Theater – Chicago Theater and Arts

Calling Chicago Theatre Aficianados

Goodman Theatre tops Jeff Equity nominations (Photo courtesy of Goodman Theatre) — (Photo courtesy of Goodman Theatre)

From Chicago Shakespeare Theater and Goodman Theatre to Second City and Steppenwolf Theatre Company, tickets to shows across the Chicago area go on sale right after the new year begins. (The Hashtag is #CTW25)

Mark the calendar for 10 a.m. Jan. 7, 2025 to get in on sale tickets for ChicagoTheatreWeek.com. CTW is Feb. 6-16, 2025. But tickets at the $15, $30 or less will quickly disappear.

HotTix.org will host Chicago Theatre Week from Feb. 17 to 23, 2025 which will extend Theatre Week discounts to participating productions for an additional week.

Short list of participating theater shows

Sondra Radvanovsky in Concert – Lyric Opera

Singin’ In the Rain in Concert – Lyric Opera

A Raisin in the Sun – Court Theatre

Beautiful – The Carole King Musical – Drury Lane

Avaaz – Chicago Shakespeare Theater

The Heart Sellers – Northlight Theatre

Fool for Love – Steppenwolf Theatre Company

A Midsummer Night’s Dream – Chicago Shakespeare Theater

Betrayal – Goodman Theatre

Winter Series – Hubbard Street at Harris Theater for Music and Dance

Fat Ham – Goodman Theatre and Definition Theatre

Waitress – Paramount Theatre

Salonen Conducts Bluebeard’s Castle – Chicago Symphony Orchestra

Kitty James and Destiny’s Trail to Oregon – The Factory Theatre

A Lie of the Mind – Raven Theatre

MFA Collaboration: Wink – Wirtz Center for the Performing Arts

Native Gardens – Buffalo Theatre Ensemble

Joseph and the Amazing Technicolor Dreamcoat – Marriott Theatre Lincolnshire

Teatro Zin Zanni

Complexions Contemporary Ballet at Auditorium Theatre

Whirled News Tonight – iO Theater

The Infinite Wrench – The Neo-Futurists

Mr. Parker – Open Space Arts

Lobby Hero – Shattered Globe Theatre

The Devil’s is in the Detours – The Second City

Fun Home – Porchlight Music Theatre

The Cave – A Red Orchid Theatre

The Mannequins’ Ball – Trap Door Theatre

“Chicago Theatre Week is a time for exploration and discovery,” said League of Chicago Theatres Executive Director Marissa Lynn Jones. “It is a pleasure to bring new audiences to our treasured stages that bring talent from across the globe. Chicago is the home of the best theatre artists in the world with stories for all ages and experiences, ” said Jones.

Chicago Theatre Week is presented by the League of Chicago Theatres in partnership with Choose Chicago. Subscribe to the Theatre Week email newsletter for updates and announcements.

“Chicago offers one of the most dynamic performing arts scenes in the world,” said Choose Chicago Interim President. “I am proud to support Theatre Week in partnership with the League of Chicago Theatres.

ChicagoTheatreWeek.com. The official hashtag for Chicago Theatre Week 2025 is #CTW25.

Jodie Jacobs

Show review roundup from Chicago Theater and Arts

Reno Lovison picks for 2024

#1 – “Midnight in the Garden of Good and Evil” at Goodman Theatre was best all around and also best new musical. Great energy, scenery, music, dance and general performance.

#2 -“Jersey Boys” at Mercury Theater is best revival. Well written story with awesome retro music well performed.

#3 – “Wells and Welles” by local playwright Amy Crider presented by Lucid Theatre was best two person play. Difficult choice because I also liked “Dear Elizabeth” and “Reclamation of Madison Hemings.”

#4 – “English” at Goodman was most thought provoking. Nice cross-cultural story. “The Long Christmas Dinner” by Thorton Wilder at TUTA Theater is a close second.

#5 – Best individual performance goes to Harry Lennix for “Inherit the Wind” at Goodman.

* Best new venue is Bramble Arts Loft, 5545 N. Clark Street, an unusual light and airy second floor loft space with elevator.

“Natasha, Pierre & the Comet of 1812” at Writers Theatre

Picks from Jodie Jacobs

#1 – “Natasha, Pierre & the Comet of 1812” at Writers Theatre as a complete, entertaining production. It had it all from great vocalizations and costuming to story line and exceptional acting.

#2 -“Every Brilliant Thing” at Writers Theatre. Jessie Fisher Fisher is brilliant in this one-persons show and so is the play written by Duncan Macmillan with Jonny Donahoe. It likely touches many lives as it balances depression with hope.

#3 – “1776” as best revival at Marriott Theatre. Audiences might wonder what there is to say about the Declaration of Independence, a document written by Thomas Jefferson of Virginia, modified by some of the delegates to the Continental Congress and whose wording we presumably learned in elementary school. But under Nick Bowling’s direction the scene comes alive with terrific acting by a well-chosen cast and Tanji Harper’s choreography.

#4 -“Silent Sky” by Lauren Gunderson at Citadel Theatre, as most thought provoking. The well-acted play is about Henrietta Leavitt and other 19th century female astronomers who were not recognized at the time for their work because they were women.

#5 – “Rigoletto”at Lyric Opera of Chicago. Yes, opera is theater. It is drama, great voices, good staging and costuming even if you don’t care for the story. And even non-regular opera goers would recognize “La donna è mobile,” translated as “Woman is fickle.”

An infinite and universal family story

L-R: Huy Nguyen, Matt Miles, Charlie Irving, Wain Parham, Alexis Primus. (Photo by Josh Bernaski)

Highly Recommended

Holidays have a unique way of punctuating our lives causing us to come together on an annual basis. Through this activity we assess alliances, trade information, and mark the passage of time.

In The Long Christmas Dinner by Thorton Wilder presented by TUTA Theatre and directed by co-artistic director Jacqueline Stone, we join an affluent Midwestern family at their Christmas table sometime in the not-too-distant past.

But this is not just one dinner, it is a sequence of similar dinners seamlessly stitched together in a linear fashion showing the progression of events that affect this family over multiple generations.

Christmas dinner is the thread that unites the changing timeline but it all occurs in the same place. Over time, characters enter and exit each adding their individual stitch to the tapestry that is the story of this family.

Wilder is the master of the mundane, that is to say, the commonplace and earthly, but not necessarily boring. In The Long Christmas Dinner, like with his well-known play, Our Town, he illustrates that it is the seemingly trivial day-to-day activities that make up life.

He also suggests that families are not created only by blood relations but also through shared memories and shared experiences. These are the ties that bind.

In spite of the confined point in space represented, we are reminded of a larger world through the Alaskan adventures of Uncle Branden (Wain Parham), the European dreams of Genevieve (Charlie Irving), and Young Roderick’s (Matt Miles) entry into WWII.

Likewise, the wives who have entered the family weave in stories of their own including the matriarch Mother Bayard (Joan Merlo), Lucia (Alexis Primus) and Leonora (Seoyoung Park).

As a playwright, Wilder felt challenged to find devices that could compress time in order to tell a very large story within the limitations of a theatrical performance.

The characters blend time by referencing past events and by doing so showing us how they have a hand in shaping our present thoughts. We think what we think because of what we have learned from those who have passed before us and shared their lives with us. In that way the past is always with us.

Wilder does not shy away from death. He wants us to see that death, as well as new life, is part of the process. Life is happy, sad, and ordinary. There are conflicts large and small but things resolve in their own way in good time.

The Long Christmas Dinner is like a river we have stepped into at some point. It was clearly flowing before we entered and it and its tributaries will continue to flow after we leave its shores.

The relatively new Bramble Arts Loft in Andersonville is the chosen venue for this production which features an excellent ensemble expertly directed by Jacqueline Stone.

The light and airy facility is refreshing with two performance spaces. This takes place in the Beatrice Theatre configured as a half round of about 100 stadium style seats with good sightlines for all.

The stage is a platform with no wings or backstage area. It spotlights an early 20^th Century formal table setting on an oriental carpet with an opulent chandelier festooned with hundreds of tiny crystals hanging above. The room makes you immediately feel like you have been invited for dinner.

Details: The Long Christmas Dinner is presented by TUTA Theatre at the Bramble Arts Loft, 5545 N. Clark Street, Chicago, through December 26, 2024. Running time: 75 minutes with no intermission. For tickets and information visit www.tutatheatre.org.

Reno Lovison

No seasickness here

Beck Hokanson (Dick), Joe Bushell (Hennessy), Peter Kattner II (Lucky) and Elizabeth Bushell (Joan) in “Dames at Sea” at Citadel Theatre. (Photos by North Shore Camera Club.)

Highly recommend

Sometimes a show from the past that is not performed much now, is just what we need as a break from the usual holiday fare. Such is “Dames at Sea” a 1966 musical with book and lyrics by George Haimsohn and music by Jim Wise now on stage at Citadel Theatre.

Think of it as a spoof on the over-the-top 1930’s large dance movie productions of Busby Berkely and you will understand what may at first seem as over-emoting by some of the cast.

Also a spoof on “42nd Street,” it is filled with superb tap dancing and fine voices as it follows Ruby, (Melody Rowland) who comes to New York from Utah to, hopefully, star on Broadway.

She is accepted by producer/director Joe Bushell (Hennessy) because one of his chorus girls has just left.

Her just met boyfriend, Beck Hokanson (Dick) a sailor and songwriter is off a battleship in the harbor with sailor Peter Kattner II (Lucky).

To complicate relationships Lucky had met and likes Elizabeth Bushell (Joan) plus the production’s main star, Mona (Ciara Jarvis) really likes Dick’s songs and makes Ruby jealous.

The first half takes place in a tumbling down off Broadway theater that is going to be repurposed. When the roof literally caves in on everyone, the sailors decide they should move the production to the ship. Thus we literally have “Dames at Sea.”

Coincidences keep happening. When Mona gets seasick, Ruby does step in to the starring role.

What is amazing about this show is how choreographer/director Gregg Denhardt has fit the action, including the whole chorus line, onto Citadel’s tiny stage.

I even liked Dick’s funny attempts to keep a kicking girl’s leg out of his face when he “played” one of his songs on the upright piano in the corner.

The funny things is that when the show opened in 1966 in a Greenwich Village coffee house’s performance space, it starred the then, mostly unknown, Bernadette Peters as Ruby because the original star left. The show stayed there for 148 performances.

Peters went on to do regional performances in the 1970s including one at the Academy Playhouse in Lake Forest.

The show did eventually, officially open on Broadway, October 22, 2015 at the Helen Hayes Theatre.

Melody Rowland (Ruby) with soon to be boyfriend Beck Hokanson (Dick),

DETAILS: “Dames at Sea” is at Citadel Theatre at 300 S. Waukegan Road, Lake Forest, now through December 15, 2024. Running time: 90 minutes with a brief intermission. For tickets call 847-735-8554 or visit www.citadeltheatre.org.

Jodie Jacobs

For more shows visit Theatre in Chicago

Did you see Royko

In "Royko: The Toughest Man in Chicago," Mitchell Bisschop plays the hard-nosed newspaper columnist.

Mitchell Bisschop in Royko: The Toughest Man in Chicago. (Photo by Sarah Elizabeth Larsen)

Recommended

Mike Royko was an outspoken Chicago journalist, who in the 1960s through the ’90s railed against the political machine and championed the cause of the underdog with the same zeal he displayed toward his beloved Cubs.

Playwright and monologist Mitchell Bisschop has distilled thousands of Royko’s daily reflections of life in the Windy City to fashion a one-man show he wrote and stars in. It celebrates the person Bisschoph has dubbed, Royko: The Toughest Man in Town.

From the stage at the Chopin Theatre in Wicker Park, Royko’s written words come alive, reminding us of past political battles, every day joys and poignant personal dramas.

Royko had a sense for what was on the mind of Chicagoans. Many agreed with his observations and many did not, causing nearly everyone to say, “Did you read Royko?”

It’s safe to say that Royko disliked Richard J. Daley and his machine politics, catsup on hotdogs and deep-dish pizza, maybe as much as he appreciated Harold Washington, 16 inch softball and his favorite seat at the end of the bar at the Billy Goat Tavern near the newspapers (otherwise known as Royko’s other office).

Then of course there were the ribs. Royko loved to bar-b-que and felt his ribs were the best. This boast led to the establishment of the Royko Ribfest in 1982, a Chicago tradition that continues.

When Australian media magnate Rupert Murdoch bought the Sun-Times (the newspaper where he worked), Royko quipped that “No self-respecting fish would want to be wrapped in one of Murdoch’s publications.”

He proverbially held his nose in protest and reluctantly moved to the more conservative, right leaning Chicago Tribune.

The roughly two-hour performance at the Chopin Theatre serves as a reminiscence for those of a certain age and as an entertaining summary of our recent history for those of a younger generation who might not have first-hand familiarity with events related to the quickly fading recent past.

I tend to feel everyone has a story to tell, but we do not have a record of most of them. Indeed, there is an echo to history and lessons to be learned for those interested enough to listen.

Royko stood up for what he believed and pushed back against bullies like those who felt that they had a right to abuse him simply because he was courageous enough to share his thoughts. I guess this is why Bisschop calls him the toughest man in Chicago.

Details: “Royko: The toughest man in Chicago,” is at Chopin Theatre, 1543 W. Division Street, Chicago, IL now through December 22, 2024. Running time: about 2 hours with one 15-minute intermission. Find tickets at royko.brownpapertickets.com and more information at Chopin or call (847)920-7714.

Reno Lovison

For more shows visit Theatre In Chicago

The Royal Shakespeare Company adds music and dance to Pericles

Zach Wyatt plays the title role, with Leah Haile as the king's wife Thaisa, in a Royal Shakespeare Company production of "Pericles" now at Chicago Shakespeare Theater.

Zach Wyatt, center, is Pericles holding his bride to be, the king’s daughter Thaisa, played by Leah Haile in “Pericles,” a Royal Shakespeare Company production at Chicago Shakespeare Theater. (Photo by Johan Persson.)

Somewhat recommended

Maybe, I was in the mood for a solid Shakespearean play. In “Pericles,” supposedly half penned by William Shakespeare, members of the renown Royal Shakespeare Company flit around the stage as if in a remake of an 18th century enchanted forest dream complete with music and dance.

The production doesn’t get better until the last act which sounds more like the Bard’s thoughts and then it becomes a tearjerker.

Pericles, well depicted by Zach Wyatt, has been wandering the seas and islands with grief for Thaisa, his supposedly dead wife who died giving birth to daughter Marina. The daughter is supposed to be taken care of but isn’t.

He finds that long-lost daughter, nicely portrayed by Rachelle Diedericks, in a brothel. Then, he reconnects with his wife who has been brought back to life as a high priestess.

After everyone lovingly embrace, Pericles and Marina leave to find a suitable sacrifice to goddess Diana.

DETAILS: “Pericles” is at Chicago Shakespeare Theater now through Dec. 7, 2024. Running Time: 2 hrs, 40 minutes with one intermission. Chicago Shakespeare Theatre is on Navy Pier, 800 E. Grand Ave., Chicago.

For tickets and more information visit Chicago Shakespeare Theater.

Jodie Jacobs

For more shows visit Theatre in Chicago.

Chicago Shakespeare Theater | Where the World Comes to Play

Brilliant acting and script move into Writers small theatre

Jessie Fisher stars in “Every Brilliant Thing” at Writers Theatre. Photo by Michael Brosilow.

Four Stars

Number one on the “List” is ….” says Broadway regular Jessie Fisher who hails from the Chicago area. An audience member calls out “Ice Cream.” Fisher has passed out slips of paper with numbers on them and a phrase. They are her “List” and the audience interacts with her on various levels of participation.

By the end of the show, a short, intense 70 minutes of skipping several numbers while she grows up from a young, smart but worried child to a mature adult, she has reached one million things that, even if they sound little, bring joy.

The List which includes “having a piano in the kitchen” is what she writes for her mother who is suicidal but it is also how she copes as she moves through teenage, college years and beyond.

There is hardly a dry eye in the audience. Depression is a deep, real emotion and response. But in this play, there also is joy.

Directed by Kimberly Senior, Fisher is brilliant and so is the play. Written by Duncan Macmillan with Jonny Donahoe it likely touches many lives as it balances depression with hope.

The set, accommodated in Writers’ intimate Gillian Theatre, is a back yard with grass, tables and lawn chairs for the audience. The casual setting is perfect for encouraging the level of understanding needed for tackling suicide.

DETAILS: “Every Billiant Thing” is at Writers Theatre, 325 Tudor Court, Glencoe, IL extended now through Jan, 12, 2025. Running time: 70 minutes, no intermission. For tickets and more information visit Writers Theatre.

Jodie Jacobs

For more shows visit Theatre in Chicago

White Christmas soothes the soul

Kelly Felthous as Judy Haynes and Tyler Johnson-Campion as Phil Davis pair well as dancing partners in Marriott Theatre’s “Irving Berlin’s White Christmas” (Photo by Liz Lauren)

Three Stars

“Irving Berlin’s White Christmas,” an old fashioned song and dance musical, seemed just the right antidote opening night following the more than a month of high pitched and sometimes contentious presidential and legislative campaigns.

Songs such as “Count Your Blessings Instead of Sheep,” “Blue Skies” and “White Christmas” lifted the spirits. The costumes designed by Sally Dolembo were integral to the show and beautifully enhanced the spare scenic design.

Perhaps you have seen the 1954 movie with Bing Crosby or the show performed before now but if not you should know that it revolves around the entertainment scene and a post WWII general who now has a Vermont ski vacation. It originally was written for a 1942 film called Holiday Inn.

Tyler Johnson-Campion is outstanding as Phil Davis, the dancing half of a popular song and dance pair with Bob Wallace as the songster. It’s just hard to believe that Johnson-Campion, a very talented actor/dancer from Disneys “Aladdin” is just now making his Marriott Theatre debut.

Kelly Felthous as Judy Haynes is a good romantic dance partner of Phil Davis. She is also have of the Haynes Sisters that also features Jaquelyne Jones as Betty. Felthous has appeared in Marriott’s “Music Man” and GoodmanTheatre in Roxie Hart in Chicago.

Also shout outs to Robin R McGee who as inn keeper Martha Watson, is also making her Marriott debut. and Olivia Grace O’Sullivan, the General’s granddaughter from the International and Marriott’s run of “The sound of Music.” Both actors are really enjoyable mainstays of this show.

Well directed and choreographed by Linda Fortunato, artistic director of Peninsula Players Theatre in Door County Wi, she previously choreographed Marriott’s “Into the Woods.” Music Direction is by Brad Haak. Music and lyrics are by Irving Berlin with book by David Ives and Paul Blake”

On a sad note:This production is dedicated to former Executive Producer Kary M. Walker (1944-2024). I remember him fondly.

Details: “Irving Berlin’s White Christmas” is at Marriott Theatre, 10 Marriott Dr., Lincolnshire, IL now through Dec 29, 2024. For tickets and more information visit Marriotttheatre/ irving-berlins-white-christmas

Jodie Jacobs

For more shows visit Theatre In Chicago

Jeff Awards announced

Goodman Theatre and Steppenwolf Theatre tied for the most (six) awards in the category of “Large Theater” when the annual Equity Jeff Awards ceremony was held Sept 30. Red Orchid Theatre received four awards in the “Mid-Size” category.

The Jeff Awards were for outstanding theater work and performances July 1, 2023 through June 30, 2024 chosen from 82 productions that were eligible as “Jeff Recommended.”

To better understand the importance to Chicago’s theater community of these Jeff Awards know that 44 award recipients were recognized from 193 nominees in 34 categories of “excellence in theater production.”

Co-hosted by Chicago entertainers Lillian Castillo and Kelvin Roston, Jr., with actor Janet Ulrich Brooks as announcer, the program featured performances from 10 nominated productions.

The Goodman Theatre’s awards were for “The Penelopiad” as an Ensemble (Play) and for Original Music in a Play (Samuel Davis), plus “The Nacirema Society Requests the Honor of Your Presence at the Celebration of Their First One Hundred Years” for E. Faye Butler as Perfomer in a Supporting Role and Scenic Design by Arnel Sancianco). Also, Scenic Design by Todd Rosenthal and Costume Design by Ana Kuzmanic for “The Matchbox Magic Flute,” brought awards to Goodman.

Steppenwolf Theatre was recognized with awards for “Purpose” for Production (Play), Direction (Phylicia Rashad) and New Work (Brandon Jacobs-Jenkins), plus for “Little Bear Ridge Road” for Direction (Joe Mantello), Performer in a Principal Role (Laurie Metcalf) and New Work (Samuel D. Hunter).

In the musical category Marriott Theater and Drury Lane Productions tied for the most awards with four.

“Beautiful: The Carole King Musical” at Marriott Theater received awards for Production, Direction (Jessica Fisch), Performer in a Principal Role (Kaitlyn Davis) and Performer in a Supporting Role (Andrew Mueller).

At Drury Lane, “Ain’t Misbehavin” garnered awards for Production, Ensemble, Direction (E. Faye Butler) and Performer (Lorenzo Rush Jr.).

For all Equity Awards visit Homepage | The Joseph Jefferson Awards (jeffawards.org)

Jodie Jacobs

‘Inherit the Wind’ revives fundamental conflicts

Prosecutors Tom Davenport (Christopher Kale Jones, left) and Matthew Harrison Brady (Alexander Gemignani) confer with defense attorney Henry Drummond (Harry Lennix) as a potential juror (Terry Bell) looks on in "Inherit the Wind" at Goodman Theatre.

Christopher Kale Jones, Alexander Gemignani, Harry Lennix and Terry Bell in “Inherit the Wind” at Goodman Theatre. (Photo by Liz Lauren)

Recommended

The Goodman Theatre reminds us that the more things change the more they remain the same in this production of “Inherit the Wind,” a classic courtroom drama directed by Henry Godinez.

The 1955 play by Jerome Lawrence and Robert E. Lee was written as a vehicle to shed light on the anti-communist proceedings of the McCarthy era. But, the story resonates with us again in 2024 as many of the same and several new public conflicts are debated between those holding opposing political ideologies as well as fundamentalist religious beliefs versus scientific discovery. (Think book-banning in some libraries and schools>)

Small town schoolteacher Bertram Cates (Christopher Llewyn Ramirez) is on trial for breaking a state law that prohibits the teaching of evolution.

The prosecution is aided by the bombastic self-important fundamentalist, bible thumping Matthew Harrison Brady (Alexander Gemignani). Cates is represented by famed Chicago lawyer Henry Drummond (Harry Lennix), a publicly demonized, clever defense attorney known for taking on difficult and controversial cases.

The premise is a fictionalized version of the infamous 1925 Scopes Monkey Trial where three-time presidential candidate and former secretary of state William Jennings Bryan argued for the prosecution and Clarence Darrow served as defense attorney for science teacher John T. Scopes.

The authors do not suggest that religion and science are irreconcilable but rather that this chasm has occurred because one group strives to stand still, hanging on to the status quo, while the other strives to advance human knowledge with a willingness to see where it leads.

For over a half century this play has been produced by hundreds (maybe thousands) of production companies of every size and skill level, including one movie and three television versions. Drummond and Brady are epic characters every serious actor would be happy to have a chance to play. It is a clash of titans utilizing witty, thought provoking, well written dialogue as their chosen weapons.

In this production Harry Lennix as Drummond wears the part well, articulating every word with clarity as though they have sprung extemporaneously from his own mind. It is the kind of performance we have come to expect of a Goodman production.

Alexander Gemignani as the dogmatic Brady is a worthy adversary for Lennix. When the two are on stage together you can feel the charge of energy flowing between them.

Ryan Kitley provides a stirring performance as hellfire and damnation preacher Reverend Jeremiah Brown.

Alexander Gemignani and Harry Lennix (Photo by Liz Lauren)

The use of the young boy, Howard (Thomas Murphy Molony), as a witness to proceedings was not something I remember in previous productions. Yes, he is literally a witness for the prosecution but he is also present virtually throughout the play witnessing the interactions of the principal players both in and out of the courtroom. He represents the future and it is his responsibility to bring forth the “truth,” whatever it may be, to the next generation.

There are a few actors on stage who provided acceptable performances but might take this opportunity to tune into Mr. Lennix masterclass on dialogue. Getting the lines out is admirable, and luckily, Lawrence and Lee provide lines that are difficult to mess up, But taking it to the next level requires understanding exactly what you are saying so that the words sound like they are your own and the audience understands the nuance behind them. No doubt this will improve over the run of the play.

The interesting set design by Collette Pollard features a suspended circular diorama lowers the ceiling. It contributes to the sense that the action is taking place within a confined space but also within the context of a small town someplace in the universe.

A beautiful parquet floor similarly grounds the actors providing a sense of place that keeps the action in the center of a rather large stage. The furnishings are sparse allowing us to stay focused on the actors.

Back in 1925 the trial was about Darwin’s theory of evolution versus religious fundamentalism. And now, in 2024, almost 100 years later, we are again hearing from similarly opposed factions as they, once more, argue what should and should not be covered in schools.

DETAILS: “Inherit the Wind” is at the Goodman Theatre, 170 N Dearborn Street, Chicago, IL through October 20, 2024. Runtime is around 2 hours and 15 minutes, including a 15-minute intermission. For tickets and more information visit www.goodmantheatre.org

Reno Lovison

For more shows visit Theatre in Chicago