It's a new year, and Chicago's energetic new theater season will shake off the winter chill. Here's a quick look at the 10 most intriguing shows opening before the end of March, listed in alphabetical order. Of course, I haven't seen these shows yet, so I always warn that some of them may not live up to expectations – but the chances are good!
It hardly needs to be said that many more than 10 productions are presented. Chicago theaters have always done a poor job of managing their calendars; the vast majority of major new shows open within 10 days at the end of January, so rehearsals won't start until this week. This is frustrating given the high demand in early January, although in the first month of the year the Chicago Shakespeare Theater hosts benefit performances by Susie Eddie Izzard (January 16-17) and Ian McKellen (Jan 30).
There really is a lot to look forward to in 2026, including new theaters for the Northlight Theater in Evanston, as well as the Steep Theater and TimeLine Theater in Chicago. “Hamilton” returns to the Loop this winter; The Trump-Kennedy Center's loss is our gain.
But this business is always about what's happening on stage, and the next few weeks are always a great time to see a show in Chicago.
“Dance of Death”
Great Irish playwright Conor McPherson (“Shining City”, “The Sailor”) is an adaptation of August Strindberg's famous 1900 dark and sardonic drama about a man and his wife who despise each other and try to sabotage each other. This version was first seen at the Writers' Theater in Glencoe about ten years ago; when considering In that long-ago production, I described Danse Macabre as “a passionate, fever dream of an apocalyptic play.” Yasen Peyankov leads a renowned cast for the new production of Steppenwolf, which includes Cliff Chamberlain, Kathryn Erbe and Steppenwolf co-founder Jeff Perry.
Jan. 29 through March 22 at Steppenwolf Theatre, 1650 N. Halsted St.; 312-335-1650 and www.steppenwolf.org
“Dear Evan Hansen”
With a book by Steven Levenson and music by Benj Pasek and Justin Paul, this musical about a struggling but empathetic high school student has truly become a cult classic. Although the national tour of the original Broadway production made multiple appearances in Chicago, the Paramount Theater in Aurora won the rights (over several competitors) to the first production produced locally. Rising director Jessica Fish helms the historic venue, known for its high-quality productions and large orchestra. I, for one, am ready to see a fresh production of this title.
Feb. 4 through March 22 at the Paramount Theatre, 23 E. Galena Blvd., Aurora; 630-896-6666 and paramountaurora.com
“Eureka Day”
In yet another collaboration with a Broadway leading man in Chicago, the nonprofit Chicago company TimeLine Theater is staging the first Chicago production of this Jonathan Spector-directed comedy satirizing the liberal, pseudo-progressive elite who largely mismanage their Montessori school. I previously reviewed The Broadway production was directed by Anna D. Shapiro and called the show “an amusingly observed, sharply written and generally well-executed play with character types that will be all too familiar to anyone who has (or had) children in such a grueling private school.” Lily-Ann Brown directs this new local production featuring actors from Chicago.
Jan. 13 to Feb. 22 at Broadway Playhouse at Water Tower Place, 175 E. Chestnut St.; www.broadwayinchicago.com.
“Hamnet”
Given the success of the recent film adaptation of Maggie O'Farrell's novel, which ponders how the loss of his real-life child influenced William Shakespeare's writing of Hamlet, I suspect it would have been quite the hot ticket at the Chicago Shakespeare Theatre, even without the prestige of a Royal Shakespeare Company production. Lolita Chakrabarti (Anthem, Life of Pi) directed the stage version. I don't envy everyone who had to compete with such an outstanding film, but the novel was also the reason for its success and formed the basis for the stage version.
Feb. 10 to March 8 at Chicago Shakespeare Theater at Navy Pier, 800 E. Grand Ave.; 312-595-5600 and www.chicagoshakes.com
“Holiday”
One of the biggest shows of the winter, Philip Barry's classic romantic comedy The Holiday, will be hosted by Robert Falls, marking his return to the Goodman Theater after his way out as artistic director about two years ago. This 1928 play (which has been adapted into film twice) was itself adapted by the late, great playwright Richard Greenberg, making it especially poignant given that it would be a doubly posthumous work. The show is already loaded with Broadway buzz, although likely with some bold names being added to the cast.
Jan. 31 to March 1 at the Alberta Goodman Theatre, 170 N. Dearborn St.; 312-443-3800 and www.goodmantheatre.org
“Morning, Noon and Night”
Lesley Ann Sheppard, Christina Gorman and Adam Schulmerich are part of the Shattered Globe Theater ensemble in the Chicago premiere of Boston playwright Kirsten Greenidge's well-received family drama, which explores life in the post-pandemic era and the dystopian aspects of a digital takeover that shows no signs of abating. Directed by Amber Montgomery. Relatively few plays have explored the lingering trauma caused by Covid-19; this appears to be the case.
Feb. 13 to March 28 at Theater Wit, 1229 W Belmont Ave.; 773-975-8150 and www.sgtheatre.org
“Salome”
Scottish director David McVicar was the creative mind behind Lyric Opera's stunning Medea this fall; His production of Richard Strauss's long-controversial (and sometimes banned) one-act opera, which mixes biblical themes with erotic imagery and haunting characters (not to mention the famous “Dance of the Seven Veils”), comes to Chicago this winter. The libretto is a German translation of Oscar Wilde's 1891 French play of the same name by Hedwig Lachmann, as revised by the composer. McVicar's bloody production caused a furore at the Royal Opera House, Covent Garden, in 2008. In Lyric, debuting Jennifer Holloway will sing the title role, and Brandon Jovanovic will play Herod.
Jan. 25 to Feb. 14 at Lyric Opera of Chicago, 20 N. Wacker Drive; 312-827-5600 and lyricopera.org
“Stereophonic”
The first national tour of this extraordinary play by David Adjmi, a fictionalized look at the drama surrounding Fleetwood Mac's obsessive and brilliant behavior in the recording studio, is one of the best new plays of the last decade. When combined with the hyper-naturalistic direction of phenomenal director Daniel Okin, it becomes a truly outstanding piece of theater. David Zinn's stunning set, which is recreated for the road, is worth the price in itself. I've reviewed Broadway production last year and called the show “a three-hour examination of ego, insecurity and the messy, twisted brilliance of the creative process.” Alas, the amazing original line-up is not touring, but one can hope that the new touring team will at least come close.
Jan. 27 to Feb. 8 at the CIBC Theatre, 18 W. Monroe St.; www.broadwayinchicago.com
“Theater of the Mind”
Using polymath David Byrne's name as a kind of insurance policy, Goodman makes his first foray into the trendy world of conceptual, traveling, immersive theater that attempts to eliminate the figurative wall between artist and audience. “Theater of the Mind,” conceived by the veteran musician and Mala Gaonkar, debuted at the Denver Center in 2022 and was often described there as a sort of trip into Byrne's head, albeit with the intention of allowing audiences to apply Byrne's formative experiences to their own lives. The show is timed and takes small groups on a journey through what is essentially an art installation.
March 11 to May 31 at the Reed Murdock Building, 333 North LaSalle St.; 312-443-3800 and www.goodmantheatre.org
“White Rooster”
Matthew S. Yee, a writer, actor, and musician with an interest in mythological stories, is one of Chicago theater's most exciting talents, and after an all-too-quiet fall and winter, Mirror Theater returns to production with the premiere of a play written by Yee that bills itself as a family drama that explores life, death, and the rituals that come with them both. In this penumbra, Yi brought Chinese folklore to the American setting that forms much of his border-crossing work.
From March 5 to April 12 at the Mirror Theater on the Water Tower, st. E. Pearson, 163; 312-337-0665 and www.lookingglasstheatre.org
Chris Jones is Tribune critic.
