that honors the Mexican culture and artistry at the opera’s heart.

A love story that transcends death. El último sueño de Frida y Diego unfolds in 1957, three years after Frida Kahlo’s death. Diego Rivera, aging and consumed by grief, longs for one final moment with Frida. In Mictlán, the Aztec underworld, Frida has found peace, free from the physical pain and heartbreak that defined her earthly life. But Catrina, Keeper of the Dead, insists she must accompany Diego as he nears the end of his life, while Leonardo, the spirit of a young actor, urges her to return — not just for Diego, but for herself and her art.

Frida agrees to return for 24 hours with one unbreakable rule: she cannot touch the living. Her reunion with Diego unfolds in magical realism as the two artists wander through Alameda Park and Casa Azul, rediscovering joy and trying to heal old wounds, both physical and emotional. When Frida breaks the rule and touches Diego, the memories of pain and trauma come flooding back. Yet even in suffering, she finds clarity: Art is the only way to outlive death.

Authors who capture the soul of the story. The creative partnership between composer Gabriela Lena Frank and librettist Nilo Cruz brings extraordinary credentials and deep cultural understanding to El último sueño de Frida y Diego. Their opera functions as both an intimate character study and a vibrant celebration of Mexican artistic heritage while speaking to universal themes of love, loss, and artistic legacy.

Grammy Award-winning composer Gabriela Lena Frank, recently named Musical America’s 2026 Composer of the Year, is one of America’s most celebrated living composers, known for music that explores her multicultural heritage — Peruvian, Chinese, Lithuanian, and Jewish — with particular focus on Latin American musical traditions. Born with high-moderate/near-profound hearing loss, Frank has become a powerful voice for disability representation in classical music, demonstrating that composers can create extraordinary work through different ways of experiencing sound. Frank has received numerous honors including the Latin Grammy Award for Best Contemporary Classical Composition; the 2020 Heinz Award recognizing her for breaking gender, disability, and cultural barriers in classical music; a Guggenheim Fellowship; and commissions from major orchestras and opera companies worldwide. Her music weaves together orchestral colors with rhythms and melodies inspired by Mexican folk music, capturing the surrealist beauty of Frida’s visual art while honoring the emotional depth of her lived experience.

Pulitzer Prize-winning playwright Nilo Cruz created the libretto, bringing his gift for poetic, emotionally resonant language to Frida and Diego’s story. His Spanish text moves fluidly between the real and the imagined, the painful and the joyful, giving voice to Frida’s fierce independence, her artistic vision, and her complex relationship with Diego — a love marked by both deep devotion and profound betrayal. In 2003, Cruz became the first Latino to win the Pulitzer Prize for Drama for his play Anna in the Tropics. His work is known for its lyrical beauty, its exploration of Latin American and Cuban-American experience, and its ability to find magic in everyday moments. Cruz previously collaborated with Lyric and composer Jimmy López in the 2015/16 Season for the world premiere of Bel Canto, based on the Ann Patchett novel.

A singing actress who embodies Frida’s fire and fragility. Mezzo-soprano Daniela Mack returns to Lyric to star as Frida Kahlo, bringing to the role her acclaimed artistry and commanding stage presence. Mack recently appeared at Lyric as Angela in Missy Mazzoli and Royce Vavrek’s The Listeners in the 2024/25 Season, earning praise for her dramatic intensity and vocal beauty. Her international career includes performances at the Metropolitan Opera, San Francisco Opera, Houston Grand Opera, and major European houses. Known for her ability to inhabit complex, unconventional characters, Mack possesses both the rich, warm timbre ideal for Frank’s melodic writing and the dramatic fire needed to capture Frida’s indomitable spirit. Stephanie Sanchezsings the role of Frida on Wednesday, April 1.

A cast that brings passion and artistry to every role. Colombian baritone Alfredo Daza makes his Lyric debut as Diego Rivera, the legendary muralist whose tumultuous marriage to Frida forms the opera’s emotional core. Daza has performed at major opera houses throughout Latin America, Europe, and the United States, earning particular acclaim for his portrayals of complex, larger-than-life characters. His rich baritone and powerful stage presence make him ideal for Diego, whose outsized personality and artistic genius were matched only by his capacity for passionate and perilous living.

Puerto Rican soprano Ana María Martínez, on stage at Lyric this winter as Despina in Mozart’s Così fan tutte, sings the role of Catrina, the skeletal Keeper of the Dead who bridges the worlds of the living and the departed. Martínez last appeared at Lyric in the title role of Florencia en el Amazonas in the 2021/22 Season. Her luminous soprano and elegant stage presence have made her one of the leading interpreters of Latin American opera, with performances at the Metropolitan Opera, LA Opera, and internationally. As Catrina, Martínez brings both authority and compassion to this figure drawn from Mexican Day of the Dead traditions.

Rising-star countertenor Key’mon W. Murrah makes his Lyric debut as Leonardo, the spirit who encourages Frida to return to the living world. Winner of Washington National Opera’s Marian Anderson Award in 2024, Murrah’s burgeoning career includes performances at major American opera companies, where his distinctive countertenor voice and natural charisma have earned critical praise. His portrayal of Leonardo provides a crucial voice urging Frida toward life and art, even as she resists.

The production also features Ensemble members from Lyric’s acclaimed artist-development program, The Patrick G. and Shirley W. Ryan Opera Center, including tenor Finn Sagal as 1st Villager, tenor Daniel Luis Espinal as 2nd Villager & A Young Man, bass-baritone Benjamin R. Sokol as 3rd Villager, soprano Adia Evansas 1st Frida Image, mezzo-soprano Alexis Peart as 2nd Frida Image, and mezzo-soprano Camille Robles as 3rd Frida Image. Mezzo-soprano Corinne Wallace-Crane sings the role of Guadalupe Ponti.

A conductor who honors the music’s cultural roots. Mexican-born conductor Roberto Kalb makes his Lyric debut leading El último sueño de Frida y Diego, bringing a deep understanding of both Latin American musical traditions and contemporary opera. He conducted the opera's world premiere at San Diego Opera and subsequent performances at San Francisco Opera. Music Director of Detroit Opera since 2022, Kalb has built an international career conducting orchestras and opera companies throughout the Americas and Europe. He has particular expertise in contemporary repertoire and works that incorporate folk music traditions into classical forms. His leadership ensures that Frank’s score receives performances that honor both its Mexican folk inspirations and its sophisticated orchestral writing. Under Kalb’s baton, the Lyric Opera Orchestra becomes an essential character in the storytelling, painting Frida’s emotional journey through sound. Chorus Director Michael Black leads the 44 members of the Lyric Opera Chorus.

A director who brings Frida’s visual world to life. Director Lorena Maza makes her Lyric debut with El último sueño de Frida y Diego, bringing her distinctive theatrical vision to this production. A native of Mexico, Maza brings cultural authenticity and deep understanding of the artistic traditions that shaped both Frida and Diego’s work. Her direction emphasizes the opera’s magical realism, creating a production where the boundaries between life and death, memory and reality, past and present, all dissolve into dreamlike theatrical poetry. Maza’s staging honors the surrealist touches that made Frida’s paintings so distinctive while ensuring the emotional truth of the story remains central.

A production that dazzles the eye. The creative team includes set designer Jorge Ballina in his Lyric debut, whose designs evoke both the vivid colors of Frida’s paintings and the liminal space between worlds; costume designer Eloise Kazan in her Lyric debut, whose creations honor Mexican traditional dress and incorporate surrealist elements; lighting designer Victor Zapatero in his Lyric debut; and choreographer August Tye, a longtime Lyric collaborator who has participated in more than three dozen productions. Together, they create a visual experience as rapturous as Frida’s own canvases — a production where endlessly blooming marigolds, skeletal Catrinas, and the jewel-toned walls of Casa Azul transport audiences into Frida’s artistic vision.

When art becomes the bridge between worlds. Beyond its story of love and loss, El último sueño de Frida y Diego is a celebration of Mexican culture and the Day of the Dead traditions that honor the continuing connection between the living and those who have passed. Like the candlelit ofrendas offered on Día de Muertos, this opera doesn’t simply portray two artists’ fantastical reunion but honors the rituals of remembrance that keep memory and love alive. Frank’s sweeping music and Cruz’s poetic libretto create an operatic experience as emotionally rich as the lives that inspired it — a work that affirms art’s power to transcend death and keep our most important connections alive forever.

Performance Dates: Six chances to see El último sueño de Frida y Diego:

Saturday, March 21, 2026 at 7:30 p.m.
Tuesday, March 24, 2026 at 7 p.m.
Thursday, March 26, 2026 at 7 p.m.
Sunday, March 29, 2026 at 2 p.m.
Wednesday, April 1, 2026 at 2 p.m.
Saturday, April 4, 2026 at 2 p.m.

Pre-performance talks: Ticketholders are invited to a free pre-opera talk on El último sueño de Frida y Diego's composition history and cultural context; the talks begin one hour before each performance in the theater’s Steiner Parquet (the main floor).

Accessibility: Audio description, a guided touch tour of the set, and SoundShirts are available at the Sunday, March 29 matinee performance. Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the theater’s Steiner Parquet coat checks at all performances. For more information on these and other accessibility assets, visit lyricopera.org/accessibility.

Production history: A co-production of San Diego Opera (world premiere, 2022) and San Francisco Opera.

Location: Lyric Opera House, 20 N. Wacker Drive, Chicago, Illinois.

For more information and tickets, visit lyricopera.org/frida or call 312.827.5600.

Lyric’s 2025/26 Season is presented by the Robert and Penelope Steiner Family Foundation.

Lyric’s presentation of Gabriela Lena Frank and Nilo Cruz’s El último sueño de Frida y Diego is generously made possible by the Zell Family Foundation, the Pritzker Foundation, and Ethel Gofen.

Lyric Opera of Chicago thanks its Official Airline, United Airlines, and acknowledges support from the Illinois Arts Council.

About Lyric
Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.

Under the leadership of General Director, President & CEO John Mangum and Music Director Enrique Mazzola, Lyric is dedicated to reflecting, and drawing strength from, the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever-more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center; and to becoming increasingly diverse across our audiences, staff, programming, and artists — magnifying the welcoming pull of our art form, our company, and our city.

Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down.

Join us @LyricOpera on Instagram, TikTok, YouTube, Threads and Facebook. #LongLivePassion

For more information, visit lyricopera.org.

Two Shows Only at Lyric Opera: Disney’s Mary Poppins in Concert Live to Film April 10 and 11th, 2026

ChiIL Mama's Chi, IL Picks List:

Disney’s Mary Poppins in Concert Live to Film

 

Lyric Opera House Friday, April 10, 2026, at 7:00 p.m., and Saturday, April 11, 2026, at 2:00 p.m. 

The running time for this performance is approximately 2 hours and 55 minutes, including one intermission.

Lyric Opera of Chicago presents Disney’s Mary Poppins in Concert Live to Film, featuring the full-length film projected on a massive screen above the stage while the award-winning musical score by composers Richard Sherman and Robert Sherman is performed live by the Lyric Opera Orchestra, conducted by Anthony Parnther.

Released in 1964, Disney’s Mary Poppins received thirteen Academy Award nominations and won five Oscars, including Original Song for “Chim Chim Cher-ee” and Original Score by Richard Sherman and Robert Sherman. The film stars Julie Andrews and Dick Van Dyke and remains one of the most celebrated musical films in cinema history.

A magical English nanny, Mary Poppins (Julie Andrews), flies out of the breezy London skies and into the home of two mischievous children and the hearts of their family. With the help of a carefree chimney sweep named Bert (Dick Van Dyke), the spirited nanny turns every chore into a game and every day into a “Jolly Holiday.” Share the music, the magic, and the joy of Mary Poppins with the whole family.

Audiences will hear the Sherman Brothers’ complete score performed live in sync with the film, including beloved songs such as “A Spoonful of Sugar,” “Chim Chim Cher-ee,” and “Supercalifragilisticexpialidocious.”

American conductor Anthony Parnther is widely recognized as one of today’s leading conductors of film and concert music. Parnther is in his sixth season as Music Director of California’s San Bernardino Symphony Orchestra and serves as conductor of the Gateways Festival Orchestra, which made its sold-out Carnegie Hall debut under his leadership. A specialist in film music, he has led recording sessions for major motion pictures and television series including Oppenheimer (Academy Award–winning), Encanto (Grammy Award–winning), The Mandalorian (Emmy Award–winning), Avatar: The Way of Water, and Black Panther: Wakanda Forever, and has appeared with leading orchestras worldwide.

This presentation marks the second Movie Nights at Lyric title of the 2025/26 Season, following Disney and Pixar’s Coco in Concert Live to Film, which was presented last fall.

Disney’s Mary Poppins in Concert Live to Film will be performed at the Lyric Opera House on Friday, April 10, 2026, at 7:00 p.m., and Saturday, April 11, 2026, at 2:00 p.m. The Friday evening showing will feature American Sign Language interpretation and SoundShirt accessibility services.

Tickets start at $39. For tickets and more information, visit lyricopera.org/MaryPoppins. Presentation licensed by Disney Concerts.

Lyric Opera of Chicago thanks its Official Airline, United Airlines, and acknowledges support from the Illinois Arts Council.

United Airlines

Illinois Arts Council

About Lyric

Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.

Under the leadership of General Director, President & CEO John Mangum and Music Director Enrique Mazzola, Lyric is dedicated to reflecting, and drawing strength from, the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever-more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center; and to becoming increasingly diverse across our audiences, staff, programming, and artists—magnifying the welcoming pull of our art form, our company, and our city.

Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down.

Join us @LyricOpera on Instagram, TikTok, YouTube, Threads and Facebook. #LongLivePassion For more information on Lyric's upcoming 2024/25 Season, visit lyricopera.org/newseason.

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

ChiIL Live Shows On Our Radar

NICK OFFERMAN SET TO JOIN MEGAN MULLALLY 

FOR THE MUSICAL EVENT OF THE SUMMER: 

ICEBOY! 

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

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

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

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

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

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

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

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

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

ABOUT THE ARTISTS

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

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

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

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

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

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


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

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

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

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

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

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

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

ChiIL Live Shows On Our Radar: 

ON STAGE NOW AND JUST EXTENDED: 

THE BRIEF WONDROUS LIFE OF 

OSCAR WAO

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

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

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

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

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

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

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

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

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


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

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

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

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

CREATIVE TEAM

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

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

ENHANCED AND ACCESSIBLE PERFORMANCES

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

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

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

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

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

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

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

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

Additional Performance Added THIRD COAST PERCUSSION and TIGRAN HAMASYAN at the Reva and David Logan Center for the Arts Friday, March 13, 2026

ChiIL Live Shows On Our Radar: 

THIRD COAST PERCUSSION 

announces additional performance for the sold-out double bill with jazz pianist 

TIGRAN HAMASYAN

for one night only at the Reva and David Logan Center for the Arts

Friday, March 13, 2026

Third Coast Percussion (TCP), a GRAMMY® Award-winning Chicago-based percussion quartet and GRAMMY®-nominated composer collective, announces an additional performance of its double bill program with jazz pianist Tigran Hamasyan at the Reva and David Logan Center for the Arts (915 E. 60th St.) on Friday, March 13, 2026, as part of the UChicago Presents series. The original two-hour performance at 7:30 p.m. is sold out, and a one-hour abbreviated performance at 5:00 p.m. has been added due to popular demand. This marks the first time TCP and Hamasyan share a stage, an extremely unique opportunity for Chicago audiences. Tickets start at $26, with $12 student tickets available, at tickets.uchicago.edu. For more information on TCP and its current season, visit thirdcoastpercussion.com.

Named “the hottest pianist in jazz” by The Guardian, Tigran Hamasyan’s jazz mastery—steeped in the folk rhythms of his Armenian heritage—meets the “creative fearlessness” (BBC Music Magazine) of GRAMMY®-winning Chicago quartet, Third Coast Percussion. Known for their kinetic precision and daring collaborations, TCP brings a percussive fire to Hamasyan’s blend of jazz improvisation and folk-inspired melodies. Together, they craft a bold, rhythm-fueled experience that pushes sound and musical form to their limits.

Executive Director David Skidmore shares, “Tigran is a huge inspiration for us, and the opportunity to share a show with him for our hometown crowd is a real honor.” In both performances, TCP will perform Hamasyan’s Sonata for Percussion and Etude No. 1, commissioned and recorded by the ensemble, followed by a solo piano set by Hamasyan. The 7:00 p.m. performance will also include the world premiere of a new piece by Sérgio Assad, performed by TCP.

About Tigran Hamasyan

Born in Gyumri, Armenia, in 1987, Tigran Hamasyan has established himself as one of the most remarkable and distinctive jazz-meets-rock pianists and composers of his generation. A piano virtuoso with formidable groove power, he seamlessly fuses potent jazz improvisation and progressive rock with the rich folkloric music of his native Armenia. His accolades include winning the Montreux Jazz Festival's piano competition in 2003, the prestigious Thelonious Monk International Jazz Piano Competition in 2005, the Echo Jazz Award for International Piano Instrumentalist of the Year for his Nonesuch debut Mockroot (2015), and the Deutscher Jazzpreis in 2021. Hamasyan has earned praise from jazz luminaries including Herbie Hancock, Brad Mehldau, and the late Chick Corea, while building a dedicated following worldwide. As NPR notes: “With startling combinations of jazz, minimalist, electronic, folk and songwriterly elements...Hamasyan and his collaborators travel musical expanses marked with heavy grooves, ethereal voices, pristine piano playing and ancient melodies. You'll hear nothing else like this.”

About Third Coast Percussion

Third Coast Percussion (comprised of Sean Connors, Robert Dillon, Peter Martin, David Skidmore) is a GRAMMY® Award-winning Chicago-based percussion quartet and GRAMMY®-nominated composer collective. For two decades, the ensemble has created exciting and unexpected performances that constantly redefine the classical music experience. The ensemble has been praised around the country for “commandingly elegant” (New York Times) performances, the “rare power” (Washington Post) of its recordings, and “an inspirational sense of fun and curiosity” (Minnesota Star-Tribune). A commission for a new work from composer Augusta Read Thomas in 2012 led to the realization that commissioning new musical works can be—and should be—as collaborative as any other artistic partnership. Through extensive workshopping and close contact with composers, Third Coast Percussion has commissioned and premiered new works by Philip Glass, Missy Mazzoli, Clarice Assad, Gemma Peacocke, Flutronix, Jlin, Tyondai Braxton, Augusta Read Thomas, Devonté Hynes, Georg Friedrich Haas, Donnacha Dennehy, Glenn Kotche, Christopher Cerrone, and David T. Little, among others, in addition to many of today’s leading up-and-coming composers through its Currents Creative Partnership program. Third Coast Percussion currently serves as ensemble-in-residence at Denison University.

Since its inception in 2005, TCP has released 23 feature albums, and appeared on 14 additional collaborative releases, gaining over 5 million listeners and 10 million streams on Spotify. Through extensive workshopping and close contact with composers, TCP has commissioned and premiered 125 new works. Bringing their uniquely compelling programs worldwide, TCP maintains a busy tour schedule, with past performances in 42 of the 50 states and Washington, D.C., plus international tour dates across four continents and 17 countries, amassing more than 300,000 audience members globally over two decades.

In its hometown of Chicago, TCP has always maintained strong ties to the vibrant artistic community. It has collaborated with Chicago institutions including Hubbard Street Dance Chicago, the Uniting Voices Chicago choir, the Civic Orchestra of Chicago, Chicago Humanities Festival, the Art Institute of Chicago, and the Adler Planetarium. TCP has performed at the grand opening of Maggie Daley Children’s Park; conducted residencies at the University of Chicago and the Civic Orchestra of Chicago; created multi-year collaborative projects with Chicago-based composers Jessie Montgomery, Clarice and Sérgio Assad, Augusta Read Thomas, Glenn Kotche, and chamber ensemble Eighth Blackbird; and taught thousands of students through partnerships with Uniting Voices Chicago, The People’s Music School, the Chicago Park District, Rush Hour Concerts, Urban Gateways, Changing Worlds and others.

More information on Third Coast Percussion HERE.

NOMINATIONS FOR THE 52nd NON-EQUITY THEATER JEFF AWARDS

THE JEFF AWARDS ANNOUNCES NOMINATIONS 

FOR THE 52nd ANNIVERSARY 

NON-EQUITY THEATER AWARDS 

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

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

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

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

2025 NON-EQUITY JEFF AWARD NOMINEES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


MULTIPLE NOMINATIONS

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

By Production

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

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

ABOUT THE JEFF AWARDS

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


ADDITIONAL INFORMATION ON NOMINATIONS AND THE AWARDS PROGRAM

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

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