Theatre in Chicago – Chicago Theater and Arts

Love Jealousy War in Aida

Artistic designer Marquis Lewis, aka RETNA, brings a calligraphy motif to the sets of "Aida."

‘Aida’ at Lyric Opera of Chicago (Photo by Todd Rosenberg)

Highly Recommended

“Aida” by Giuseppe Verdi has returned to the Lyric Opera of Chicago after more than a decade. Under the direction of Francesca Zamnello and conducted by Enrique Mazzola, it is opera in the grand tradition but interpreted through a nontraditional lens.

Military leader Radames (tenor Russell Thomas) is in love with the captive Aida (soprano Michelle Bradley) who is enslaved in the household of princess Amneris (mezzo-soprano Jamie Barton) who happens to be in love with Radames. Therein lies the love triangle and principal conflict of this epic tragedy.

Rather than opening with a traditional crowd scene with an explanation of where we are and what is to come, this opera has a cold start with Radames ruminating on his love for Aida while sitting in what is apparently the war room of the unnamed kingdom. The highlight of this scene is Radames singing of “Celeste Aida” arguably the most lyrical aria in this opera and a favorite solo piece of tenors.

Amneris passes through the room and inquires as to why Radames is so distracted. When Aida enters, Radames’ demeanor changes and Amneris begins to suspect there may be something going on between the two.

The first two acts of the four-act opera are concerned largely with the armed conflict between the kingdom in which Radames serves and the kingdom of Amonasro (baritone Reginald Smith, Jr) who, unbeknownst to everyone, is the father of Aida.

The roughly sixty-voice men’s ensemble performs a thrilling chorus of preparation for battle, and shortly thereafter, a celebration of victory with Radames as the conquering hero.

Likewise, six dramatic trumpets play an impressive, well known, Verdi fanfare that at the end of Act Two, culminates in an impressive surprise celebration with 200 cast members on stage.

The preparation for battle and victory are further punctuated by ballet scenes choreographed by Jessica Lang that feature dancer Anne O’Donnell Passero who seemingly floats across the stage with dramatic lifts and leaps in a flowing white gown with golden lining that is truly angelic.

Originally conceived as a conflict between ancient Egypt and the kingdom of Ethiopia this updated version has a dystopian post-modern and mid-century vibe.

The costumes by Anita Yavich are a kind of mixed bag with some colorful gowns and drab dresses. Military uniforms are reminiscent of the fascist regimes of WWII with some more decorative officers looking like part of the Russian Imperial Army and the priests seeming to be part of the Greek Orthodox or ancient Jewish pharisees.

The mostly monochromatic set design led by set-designer Michael Yeargan is primarily a steely gray with tone-on-tone impressions of cryptic symbols reminiscent of hieroglyphs or Chinese pictographs.

Creating a dramatic and assaulting pop of color that commands your attention, the symbols also appear painted in blood red during powerful moments and at the tops of the ceremonial staff carried by the high priest Ramfis (bass Önay Köse).

The production’s striking original concept is conceived by artistic designer RETNA, a celebrated street artist based in Los Angeles.

As Radames is celebrated, a tormented Aida admonishes herself for praying for his victory at the expense of her father and homeland.

Longing for her homeland, Aida sings the emotional aria “O patria mia.” She soon learns that her father is among the captives.

Meanwhile, the King (bass Wm. Clay Thompson) announces that he will give his daughter Amneris to Radames as reward for his victory and furthermore, will grant him any wish he desires.

In spite of his victory, Radames has pity on the countrymen of Aida for her sake and asks the King to grant the release of the prisoners of war. The King agrees to grant his wish with the caveat that Aida and her father must remain as ransom against any further reprisals.

Aida and her father conspire to persuade Radames to flee with them back to their home country. In doing so, they have him reveal further military plans. Aida is motivated by her sincere love for Radames and him for her and thus wins him over.

Almost immediately, Radames regrets his action from the point-of-view of his love of country that is in direct conflict with his love for Aida. He is shortly arrested and sentenced to death by the high priest.

The nature of Radames’ execution is to be entombed alive to suffer an agonizing death by suffocation and starvation. When his fate is sealed, he finds that Aida has hidden herself away and is entombed with him. Thus, the two are united in death while Amneris prays for the end of conflict, the peace of her lost love and peace for her grief-stricken self.

Unfortunately, this theme of conflict on a national level juxtaposed with the most intimate desires of individual lives has its roots in the ancient world and sadly no doubt is repeating itself in the world today.

Details: ‘Aida’ is performed in Italian with projected English titles at the Lyric Opera House, 20 North Wacker Drive, Chicago through April 7, 2024. Running time is about 3 hours with one intermission. For tickets and information, call 312.827.5600 or go to lyricopera.org/aida.

Reno Lovison

For more shows visit Theatre in Chicago

‘James and the Giant Peach’ is a sweet treat at Marriott Theatre

Cast of “James and the Giant Peach” at Marriott Theatre. (Photo by Liz Lauren)

Recommended

Introducing young theatregoers to the delights of musical storytelling leaps off the page of the famous Roald Dahl novel at the Marriott Theatre for Young Audiences in Lincolnshire.

“James and the Giant Peach” is the perfect way to introduce young theatergoers to enjoying live musical theatre. The hour-long performance is suited for audiences of all ages as they watch the fantastical musical come to life.

In traditional Roald Dahl fashion, James is an orphan forced to live with his two screechy aunts who are anything but nice to him. When he is sent to chop down their old fruit tree, he discovers a magic potion that turns an ordinary peach tree into a gigantic peach.

All of a sudden, he finds himself among a group of larger-than-life insects who quickly become the family he is missing. They go on adventures in the ocean ending up at the Empire State Building in New York City. Along the way they learn that they must work together to survive.

Humor, music, and comedic antics weave their way through this wonderful performance. The music by the Tony Award-nominated team of Pasek and Paul (La La Land, Dear Evan Hansen) is catchy and fun.

Starring is the always wonderful Alex Goodrich as Ladahlord. Lucy Godinez as Aunt Sponge and Leah Morrow as Aunt Spiker are hysterical with quirky costumes to match. The young James is played by the talented Kai Edgar.

The show is directed and choreographed by Tommy Rapley with music direction by Ryan T. Nelson. Kudos to costume designer Amanda Vander Byl for her amazing insect and character costumes. They are colorful and fun.

Each performance is followed by a question-and-answer session with the cast.  The show plays most Wednesdays through Sundays at 10 am with select 12:30 pm performances and plenty of Spring Break performances.

Also currently playing at the Marriott is Lin Manuel’s “In the Heights” now through March 17, 2024. Next up is The Music Man opening April 10.

“James and the Giant Peach” is the perfect way to introduce young theatergoers to enjoying live musical theatre.

Details:” James and the Giant Peach” runs through March 30 at the Marriott Theatre, 10 Marriott Drive in Lincolnshire. For tickets, call Marriott Theatre Box Office at 847.634.0200 or visit  www.MarriottTheatre.com.

Mira Temkin

For more shows visit Theatre in Chicago

Reclamation of Invisible Lives

Manny Buckley and Jon Hudson Odom in "The Reclamation of Madison Hemings" by American Blues Theater. (Michael Brosilow)

(L to R) Manny Buckley and Jon Hudson Odom in “The Reclamation of Madison Hemings” at American Blues Theater. (Photo by Michael Brosilow)

4 Stars

Can you free yourself from the past, particularly if your past was filled with unhappiness? Can you find the good times you remembered? Can you shake loose the pain or reclaim your legacy? These are some of the themes explored by playwright Charles Smith in “The Reclamation of Madison Hemings” on stage at the American Blues Theater.

Shortly after the end of the Civil War two former slaves ruminate on their experiences living and working within Monticello, the estate of former President Thomas Jefferson.

Arriving at Monticello as a boy, Israel Gillette Jefferson (Manny Buckley) was originally assigned to making nails in the nailery with his brother, Moses. Eventually he was moved into the house as a fetcher, rising to the position of footman at the time of Jefferson’s death.

Madison Hemings (Jon Hudson Odom), together with his siblings, lived a life of comparative privilege by slavery standards. They were the product of the union between the former President of the United States and his slave, Sally Hemings.

Brothers Israel and Moses were auctioned off after the death of Jefferson and had vowed to meet at Montecillo on the anniversary of their purchase date if ever they were freed. Madison was freed as part of a stipulation in Jefferson’s will. After emancipation they found themselves as neighbors settled in Pike County, Ohio.

Madison has now agreed to accompany Israel to reclaim a bit of their past. In doing so they are reunited in spirit with family and friends who lived and died alongside them in bondage and provided what little love and support they were able to find in a cruel and oppressive system.

Centered around a campfire, the banter between the two is reminiscent of Samuel Beckett’s “Waiting for Godot” as the two men, seemingly suspended in time, conjecture and bicker about whether Moses has come and gone, whether he is delayed or whether he will come at all.

The playwright’s dialog in this well produced production gives voice to a traditionally unheard side of American History. It is peppered with humor that establishes an obvious underlying bond between the two men who do not always share the same point-of-view regarding the effects of the war, their new station in life, their view of the man who controlled them, nor how much longer they should linger.

Credit to director Chuck Smith who no doubt contributed to the natural cadence and rhythm that comes to life from the mouths of Odom and Buckley. Their conversations enlighten us as to the peculiar realities of the Monticello household, including the obvious hypocrisy of the person who penned “All men are created equal” into the Constitution of the United States. This is all done without preaching or lecturing.

There is the matter of a reference to a blind white mule often heard braying offstage. I am going to go out on a limb and suggest that this device represents echoes of slavery. Though out-of-sight, starving and debilitated it is not easily silenced and not yet dead.

In regard to stagecraft the scenic design and props by Jonathan Berg-Einhorn were suitably evocative, with the presence of a large buckboard wagon offering an imposing sense of time and place.

The costumes of Lily Wallis demonstrated an appreciative attention to detail down to the bow-tied gatherings of Israel’s long-johns. I did however find the lighting by Jared Gooding and Rachel West to be flat. With the exception of an impending storm it did not add much to the atmospherics or mood.

This was my first visit to the new home of the well-respected award-winning American Blues Theater one block north of Bryn Mawr on Lincoln Avenue.

It was refreshing to see that the theater’s board, under the leadership of Executive Artistic Director Gwendolyn Whiteside, elected to add a bit of style to the design rather than go with a simply barebones “get away as cheap as we can” approach. The seats are comfortable and relatively spacious in terms of leg room.

The proscenium stage proportionally seems unusually wide compared to its depth especially as the theater seating area is also more wide than deep. Though not technically a thrust the generous apron provides a gentle curve that adds an even greater sense of intimacy for the 137-seat audience.

The spacious contemporary look of the lobby and theater, sporting wood paneling with metal detailing, belies the building’s humble history as a former Walgreen’s and most recently a Dollar General. I live only about three blocks away and am happy to have ABT as a new neighbor.

DETAILS: “The Reclamation of Madison Hemings” is at American Blues Theater, 5627 N. Lincoln Ave., Chicago, through March 24, 2024. Running time is a little more than 90 minutes with a short intermission. For tickets and information visit www.americanbluestheater.com or call (773) 654-3103.

Reno Lovison

For more shows visit Theatre in Chicago

Two diverse cultures wonderously offer support during an accidental overnight visit

Egyptian band members, Rom Barkhordar and Armand Akbari, hear Israeli cafe owner Dina’s (Sophie Madorsky) thoughts in “The Band Visit – The Musical” at Writers Theatre. (Photo by Michael Brosilow).

Highly Recommended

When an Egyptian Police Unit’s professional band ends up in the desert Israeli town of Bet Hatikva overnight instead of at the cultural center in a large Israeli community due to the similarity in town names, both sides, the musicians and town residents, take away a better understanding of their own lives by dawn. That is the basic plot of “The Band’s Visit.”

I loved the show when it was simply a 2007 screenplay by Eran Kolirin because it delicately entered the life situations of the band members and of the residents.

Audience members of Writers Theatre in Glencoe where it is now appearing through March 17, will find the basic premise is still there but the production, now a 2018 multi-Tony Award-winning Broadway musical by composer David Yazbek and book writer Ithamar Moses, has drastically changed the show. I don’t think it is better or worse. It’s just different. There is even a roller-skating rink (with appropriate musical number) in this desert town.

Audiences who saw “Once” at WT will recognize and love the introductory musical number and closing number as similar in beat, musical instruments and choreography. Not sure why they were used here unless they somehow represent the music at the destination’s cultural center but they don’t change the story line.

Directed by Zi Alikhan, the characters present their situations with sensitivity and also compassion for each other.

Dina, a cafe owner interpreted by Sophie Madorsky, is both sensual and empathetic as she interacts with Tewfiq, the band’s leader played by Rom Barkhordar. They sing “Something Different.” By the story’s end you learn of Tewfiq’s tragic family story.

During the show you watch other band members getting to know and interact with residents who are having relationship problems. However different the musical is from its original intent, ‘The Band’s Visit” is a heartwarming and beautiful short story of two cultures coming together with support for each other.

DETAILS: “The Band’s Visit” is at Writers Theatre, 325 Tudor Court, Glencoe, IL., now through March 17,2024. Run time: 95 minutes with no intermission. For tickets and more information call (847) 242-6000) or go to www.writerstheatre.org.

Jodie Jacobs

For more shows visit www.theatreinchicago.com.

Superb ‘Silent Sky’ reminds how gender matters

(L-R) Cameron Feagin, Anne Lentino, and Melissa Harlow (Photo by North Shore Camera Club

Highly recommended

First, I must reveal that Lauren Gunderson is my favorite contemporary playwright. I loved her ATCA award-winning “The Book of Will,” a play about saving the works of William Shakespear and how they got published. She is among the most produced current American playwrights.

Gunderson often intertwines witty dialogue with historical matter while developing themes that have been overlooked. Such is “Silent Sky,” currently on stage at Citadel Theatre in Lake Forest.

A true story based on what Ratcliff grad and astronomer Henrietta Leavitt faced in 1900 when she left Wisconsin and family to join the Harvard University Observatory, (she used her dowry to move and get settled), the play follows her discoveries and interaction with female coworkers called “computers” and a male who is the boss’ assistant.

Now imagine what it must have been like to be told she couldn’t touch much less use the famed telescope there. Picture her working after hours to explore the universe through photos that she and coworkers used in an office space called “the Harem” (really).

Do you think much has changed since then? Did you see the true NASA-related movie, “Hidden Figures?”

Through Gunderson’s words, finely interpreted by Melissa Harlow, Henrietta comes to life in the beautifully done Citadel show.

The entire production is well cast with Cameron Feagin and Anne Lentino, both of the Promethean Theatre Ensemble that did the excellent “Blue Stocking,” as fellow computers in the Harem and Adam Thatcher as Peter Shaw, the assistant boss. Thatcher just did Citadel’s “She Loves Me.”

Even though the theater space is small and the stage is tiny, Trevor Dotson’s set design includes a proper area for Henrietta’s Wisconsin’s home that includes her sister Margaret’s piano.

Margaret, now a young mother played by the very talented Laura Michele Erle (also the co-writer of “Three Sisters, Four Women”), is composing a symphony.

Pulling it all together is Director Beth Wolf, a Jeff award nominee for Citadel’s “Outside Mullingar” production.

Details: “Silent Sky is at Citadel Theatre, 300 S, Waukegan Rd, Lake Forest, (West Campus of Lake Forest School District) now through March 17, 2023. Run time is about 2 hours including one intermission. For tickets and other information visit www.citadeltheatre.org or call 847-735-8554.

Jodie Jacobs

For more shows visit Theatre in Chicago

‘Heights brings hip hop and rap to Marriott Theatre

The cast of “In the Heights” at the Marriott Theatre in Lincolnshire.

The cast of “In the Heights” at the Marriott Theatre in Lincolnshire. (Photo by Liz Lauren)

Recommended

With “In the Heights” Marriott Theatre in Lincolnshire takes on Lin-Manuel Miranda (music and lyrics) and Quiara Alegria Hudes (book) musical that is arguably very different from the longtime traditional shows presented there.

And audiences know that immediately when a street artist Graffiti Pete (Phillip Wood) opens the show by spray painting an awning outside a neighborhood store and performs hip-hop style.

The musical goes on to tell about a distraught, mostly Domincan Latino community in Upper Manhattan’s NYC’s Washington Heights neighborhood that s worried about family, work, rent and changing times.

It centers on Usnavi (Joseph Morales) who runs the community’s bodega (small grocery/convenience store) inherited from his parents.

But it also deals with problems of love, parental approval and making it outside the community’s cultural boundaries.

If you go: Don’t expect “West Side Story” style songs and dances. “In the Heights” pulses to a very different beat. Think “Hamilton” which Miranda wrote and uses different rhythms.

“In the Heights” is at Marriott Lincolnshire Theatre, 10 Marriott Drive, Lincolnshire, through March 17u, 2024.

Jodie Jacobs

For more shows visit Theatre in Chicago

Old romance conflict revived at Citadel Theatre

Recommended

On the one hand it’s hard to review a show that is dated. At least, that is the feeling audience members may get watching “She Loves Me” at Citadel Theatre. The show is a Jerry Bock/Sheldon Harnick, Joe Masteroff muscial with award-winning revivals that started out in 1937 as “Perfumerie” by Hungarian playwright Miklos Laszlo.

It went on to become the film “The Shop Around the Corner” in 1940 then redone as “In the Good Old Summertime.”

The action takes place as the seasons change but mainly during the holidays. However, this is not a family Christmas show. (except for older teens who may appreciate the more risqué parts in a café and the excekkent choreography by Amanda Schmidt in the Perfumerie.)

By the end of the first act, and it is a long first act, minds can also be changed.

What started out as somewhat stilted workplace activities, conversations and rifts, developed into a romantic confrontation, resolution and possible workplace disasters.

Once we meet and get to know Amalia Balash well-played by Hannah Louise Fermandes and nicely done by Georg Nowack portrayed by Travis Ascione as the verbally dueling couple who start out on the wrong foot, the action, directed by Director Matthew Silar, grows on you until you care about their conflict resolution and those of other characters. Kudos also go to Jake Busse as the café waiter.

Considering how small Citadel’s stage is the scenic design by Eric Luchen is perfect. It includes an excellent side balcony style space for a quintet led by keyboardist Rex Mayer.

“She Loves Me” is at Citadel Theatre, 300 Waukegan Rd., Lake Forest, IL from Nov. 17 through Dec. 17/ Running time 2 ½ hrs. For tickets and other information visit Citadel Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

Beautiful tells how King classics came to be

(Kaitlyn Davis as Carole King in “Beautiful” at Marriott Theatre Lincolnshire)

3 1/2 Stars

The audience at the Wednesday Marriott opening of “Beautiful: the Carole King Musical,” are likely familiar with such classic songs as “You’ve Got a Friend,” “So Far Away,” “Up on the Roof,” and “You’ve Lost That Lovin’ Feeling.”

But I wonder if they know that the person who wrote them started out as a teenage songwriting phenom who had skipped two grades in school and whose mom wanted her to continue her classical piano studies.

Or that she started out as a pop composer whose first husband, Gerry Gofin, did the lyrics while she wrote the music.

Or that the grand piano on stage at the show’s start would actually reappear at the show’s end in Carnegie Hall.

With terrific dance and song examples, “Beautiful’s” long Act I showed how the music of the King-Gofin partnership was picked up and performed by well-known groups.

(“Beautiful” at Marriott shows how major performers adopted the King-Gofin songs)

The shorter Act II is about that partnership’s on-off crises and split up that led King to going it alone and her concert at Carnegie Hall. The show could have an Act III about all her awards, more partnerships and more songs plus her award-winning “Tapestry” album.

However, King’s “Beautiful” journey as performed at the Marriott Theatre is in the wonderful, over-the-top hands of Kaitlyn Davis from the national tour of “Beautiful.” BTW, Davis is also an accomplished pianist and songwriter.

Her co-star, Andrew Mueller, who is the brother of the Mueller sisters who performed “Beautifu”l on Broadway and the national tour, has impressive credits in Chicago area theater. He does an excellent portrayal of Gofin.

(Song-writing rivals and friends, Cynthis Weil (Erica Stephan) and Barry Mann, (Justin Albinde) )

A good picture of the song business is the delightfully done inclusion of couple Cynthis Weil portrayed by Erica Stephan, and Barry Mann, played by Justin Albinder.

Well directed by Jessica Fisch, “Beautiful” is basically a “jukebox” show that will bring back lots of musical memories.

“Beautiful: the Carole King Musical” is at Marriott Theatre, 10 Marriott Drive, Lincolnshire, Il now through Dec. 31, 2023.

For tickets and more information visit Beautiful/MarriottTheatre

Jodie Jacobs

For more shows visit Theatre in Chicago

Brigadoon has reappeared

(Conor Jordan and Zachery Linnert)

4 Stars

With such Lerner and Lowe songs as “Almost Like Bein’ in Love” and “Come to Me, Bend to Me,” it would be hard to not put on a fine musical. However, Brigadoon, now presented at the North Shore Center for the Performing Arts by Music Theater Works, goes beyond merely “fine.”

Everything, from the voices and acting to dance numbers by Clayton Cross and costuming by Jazmin Aurora Medina, are spectacular. And that is happening, unlike the last Music Theater Works of “Springtime for Hitler” on the large stage. This production is crammed onto the small North Theatre stage.

But it works.

Directed by Sasha Gerritson and choreographed by Cross, the show features a sterling cast of ballet-style dancers and such exceptional singers in the lead as Conor Jordan as Tommy Albright and Sarah Obert as Fiona.

Albright and Fiona fall in love but the catch is the Scottish town of Brigadoon will disappear for one hundred years. Albright, an American who stumbled on it while exploring the country with his friend, Jeff (Zachery Linnert), returns with him to America and his somewhat jaded existence.

What happens next is that Love conquers all.

As with “Springtime,” the show has a large supporting cast of singers, actors and dancers – Madison Kauffman, Luke Nowakowski, Stan Austin , Will Leonard, Bob Sanders, Susannah Harvey, Kent Joseph, Timothy Wolf, Adam Raso, Delaney Good, Isa Ramirez, Jimmy Hogan, Anna Marie Abbate, Emma Jean Eastlund, Theresa Egan, David Geinosky, Dee Kimpel, Olivia Russell, Alex Villasenor, Chad Gearig-Howe and Renee Dwyer.

Go see it before Brigadoon disappears. The production is at the North Shore Center for the Performing Arts, 9501 Skokie Blvd, Skokie, IL through Nov. 12, 2023. For more information and tickets visit Music Theater Works | Great Music. Great Theater. The Works.

Jodie Jacobs

For more shows visit Theatre in Chicago

Chrisite defines what is a mousetrap

Cast O Mousetrap at Citadel Theater. (North Shore Photography Club photo)

Recommended

If you have seen “The Mousetrap,” Agatha Christie’s 1952 murder mystery that is still alive on stage in London, don’t give away the “who done-it” part.

With a reasonable run time of 2 hours, 20 minutes that includes a 15-minute intermission, the first act ends the play with you likely wondering, who is the next murder victim.

Directed by Scott Westerman who brilliantly presented Citadel’s award-winning “The Chrisians,” he has staged “Moustrap similar to a farce with characters moving in and out of doorways then appearing elsewhere.

As to the cast, they are mostly projected as somewhat overblown stereotypical characters that fit the “farce” slant.

So ask yourself who are these people, really? All the audience knows is that they are guests in the newly opened Monkswell Manor operated by newlyweds Mollie Ralston (Mary Margaret McCormack) and husband Giles (Jack Sharkey).

Next on the scene is a young, overly hyper lad named for architect Christopher Wren played by Jesus Barajas.

He is followed by Kristie Berger as the old maidish, times-have-changed Mrs. Boyle and William Ryder as the pleasant Major Metcalf.

Into the mix is Amy Stricker as Miss Casewell will drops hints that she had a difficult childhood.

The seemingly strangest character is Mr. Paravicini portrayed by Reginald Hemphill as an uninvited guest. He seems inordinately pleased with the guests’ makeup.

Last on stage is Detective Sergeant Trotter. Played by Sean Erik Wesslund, he first appears in the Inn’s big window on skis because the house is cut off by a persistent snowstorm.

Speaking of snow, the video created by cinematographer Ian Merritt adds drama to the show as does a strange mirror and other special effects.

So, don’t misread Westerman’s farcical handling of “Mousetrap.” Christie and Westerman are “dead” serious about the plot.

It supposedly was inspired by a real case about gravely mistreated children. It may lead some viewers to consider a case now in the news and the Illinois legal system.

Originally called “Three Blind Mice,” the nursery rhyme’s song is played in the background and thus raising the questions who are the mice and is the inn acting as a mousetrap?

DETAILS: Mousetrap is Sept. 15-Oct. 15 at Citadel Theatre Company, 300 S. Waukegan Rd., Lake Forest, IL. For tickets and information call (847) 735-8554, x1, or visit Citadel Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago