Thrones! The Musical Parody” and Apollo Theater Chicago (2540 N. Lincoln Ave.) announce the third extension for the hit “Game of Thrones” send-up, now playing through February 12, 2017 . Written and produced by the creative team behind “Baby Wants Candy” and “50 Shades! The Musical Parody,” the production centers around a group of friends gathering for the season finale of “Game of Thrones,” when they soon realize that one friend has never seen the hit HBO television show. Recounting plot highlights throughout all six seasons, complete with more than 40 characters and 21 original songs ranging in style from hip hop to traditional Broadway, the production has been hailed as “a robust comical homage” (Chicago Sun-Times) and a show that has “the audience falling off their chairs” (Chicago Reader). Tickets ($36 - $59) for the new dates are on sale now and can be purchased at the Apollo Theater Box Office by calling773.935.6100 or visiting Ticketmaster.com.
World premiere pop opera by Trainspotting author Irvine Welsh and American Skin author Don De Grazia to open February 16, 2017 . Production to be co-produced with commercial producer Suzie Jack
The Latest Production from the Producers of “Baby Wants Candy” Runs January 20, 2017 – March 31, 2017
CHICAGO – The producers of the Chicago-based “Baby Wants Candy” announce the debut of their newest improvised musical, “Shamilton,” inspired by hit musical by Lin-Manuel Miranda, at Apollo Theater Chicago (2540 N. Lincoln Ave). Directed by one of the founding members of “Baby Wants Candy” and Emmy Award-winner Peter Gwinn, the improvised musical features a 75-minute live-performance musical written on-the-spot about a historic figure of the audiences’ choosing. With a cast made up of ensemble members from “Baby Wants Candy” and some of Chicago’s top musical improvisors, “Shamilton” begins at the Apollo Theater January 20, 2017 (opening night is set for January 27) and runs every Friday at 10:30 p.m. through March 31. Tickets ($15-$20) are on sale now, and can be purchased at the Apollo Theater Box Office by calling 773.935.6100 or visiting ApolloChicago.com.
Written by Wesley James
Gross Indecency as a script strives elegantly to be beautiful; as a production, it sails effortlessly past beauty into joyfulness. Yes, despite covering some truly grim and harshly relevant material, this play emulates its subject in its commitment to class, grace, and fun – even under fire.
2016 wasn't ready to quit. In a startling announcement, Oracle Productions has announced that the company will shutter by the end of the year. Please read the official statement below:
Neo-Futurists in Chicago, NYC & San Francisco announce new collaboration to replace "TOO MUCH LIGHT"
Neo-Futurists in Chicago, New York and San Francisco announced today a collaboration on a new late-night show, which will debut at each location next month. The production replaces Too Much Light Makes the Baby Go Blind, the trademarked show the ensembles have performed non-stop for 28, 12 and three years, respectively. Performances of the show will follow each company’s regular late-night schedule, while experimenting with Neo-Futurist forms in a three-company joint effort.
Porchlight follows their national controversy over white-washing IN THE HEIGHTS with a very diverse cast.
Porchlight Music Theatre announces the Chicago premiere of the Broadway musical The Scottsboro Boys, February 3 – March 12, featuring music and lyrics by John Kander and Fred Ebb, book by David Thompson, direction by Samuel G. Roberson, Jr, music direction by Doug Peck and choreography by Florence Walker-Harris with Breon Arzell as associate choreographer, at Stage 773, 1225 W. Belmont Ave. Previews are Friday, Feb. 3 at 8 p.m., Saturday, Feb. 4 at 8 p.m., Sunday, Feb. 5 at 2 p.m. and Monday, Feb. 6 at 7:30 p.m. The performance schedule is Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 4 and 8 p.m. and Sundays at 2 p.m. There is an added matinee performance Thursday, March 2 at 1:30 p.m. NOTE: *There are no Thursday 7:30 p.m. performances February 9 and March 2. Tickets for previews are $38 and for the regular run $45 - $51. Single tickets may be purchased at 773.327.5252 or at PorchlightMusicTheatre.org.rzell teaches at Joel Hall Dancers & Center, Agassiz Elementary and Walter Payton High School. He has appeared in the film A Rose by Any Other Name and is television credits include: “Empire.” He specializes in hip hop, jazz, lyrical, contemporary and step.
sketch comedy that gets a little awkward.
From Acid Reflux Comedy comes a new sketch comedy revue tackling the awkwardness of family and the holidays. Acid Reflux presented over forty sketch comedy revues in the Chicagoland area from 2006-2013, including performances at Chicago Sketchfest, Chicago Improv Festival, and making various television appearances. Winner of Best Live Theatre (West Suburban Living), the group served as the launching pad for the Twilight musical series (including ALL OUR TWILIGHT) as well as the Trying Times web series, which acquired almost 100,000 viewers over its ten episodes.
A venue has been announced for the remount of Refuge Theatre Project’s enormously successful 2016 production of High Fidelity: The Musical. As in 2016, the company has secured a space in which to create the record store setting of the musical based on Nick Hornby’s 1995 novel and on Stephen Frears’ 2000 feature-film. The company’s found space for the remount is at 1415 N. Ashland and will be named “Refuge Records” for the run, which will begin in late January and play through early March.
By Leigh Austin
Walking into the Lincoln Park Conservatory for Midsommer Flight’s production of Twelfth Night, the vibrant plants and sparkling twinkle lights bespoke a magical experience, a wonderful reprieve from the continuously colder Chicago weather and the perfect atmosphere for a Christmas show. Unfortunately, the environment was the only thing spectacular or even noteworthy about this production. The half-baked efforts of Midsommer Flight’s remount proved to be the kind of Shakespeare show that gives the bard a bad name as audiences unfamiliar with his brilliance walk away feeling confused and worn out from trying to follow the plot.