Five 20-somethings walk into an ancient, hungry forest. Who walks out?

A Midsummer Night Scream

Step into the theater and be transported to a looming, sentient forest that is on a knife’s edge of waking. And oh, is it hungry! With the BEST 80’s soundtrack.

Massive trees dwarf the space, exquisitely rendered and seemingly immortal. The trees’ solidity and rugged strength emphasizes the danger to the flimsy tents, rickety cabin structure, and soft squishy humans.  Danger surrounds it all. Oblivious, a group of young lovers gather around the firepit, intent on one last wild weekend before college. But they are not prepared for how wild this camping trip will become. 

A Midsummer Night Scream is presented as an 80’s nostalgia version of the Shakespearean classic: what happens if Shakespeare’s lovers are the Brat Pack caught in a slasher pic, where the killer is immortal forest fae? Set in the 1980’s, the human characters have a solid Breakfast Club vibe. The heart-throb jock, Dimitri (Luke McGreevey) is complete with a pseudo letter jacket, but carrying a dark secret. McGreevey has a strong presence and the sort of high-intensity energy this production needs. The leather-clad Xander (Connor O. Locklin), a dark and stormy musician, is carrying a torch along with his guitar. The smart, pretty girl Mia (Samantha Buckley) has big plans but made some bad choices. The awkward nerd Nick Bottom (Drew Slager) lives in their own world. All gather at the derelict cabin of Sam Holloway (Hayden Lane-Davies), a strangely distant but central friend (true slasher pic territory here). 

And of course the beloved fae – a delightful and fully-realized performance by Jack Antonio as Puck / Robin Goodfellow, appearing to mortals as a sparkly DJ or a comic-book-style caretaker, but showing his true glorious self only to Titania (Riley Starr McLean). Oberon (Marvo Oldham) is the horned god of the forest, awakened. 

The use of the space is smart, with well-differentiated areas of distinct ambiances. The costuming of the fae is gorgeously otherworldly. Specific set pieces – the firepit, the cabin window, the darkened doorway and the familiar porch steps are all put to excellent creative use.  A curated selection of 80’s greatest hits are purposefully timed to emphasize the plot points, and cleverly insinuated through a radio broadcast over the 80’s ubiquitous boom box. Lighting by Lighting Designer and Master Electrician Mike McShane is masterful; from evocative and changing forest fill to bold choices that allow the company wide-ranging use of the space (spoiler: keep hands and feet out of the aisles at all times please!)

The production comes with several warnings: it is an intense, high-sensory immersive horror experience. The production features stylized ’80s slasher violence, gore, graphic depictions of body horror, and themes of psychological trauma, non-consensual outing, internalized homophobia, and loss of autonomy. Sensory elements include aggressive strobe lighting, sudden loud bursts of radio static, atmospheric haze, and close-proximity physical combat. 

Otherworld is a unique treasure; a company dedicated to Science Fiction and Fantasy Theatre. Their concept calls to the wide world of geeks and nerds and comic-con devotees who are as enamored of the magic of theater as they are of the power of fantastical imaginings and brave new worlds. Founder and Artistic Director of Otherworld, Tiffany Keane Schaefer, is the writer, director and scenographer of Midsummer. Schaefer is an award winning director and playwright, with several major Chicago works including the acclaimed and popular TWIHARD! A Twilight Musical Parody. 

The creative team includes Assistant Director Fahim Sheikh, Fight Director Sam Campos, Intimacy Director Madeline Meyer, and Producer Sarah Jamgotch. 

Like Otherworld itself, the concept of A Midsummer Night Scream, is thrilling. As scenographer, Schaefer has created an enthralling and powerful visual and spatial environment. The story has moments – clever, touching, comic – along with broad strokes about masks both literal and figurative. Currently however, this original new work is two and a half hours and in need of focus and difficult editorial choices. It absolutely has the potential to become as great as the concept. 

A Midsummer Night Scream presented by Otherworld Theatre Company runs Thursdays through Saturdays at 7:30 PM with matinees Sundays at 2:30 PM through November 1. All shows are at the Greenhouse Theater Center, 2257 N Lincoln Ave, Chicago

Tickets may be purchased online at https://www.otherworldtheatre.org 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com

What Happened to Maria?

Dead Girl’s Quinceañera

Enjoying its World Premiere at the Goodman Theatre, Phanesia Pharel’s first full-length play, DEAD GIRL’S QUINCEANERA, is a very funny, often chilling and sometimes somber comic thriller. It takes place in Miami during an important right of passage for all young Latina ladies. When fifteen-year-old Maria mysteriously disappears during her Quinceañera, her three Latina gal pals, Salma, Este and her cousin, Phoebe, set out to solve the mystery of what happened to Maria?

A Mighty Maiden With a Mission

Princess Ida

As Lindsey Baer, the talented musical director and orchestra conductor of PRINCESS IDA, launches into the operetta’s rousing Overture, theatergoers are treated to an informative dramatic prologue to the story. Director Kingsley Day’s delightful production cleverly begins with a pantomime depicting Ida, as a little girl. After she gleefully discovers some books, discarded by her three doofus brothers, young Ida resigns herself to the bad behavior of the young men. This ingenious opening scene lays the ground for who the Princess will ultimately become as an adult: a “Mighty Maiden With a Mission.” 

Move Toward the Darkness

The Addams Family

Fall has arrived and there’s a definite chill in the air—especially at BrightSide Theatre. Celebrating the company’s 15th Anniversary, the theatre kicks off their 2026-27 season with a musical that’s not only perfect for Halloween, but a show that began its life in Chicago. In 2009, THE ADDAMS FAMILY had its preBroadway tryout. Despite a star-studded cast it opened to mixed reviews. Following a much-needed script revision, by Marshall Brickman and Rick Elice (JERSEY BOYS, PETER AND THE STARCATCHER), and some changes, additions and deletions to the score, with music and lyrics by Andrew Lippa (BIG FISH, THE WILD PARTY), the musical opened on Broadway the following year. 

A Brilliant Musical Comedy

Operation Mincemeat

From the unusual title to the bizarre television commercials advertising the show, OPERATION MINCEMEAT certainly wasn’t on my list of must-see musicals. Well, it most definitely is now! Anywhere this show is playing, I will be in the audience. And may I recommend that OPERATION MINCEMEAT should be on the must-see list of 1.) every musical theatre lover, 2.) all fans of wacky British humor and 3.) for every true history aficionado in Chicagoland. OPERATION MINCEMEAT is absolutely a brilliant musical comedy, and it should definitely not be missed.

Theatergoers are very fortunate right now because we have several truly excellent, not-to-be-missed, productions playing around Chicagoland this Fall. But theatre is ephemeral. It’s like BRIGADOON. It happens in the moment and then it’s over and the moment disappears. The wonderful OPERATION MINCEMEAT is in Chicago for only two short weeks. So, if you enjoy learning about true historical events that are cleverly brought to life; if you love seeing an ensemble of gifted actors performing at the top of their game; if you relish great musical comedy; and if you just want to escape the everyday madness of our depressing world and want to laugh until you cry—get over to the CIBC Theatre for a brilliant musical comedy.

Based upon a true, unbelievable event from 1943, when we were at the midst of WWII, Operation Mincemeat was the code name given to a surprisingly successful act of deception performed by the British military to dupe the Axis Powers. The show opens with “Born to Lead,” a rousing musical number performed in English Music Hall style by Ewen Montagu (a fantastic pants performance by Katie Kleiger) and the rest of the terrific five-member cast. Then we meet Colonel Johnny Bevan (an incredible portrayal by Mariah Copeland). He announces that the British Military are desperately seeking ideas for an undercover strategy that would convince the Germans that the Allied Armed Forces are going to invade Sardinia. But, in reality, once Hitler’s attention gets diverted to the wrong island, the English will instead invade Sicily.

No one comes up with a decent plan. That is until Montagu runs into a sad and dejected Charles Cholmondeley (a delightful and magnificently exuberant performance by Jake Bentley Young). Charlie is an Officer in the British Air Force; he’s also shy, not very assertive and kinda nerdy. Charles also calls himself an amateur naturalist and loves making bizarre references to obscure animals and plants, such as when he answers someone with,“Does a newt have an anus?” It seems that Cholmondeley has developed a strategy to secretly infiltrate Sicily under the unusual code name, Operation Mincemeat. Despite thinking the plan is pretty insane, Montagu teams up with Charlie to present his proposal to Colonel Bevan. After a little convincing, the commanding officer gives a green light to the peculiar plan.

Charlie’s weird and wacky scenario involves dumping a dead body in the ocean, where the Nazis are sure to find it. The papers in a briefcase near his body will contain the “secret plan” outlining the British military invasion of Sardinia. But after tricking the Germans, the English will actually dispatch troops to the island of Sicily. Of course, in order to carry out the maneuver, the British Military will have to secure a corpse, dress him as an English officer carrying faked “official” military papers and then let a British submarine secretly dump the body in the ocean. The unusual plan sounds like it would be simple to carry out, but it’s compounded with an element of danger, moral and ethical concerns, a double agent spying from the wings, and a few other difficulties. In other words, Operation Mincemeat encounters a few bumps in the road…but they’re all hilarious!

OPERATION MINCEMEAT features a creative book, music and lyrics by David Cumming, Felix Hagan, Natasha Hodgson and Zoe Roberts. The four talented theatre artists are collectively known as the musical comedy troupe, SlitLip. They make their theatrical debut with this manic musical comedy. The show premiered in 2019 at a small theater in England. After its wild popularity, the musical moved to the Southwark Playhouse in 2021. Then it played London’s West End two years later, where it garnered enthusiastic audiences and the Olivier Award for Best New Musical. In 2025 OPERATION MINCEMEAT finally crossed the pond to Broadway. Following the musical’s Tony Award nominations and win, a World Tour began last year. And Chicago is very fortunate to be included in the itinerary.

The production, which is based upon an actual historical event, boasts clever writing, high-energy performances, unbelievably fast-paced scenes and clever songs and choreography. OPERATION MINCEMEAT challenges its five gifted actors with portraying a variety of different characters, of both genders, often changing roles right before the audience! The scenes move equally fast; and a special standing ovation goes to both Ben Stones, for his wildly inventive set and costume designs, and, especially, Mark Henderson, for the most fantastic lighting design theatergoers will ever see! The show’s beautifully directed at breakneck speed by Robert Hastie and skillfully choreographed by Jenny Arnold, hitting each and every beat of the energetic score.

Some of the cast have already been mentioned, but all their names bear repeating. Katie Kleiger is sensational and simply stellar as Ewen Montagu & others; Jake Bentley Young is nothing short of brilliant as the brains behind Operation Mincemeat, Charles Cholmondeley & others; Commanding and feisty Mariah Copeland is excellent as Colonel Johnny Bevan & others; lovely Erin Ramirez is delicate and delightful as Jean Leslie & others; and, last but certainly not least, the incredible Luke Antony Neville is a priceless powerhouse of hilarity when portraying Hester Leggatt & others. Each character is presented with total honesty and yet with great comic timing. And, in addition to being terrific actors, the entire cast is made up of five talented singers and dancers, as well.

Highly Recommended

Reviewed by Colin Douglas

Presented by September 29-October 11 by Broadway in Chicago at the CIBC Theatre, 18 W. Monroe, Chicago.

Tickets are available at all Broadway in Chicago box offices, at all Ticketmaster locations, by calling the Chicago Ticket Line at 800-775-2000 or by going to www.BroadwayInChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.

Photos by Matt Crockett

Sibling Rivalry and Resentment

Topdog/Underdog

The American Dream is a joke for many, especially if you’re a member of a minority. In this commanding production, moments of dark, adult comedy are offset by sudden, knee-jerk periods of violence in this 2002 Pulitzer Prize-winning drama by Suzan-Lori Parks. The two-act play takes a deep, probing look at the sibling rivalry and resentment that’s been building and festering for years between two African American brothers. 

A Multitude of Mayhem 

If You Give a Mouse a Cookie

A little Boy decides that he’d rather stay at home and read his new comic book, while his Mom spends the afternoon visiting his Aunt Polly. Just as he begins enjoying his Jungle Man magazine, the generous, kind and polite young man receives a surprise visit from a rascally rodent who has more requests than the Boy could ever imagine. After the courteous kid offers the hungry Mouse a delicious chocolate chip-and-oatmeal cookie, the rodent politely asks for a glass of milk. But since he’s so tiny and the glass is so tall, the Mouse hints that a straw would be useful. And so begins an afternoon of requests that result in a multitude of mayhem and messes for the little Boy to clean up, before Mom gets home.

Bustin’ Out

You Can’t Fake the Funk

They often say that everything old is new again. Well, in celebration of Black Ensemble Theater’s dazzling and impressive 50th anniversary this exuberant, exciting musical revue has rediscovered, refreshed and recast to become a much-applauded, brand new production all over again. While a company of gloriously gifted singers, dancers and musicians were pouring their hearts out to entertain the audience, most of the theatergoers were leaping out of their seats, clapping, singing and dancing along. The performance was like being at a huge, happy block party, where the fun never stops “Bustin’ Out”!

Fanatic Fandom

I’m Gonna Marry You Tobey Maguire

Teenage obsession turns into a sad and sinister fetish in Samantha Hurley’s absurdist, over-the-top, one-act comic drama. Meet young Shelby Hinkley. She’s a petite, 14-year-old eighth-grader who’s pretty intense and rabidly obsessed with movie star, Tobey Maguire. Did I say obsessed? Shelby is consumed, fixated on and dominated by the handsome young actor. It’s 2004 and being the self-proclaimed president of the Tobey Maguire Fan Club is pretty much Shelby’s entire existence.

Take the A Train

Play On!

In 1996, a cleverly written musical version of Shakespeare’s classic, TWELFTH NIGHT, conceived and directed by Sheldon Epps, featured a clever update in a book by Cheryl L.West. She shifted the comedy to Harlem during the 1940’s. Because we’re suddenly in New York at the famed Cotton Club during the Swing Era, the musical score dictates it be based upon the iconic music of Duke Ellington. All the characters in this musical are based upon original Shakespearean characters, but with names that reflect the originals, that were given by the Bard. But the basic story is essentially the same and it’s quite delightful.