In doing a farce, the key is solid direction ( Allison C. Vesely) and a cast of players who understand how farce works. This cast, built around the master of farce, Dale Benson, is superb. Perfect timing for the slapstick, the looks, the pratfalls, and of course the use of doors ( there is always a great deal of opening and closing of doors in a good farce) as well as allowing themselves to be laughed at as well as with- these are the ingredients and each of these cast members makes the recipe one to savor.

The story itself, in a farce, is not of great import. It is the telling of the story and the events and mishappenings that make a farce hit you where it hurts- side-splitting laughter from start to finish.This story is about two inept police officers ,Eric ( Kevin McKillip) and Billie ( the adorable and very funny Erin Noel Grennan) are assigned to trap the mayor ( Benson, who still has the same energy he showed back in the old Shady lane days, and can still make a word or gesture feel like a monologue) into admitting that he is a crook. They are set up in adjoining rooms of a motel ( nicely designed by Angela Miller) and are using an accountant, Karen Brown ( the delightful Molly Glynn, who spends a lot of time undressing and falling into bed with many of the men) to bait the trap.

As in all farces, everything goes wrong and lots of mishaps take place with mistaken identities and for two hours, we the audience are caught up in this fast paced comical story. The other performers in this production are Raymond Fox ( who does some of the best straight-man turns and has perfect timing as the security agent for the mayor,  The hysterical Joe Foust, who truly understands slapstick comedy) as Todd, who it turns out is involved in the real scheme of stealing the city’s money along with his boss, Big Mac, the head of the Scottish Mafia( there are some surprises with this character as well) and Jeannie Affelder as the Mayor’s wife, Mary Meekly ( who is also filled with surprises).

While I do not want to give away the surprises and strange twists and turns that Smith has built into this story, I will tell you that you will find each surprise one that will cause laughter to erupt from you ( even the quiet laughers, were laughing out loud) Ms Grennan, by the way is a scene stealer with her zaniness and Foust continues to prove that he can handle anything. If one did not know better, one might think that the playwright had hand-picked this cast to bring his words and story to life. As far as I am concerned, no one can improve on what is on the stage at First Folio, and I myself, who has not gone out to their theater often, will make sure that I do not miss anything they perform in this beautiful theater.

“Unnecessary Farce” will continue at Mayslake Peabody Estate located at 1717 West 31st Street in Oakbrook through  March 4th with performances as follows:

Wednesdays,Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m.

Tickets range $30-$37 with discounts for seniors and students ( a great value for theater of this quality) and can be ordered by calling 630-986-8067 or online at www.firstfolio.org

The theater is located just off route 83. There is plenty of free parking and I suggest you come early so you can see this beautiful landmark, a 35 room Tudor Revival style mansion. It is interesting and fantastic to see theater in.

Highlights of the Allstate Arena event will include the first appearance in five years of Maximum Destruction, the fastest truck in sport, Grave Digger, Air Force Afterburner,Batman,Monster Mutt,Shock Therapy,Excaliber and AAP Grinder. This event s sanctioned by the United States Hot Road Association and is a show you fans will NOT WANT TO MISS!       

The show takes place on Friday, February 11th at 7:30 p.m., Saturday the 12th at both 2 p.m. and 7:30 p.m. and on Sunday, the 13th at 2 and 7:30 as well.

Tickets start at $20 ( adults) and as low as $10 ( kids) and are available at the Allstate Arena box office, at all Ticketmaster outlets and online at www.ticketmaster.com, or you can call, toll free  1-800-745-3000.

There are some special seats available and on Friday night ALL tickets ( except VIP and Gold Circle) are ONLY $10.00- yes, you read right , $10.00

For an additional $5 on Sunday the 13th at 11 a.m. you can join the true fans at “a party in the pits” where you can have photo ops with the cars and trucks and get autographs as well. Need more info, www.MonsterJam.com    

Recommended***

Claudia ( a solid performance by Kelly O’Sullivan) has become involved with  Trick ( deftly handled by Erik Hellman) who is the youth Minister, a true man of God and one that couldn’t be any nicer and understanding about life, with the exception that he has yet has not lived a life anywhere near what Claudia has. They are very content in their “bible town” and are planning to get married. As the play begins, Ian ( a strong performance by Nathan Hosner) arrives. He has been sent an invitation to come, but appears to be unwelcome by Claudia. The question may be , did she invite him to stir up old feelings? or, did she invite him to show him that he could change as well?. Ian is also a porn star who stayed in LA when she left and tried his hand at more that just porn acting, but failed. Meanwhile, he was glad to get out of town as he is in debt and there are two men seeking him.

As Ian settles into the town, he begins to see the light about finding peace and has deep respect for how Trick forgives him his past and tries to make him search for his own God. Ian stays in town ( again in hiding and feeling safe) and helps a young Christian student of Trick to gain a bit of humanity, but young straight laced Aaron ( beautifully played by Tyler Ross) comes across a DVD and in “peeking” closely realizes that Ian and “Claudia/Jessie” are its stars. While this is taking place, Trick’s cousin Daisy ( the adorable Rebecca Buller), another “pure virgin” finds herself falling in love with Ian, who is a lonely man. Ian tries to keep his distance but in the end, chemistry seems to win.

Directo Stuart Carden uses a soft hand in putting the pieces together in this 90 minutes of sheer energy by five strong and gifted actors. The set is simple(Chelsea Warren), just a deck that is used for many different scenes and some wheat and other high growths to indicate the ruralness of the area. The lighting(Heather Gilbert) is mood setting and as for costumes(Jacqueline Firkins) there might have been just a few more, if for no other reason, than to help us see the times have progressed. There are times, however, that the simplicity of the “stuff” on the set and used by the actors detracts from the message that the playwright is trying to express. This is a touching story about people and change as well as maturation and of course sexual feelings. In the two “love stories” we have experience meeting virginity and we wonder if these relationships can work at all.. As you exit the theater, get in your car and take the drive back home, you will find yourself still immersed n what you just bore witness to and more questions will arise for you and your other audience members ( spouse, date, friend or relative). You may question some of the content as it is unfamiliar to you, but you will see just how important religion and sex can be to individuals who are kept from th e early explorations you may have had. This is a tight 95 minutes ( no intermission) that will keep you involved.

“Hesperia” will continue at Writers’ Theatre located at 325 Tudor Court which is just off of Green Bay Rd and south of Dundee Rd. in Glencoe ( not far from Sheridan Rd or Edens Highway) through March 18th with performances as follows:

Tuesdays and Wednesdays at 7:30 p.m,Thursdays and Fridays at 8 p.m., Saturdays at 4 and 8 p.m. and Sundays at 2 and 6 p.m. ( no 6 p.m. on 3/18)

There are Wednesday matinees at 2 p.m. February 8yh and March 14th and no evening show on 2/8)

Tickets range from $35-$70 and are available at the box office located down the street at the “other theater” 376 Park Avenue ( the Vernon Book Store), by phone at 847-242-6000 or online at www.writerstheatre.org

Writers’ has a pretty solid subscription base, so I would make plans as soon as possible and they often end up selling out quickly.

Not Recommended

Directed by Darrell W. Cox, who is somewhat limited by the script he is working with on a stunning set by Scott Davis, this small theater has been converted into a suite in the Peninsula in New York City. The furnishings and props ( a real tip of the hat to prop master Eileen Rozycki and her staff as they really took on a big one with this show) truly make this tiny little stage area feel as if it could be a suite. The premise of the story is that  Becky’s best friend, her maid of honor,Regan ( Hillary Marren) has been offered the suite for the night as Becky will be with her soon-to-be husband. Although she was asked to not invite anyone over, Regan does. In fact, she invites two old friends who Becky no longer wants to see, ever!.Gena ( deftly handled by Amanda Powell) and Katie ( stunningly played by Linda Augusta Orr) are in fact mis-fits and resent the fact that Becky , their fat friend, who doesn’t compare to them is in fact getting the rich husband and will never worry about money again. The girls decide to drink the champagne, smoke joints and do coke and what happens then is one  hell of a mess, in the suite and in their lives.

Regan, who has some problems with her boyfriend, met two guys in the lobby and after Gena leaves to get Becky’s wedding dress repaired ( it was torn by Katie and Regan trying to both fit into it), they bring these men to the suite for a little partying. Jeff ( Adam Soule) puts the make on Regan and Joe ( a wonderful portrayal of a weak man who is nice and gentle despite the drugs by Eric Burgher) Jeff and Regan end up in bed while Katie gets drunk and stoned and Joe tends to her needs. When Becky shows up, all hell has broken loose and later, during all this craziness, when Gena shows up, we find that the least likely of these women to be a caring soul is just that person.

This is a play filled with smoking, drinking swearing, sexual situations and general mayhem that may appeal to younger theater audiences, but for the average theater-goer, the comic touches were few and far between and there was far to much insanity and hate between these girlhood friends. The characters are not sympathetic at all. In fact, I didn’t’ like anyone except Gena and Joe, and even those were not 100%. I was hoping to like Becky and for awhile as they trashed the place ( and her), I thought I would care, but a sit turns out, her selfishness and the way she treated the others showed that this wedding was a “charade” for the hurt she felt as a teen. Perpahs this is one of those instances where 70 minutes wasn’t enough to truly tell the story. As I said earlier, I love the work that Profiles does and now in its 23rd season, with great success over the years, I guess they are allowed one that is not up their usial standards.

You can see for yourself as “Bacelorette” will continue at Profiles Theatre located at 4147 N. Broadway with performances as follows:

Thursday and Friday at 8 p.m.,Saturdays at 5 and 8 p.m. and Sundays at 7 p.m.

Tickets are $35 and $40 ( $5 off for seniors and students) and can be purchased by calling 773-549-1815 or online at www.profilestheatre.org or www.profilesbachelorette.org

There is limited street parking in the area and discounted parking at the corner of Clarendon and BellePlaine ( $10-$12 depending on night) and of course the Broadway 36 bus stops at the door.

Recommended***

Amir and Emily seem to have it all and Amir is hopeful that he will soon become a partner in the firm he works for. While all appears rosy, he has a confrontation with one of the firm partners and finds himself far below the standard he has set for himself. Their friends arrive for a dinner party, on this his worst day and during the course of this evening, Amir finds out that Jory ( Alana Arenas) also employed at the same firm has been offered the partnership he felt was his. Jory is an African American female who has not been at the firm as long as he has, but she tells him that the partners fear he cannot be trusted due to his arrogant nature.

At the same time, on the same evening, he also finds out, as does Jory, that her husband Isaac ( Benim Foster, who makes the best of a character not fully developed by the playwright) has had an affair with Emily.Isaac is an art museum curator who has given Emily space at his gallery for a show and one cannot tell for sure if she slept with him to reach this goal or if it was because Amir placed her on a pedestal, making her an Icon, another goal set and achieved. All hell breaks out with talk of race,religion and all other prejudices. Amir throws his guests out and beats Emily up and the first scene closes.

As the second scene opens, the apartments looks unlived in with all the furniture covered in sheets and Amir living there, but alone. Emily has left him, he has lost his job and during this time, his dignity as well. Did all of this happen because Amir wanted to fit in, or is Akhtar showing us that there are fears that we all have in our lives. In particular the fear of that which is unfamiliar to us. Many of us grew up with certain prejudices that were learned, not from experience, but from what our parents told us. Neighborhoods were more ethnic than today as people “stuck to their own”, mostly due to fear of the unknown.

In this story, we have a Muslim married to a White girl and their best friends are an African American married to a Jewish White man. While all seems good between them, there are the underlying feelings that they have ,which come out when the pressure of the evening’s events brings their true feelings to a boiling point.

Skillfully directed by Kimberly Senior on a set that I found astonishing for one of our smaller theater companies ( Jack Magaw does terrific work) , lighting (Christine Binder),sound (Kevin O’Donnell) and costumes by Janice Pytel) and  props by Nick Heggestad, I found this story to be a little incomplete and had hoped for a better ending, one where the resolution is clearer. While well acted ,  I would have hoped that we would know if they could get back together, could Amir really change his ways?  Does Abe/Hussein give in to the FBI , or get deported and return to Pakistan? While I can recommend the show based on the powerful acting and direction and the overall picture it paints, I felt the need for more- to complete the picture!

“Disgraced” will continue at ATC, located at 1909 West Byron ( at Lincoln Avenue) through February 26th with performances as follows:

Thursdays and Fridays at 8 p.m., Saturdays at 3 and 8 p.m. and Sundays at 3 p.m.

Tickets range from $35-$40 and as in the past, they do have some Rush tickets ( subject to availability) on day of performances. To place your order, you can stop by the box office, call 773-409-4125 or visit www.atcweb.org

There is some street parking in the neighborhood and metered parking on Lincoln Avenue.Plenty of spots to grab a bite in the area as well and since the play is only 65 minutes, you won’t have to rush for a before or after bite to eat.

Highly Recommended****

The Chopin Theater stage area appears to have been gutted for this sparkling production and audience members sit on both sides of the action and large platforms on the other two sides. There are hanging objects from the ceiling surrounding the stage area as we watch the two Weiss brothers grow into men ( Weiss is the real name , not Houdini). The story may not be actual or even factual, but it is very close to what most of us heave heard over the years. This show is really about the magic of Watkins ( and even some ticks he has trained the others to do), magic that is “up close and personal”. Check out www.denniswatkins.net

There are small tricks and huge ones including THE major escape- upside down into a tank of water that is locked and he is chained and cuffed- which one would think might be the finale, but there is even more. Houdini, in his entire life challenged death and stated that he would conquer it. While we all know that this isn’t possible, perhaps, becoming a legend that lives on decades after his death may just have been what he meant.

The rest of the energetic cast in this slick production that will keep your focus from start to end is composed of: Shawn Pfautsch as Theo ( Harry’s brother) and Dr. Lynn as well as Dingwall; Carolyn Defria as Bess, his wife; Marika Mashburn as His mother,Cecilia Weiss,Trista Smith as Margery the Medium, Abu Ansari as Mayer Weiss,Doyle and a young boy;Kevin Stangler as “Death” Hilmar and boy 2 and Johnny Arena as”The Ringmaster”/Narrator. They all are involved in the big magic trick as well. Just a note- at tonight’s opening, during Watkins “walk on glass barefoot” a bottle fell in the audience, he turned and said” want to toss this up here”! These are loos actors despite the tension in what they are doing. Another magical moment in the opening night performance- a gun did not go off- the actors ad-libbed and got a laugh and some applause for getting through a difficult period. That’s what makes The House such fun- they are having fun with us and for us, making the theatrical experience special- magical!

“Death and Harry Houdini” will continue at The Chopin Theatre located at1543 W. Division ( easy access by public transportation) at Milwaukee and Ashland Avenues) through March 11 th with performances on Thursdays,Fridays and Saturdays at 8 p.m. and on Sundays at 7 p.m.

Tickets are a mere $25. a great value and can be purchased by calling 773-769-3832 or visiting www.thehousetheatre.com

STUDENTS with ID tickets are $10. Rush tickets can also be purchased on day of performance ( subject to availability) 

Highly Recommended****

Another of the “players”, on a smaller scale to start is Andrew Fsatow ( handled with just the right moves by Sean Fortunato who makes comedy look easy ). His is the character that shows Skilling how to write off money that you haven’t earned by doing start-ups that do nothing and get banks to beg for the opportunity to invest in these bogus companies just to beat out the competition. Another brilliant bit of casting by Timeline. This production is directed by Rachel Rockwell, who is mostly associated with big musicals either as director or choreographer. In her direction of this slick, fast paced production in Timeline’s arena style seating area, we find Rockwell’s movements more like choreography than just stage movement. Even the scene changes are slick, almost dances. In fact, these are possibly the best scene changes of the year ( to bad there is no Jeff Award for this category).

This is classified as a tragedy, but is filled with some comic moments and with the use of corner TV monitors, we watch some of the history unveiled and explained in terms that are very understandable about what Enron was, what they did, how they were able to build a company that did almost nothing and had great success in a stock market where the investors were looking to make big bucks on the coat tails of a company that they knew nothing about. This is 2 hours and 20 minutes of excitement and fast paced atory telling, but to be honest, it  felt as if it was much shorter.

Timeline, once again, has found a winning story, one that we can all relate to as we read and heard all  the stories on a daily basis. There are talkbacks after some of the performances on this one, which will continue through April 15th ( how fitting Tax day) with performances as follows:

Wednesday and Thursday at 7:30 p.m.,(Except on 4/5, 8 :30 p.m.),Friday  8 p.m., Saturday at 4 and 8 p.m. and Sunday at 2.

Timeline Theatre is located at 615 Wellington ( at Broadway) in Chicago. There is some street parking, easy bus rides and discounted parking at the Broadway Center  or The Century Mall- check out www.timelinetheatre.com for this and to order your tickets online. Tickets range from $32-$42 ( a low price for a show this powerful). Students with ID’s get $10 off

Somewhat recommended**

Directed by Austin Pendleton on a slick set by Walt Spangler filled with great “stuff”, I found myself wanting to get into this story, but with the problem in hearing the two lovers in confrontation, I know that focus was hard to keep. I struggled to hear every word and also see the action. Their loft apartment had lamps, but they left the lights off for a great part of the first act, so not only could I not hear them, it was difficult to see them.

There is a lot of contrast in the two couples- Sarah is strong and Mandy, not so! Mandy has a job, but will gladly trade it for Richard and a family! Richard needs to have a better balanced life and as he is getting older, accepts that Mandy is the right girl for him ( please note the use of girl, as she is much younger)! James, also a writer, wants to settle down and be a family, but loves only Sarah and doesn’t want to settle for any other woman. But sarah’s true problem is her fear of living a mundane existence and never facing the dangers that going into the “action” of wars brings to her. There are many people who find danger to be a manna from heaven and a reason for them to exist. Without it, they feel empty- that is Sarah’s dilemma!

“Time Stands Still” is a challenge for each audience member about their own lives and choices they make. hether it be a romance, a job, a separation, a death we all have to deal with things on a regular basis. Some of the choices we make will work for us and other might make our situation worse. In this two act play, we are asked to view these four characters and watch them change during this one year process ( the time period of the play) and see how the relationships affect the life of Sarah and James as well  as their friends. As usual, talk backs will take place after each performance. These are geared to help us understand what we saw and what the intent of the playwright and director were. They are free and for many audience members help to sort out the story and the search that each of the characters, are going through.

“Time Stands Still” will continue at Steppenwolf located at 1650 N. Halsted through May 13th with performances as follows:

Tuesdays thru Sundays at 7:30 p.m.,Saturday and Sunday afternoons at 2 p.m.( Sunday evening performances will stop on April 8th)

Tickets range from $20-$78 and are available at the box office, by phone at 312-335-1650 or online at www.steppenwolf.org     

One must remember that “A Chorus Line” is not a typical Musical or Musical Comedy. It is a Musical Narrative, a story that comes from the hearts and souls of the dancers who want only to dance and perform and shows what they are willing to do in order to “get the job”. It is a bare bones musical where each member of the cast is not concerned about their costume or their hair or even their make-up and the director/choreographer, Zach ( deftly handled by Luis Perez) who spends much of his time speaking to the others from the audience itself wants them to bear their stories to him as well as their souls.

Each of the dancers has a story, some as narratives, others in song; about their youth, their dreams, their families, their sexual preferences and almost any topic one might consider, their secrets in life. The time is 1975 and they have left it alone. The year of when the action takes place is of little importance as the audition process for chorus lines has not changed very much over the years. The book by James Kirkwood and Nicholas Dante has spanned the years well and the music by Marvin Hamlisch with lyrics by Edward Kleban gives us the feeling, emotion and tenderness of these hard working dreamers, the chorus line/ensemble players. Those of you who read my reviews regularly know how I feel about these important people- they are the final pieces to making a show a show, and this cast, though a bit “shorter” than most has some very special talents on the stage. I salute them all!

There is no set as we are on a bare stage but James Dardenne has added an extra full stage mirror that was very impressive as used by Ms Hamilton and Michael Rourke’s lighting is sheer perfection. The sound by Adam Rosenthal is flawless so no words were missed by anyone in the large Paramount Theatre. Shawn Stengel and his orchestra did honors to  the Hamlisch score that includes an opening number “I Hope I Get It” which represents a spot equal to an overture and an opening number in that it gets us into the story with great ease and understanding. Most anyone who has seen this show ( has anyone not seen it?) are familiar with and love songs lie “At The Ballet”, “Nothing”,”What I Did For Love”,”Dance:ten,Looks: Three ( also knows as the T and A song beautiful job by Nicole Hren), “The Music and The Mirror” ( a stirring rendition by the beautiful Jessica Lee Goldwyn as Cassie) and of course the two versions of “One” This is music that is pure story telling and speaking of that, there are some narratives that have no music that are also stand-outs.

Paul ( Jay Reynolds, Jr really gets into the heart and soul of a young boy searching for his identity),Bobby ( Carl Draper) talks about his dream to be a star no matter the cost Richie and Al and Kristine again all have childhood memories where they struggled with problems into puberty, family and identity. Remember, this was the 1970′s so sexual identity was not something one discussed. As always, Sheila( the glamourus Kristina Larson Hauk) is taller than the rest of the women and  Connie ( the delightful Pia Hamilton) is the little Asian girl. All in all, this is a solid and energetic cast, albeit a bit on the “smaller size” in stature, but they make up in talent for what they lack in height.

If you love “A Chorus Line”, you will enjoy this production! If you have never experienced “A Chorus Line”, shame on you and find some time to see this sparkling production before it closes as it is only here through February 5th with performances:

Wednesdays at 1:30 p.m. and 7:30 p.m.,Thursdays at 7:30 p.m.,Fridays at 8 p.m.,Saturdays at 4 and 8 p.m. and Sundays at 1 and 5 p.m.

Tickets range from $34.90-$46.90 ( I know, these are weird numbers, but hey, they are more than 50% less than the downtown theaters of Chicago get. So either stop by the box office located at 23 E. Galena in Aurora, call  630-896-6666 or visit www.ParamountAurora.com

I would hope that next year, their second, they will extend the number of weeks for each of the series as I am sure more theater audiences will want to be able to experience what I have been seeing this year- quality theater in beautiful surrounding as affordable prices, making theater more “family friendly” 

Their current offering is a mix of fact and fiction as they tell the story of a young boy, Victor ( played to perfection by  Alex Weisman), who has chosen as his idol Harry Houdini, one of the world’s greatest magicians. Victor loves magic and wants to learn every trick so that one day he can be Houdini. Victor locks himself up so that he can escape and his mother ( deftly handled by Sara Sevigny) has to get him out o fthe trunk or whatever he is locked in. Being concerned about his love for magic and his lack of wanting to do anything else, she takes him to his aunt Harriet’s house as she will not tolerate any of this childhood “stuff”. but as they wait for the train, Victor meets a man, a man who claims to be Houdini himself. When they return home, a letter is received from Houdini and Victor goes to his home, where he learns that the Great Houdini has passed away , but left a box for Victor.

Victor cannot open the box and thinking it is not really Houdini’s because the initial on the bottom are EW, not HH, puts it away in the attic and decides to give up his dream and magic. In other words, grow up as the narrator/Barker says. These roles plus many others are skillfully played by Derek Hasenstab ( who also does some magic playing Houdini himself. Victor grows up and goes to work and even has a son. While playing ball with his son, his son hits the ball very far and it lands at the grave site of Houdini, where Victor learns that his real name was Erich Weiss; E.W., goes to the attic and finds the box, which now opens. Victor has discovered that you can grow up and still retain your heroes, even if you don’t become them.

This is a one hour musical based on the book by Brian Selznick and written by Hannah Kohl. Mark Messing wrote the music which is handled by two musicians who play many instruments. Sam Deutsch and Tyler Culligan are the ace puppeteers who make Mr. Thomas’ magic come alive.The production is staged/directed by Blair Thomas who also designed the puppetry used in the show. Some very cool puppets and techniques. There is some choreography in the show by Stacey Flaster and working on the small “puppet like stage, I am sure was not an easy task, but as always she was up to it.

In many cases, when it comes to Children’s theater, I bring one or two of the grandkids with me so that I can offer the viewpoint of a youngster. Adam and Sarah were both busy today, so I went alone. However, I did meet a family with a five year old daughter, Charlotte and from time to time I turned to see her reaction. She hardly ever blinked as her eyes were wide with amazement and when I asked her what her favorite part of the show was, she told me it was the magic trick at the very end, when Victor, after he had opened the box, locked himself in  his Grandmas trunk and then, not 20 seconds later came barging through the doors- under 20 seconds! Something only Harry Houdini could do! Thank you Charlotte for helping me tell other kids just how this play is filled with special moments.

“The Houdini Box” will continue at The Mercury Theater located at 3745 N. Southport in Chicago thru March 4th with performances Tuesday thru Thursday at 10:15 a.m. Fridays at either 10,10:15 or noon ( check with box office or online for exact times), Saturdays and Sundays at 11 a.m.and 2 p.m.

Tickets range from $15-$36 and can be purchased at the Mercury box office, by phone at 773-325-1700 or online at www.chicagochildrenstheatre.org. Metered parking available on Southport and there are some free spots during the daytime, but check the signs. Valet parking is available on weekends and the Blaine School just north of the theater is available on weekends as well for $10

StartingMarch 14th thru March 25th, the production will move up to Skokie at The North Shore Center For The Perfoming Arts, 9501 Skokie Boulevard  847-673-6300