The very phrase “stand-up comedy” is arguably ableist: even though there are many working comedians who use wheelchairs or who have other disabilities, comedy clubs (like a lot of entertainment venues) still have a ways to go to address issues of accessibility for patrons and performers alike. But Nicholas Dunnigan is hoping to change that a little bit.

Dunnigan started out just a few months ago as an intern at Chicago’s Laugh Factory, even though his ultimate goal is to start his own theater company. “I wanted accessibility to sort of be one of the central pieces of my theater company. But that was kind of on the back burner when I got to work at the Laugh Factory. For my internship I had to come up with projects that could benefit the club in some capacity. I had all these different projects, like a merch stand, for example, which was one of the projects I came up with that got rejected. 

“Then one day we had a show that was entirely in Portuguese, and this regular came in. And I seated her, and I told her, ‘Hey, just so you know, the show’s entirely in Brazilian Portuguese.’ And she was like, ‘OK.’ And then five minutes into the show she left. And she said, ‘I thought I could handle it. I can’t. But if you had a show that was in ASL, I could do that.’”

That exchange became what Dunnigan calls “a lightbulb moment.” He began thinking about not just having ASL interpreters at Laugh Factory but creating a more welcoming environment for audiences and performers who have disabilities. What he’s come up with is All In Comedy, a disability-inclusive show scheduled for Sunday, October 23 at 8 PM. The lineup will be comprised entirely of comedians with disabilities (he’s still nailing down the final program), and there will be ASL interpreters, large-print menus for guests with visual impairments, and dimmed lighting for patrons with sensory sensitivity.

Dunnigan of course isn’t the first person to produce a showcase for comedians with disabilities; he notes that Second City did a disability community showcase at their Toronto theater. Laugh Factory in Hollywood and other LA clubs participated for years in the Norman G. Brooks Standup Comedy Showcase, presented by the Media Access Office (a program of the California Employment Development Department) and the Friends of Californians with Disabilities. Before they closed down during the pandemic (though they are soon to reopen under new leadership), iO presented “Who Dis,” a showcase founded by comedian Liz Komos and featuring performers from the mental health, chronic illness, and disability communities. 

Dunnigan notes that Laugh Factory has provided ASL interpreters in the past if performers request them, “but it’s not like a regular thing, or it’s not like the exact idea of the show, you know? If someone needs it, they’ll get it. But it’s not like an accessibility-centered show.”

Originally, Dunnigan thought the showcase might be “half comics who did live with disability and the other half who just worked really well with ASL interpreters.” But as he dove into watching clips, he realized it would be easy to bring in enough comedians with disabilities to create a full lineup. Most of the performers will be local, with the exception so far of Michigan-based comic Jacob Barr. “I actually met him at the open mike at Laugh Factory. He went up after me. He killed. He was so funny,” says Dunnigan. “I bought him a drink. I told him I was looking at doing this showcase and he was so excited.”

As for ASL interpretation, Dunnigan notes that he’s looking for interpreters who have worked with theater. “Interpreting theater and interpreting comedy, that’s kind of very close together. It’s all about the bridge. It’s all about the timing. It’s all about the delivery, whether you are doing Death of a Salesman or you’re telling a dick joke.” He adds that the ASL interpreters Laugh Factory usually works with “understand sort of the different quirks of each of the comedians, because each comic is gonna be different.”

Dunnigan hopes that All In can become a regular feature at Laugh Factory and will encourage other comedy clubs to highlight performers with disability on an ongoing basis. “We do scene shows at Laugh Factory quite often. As I said, there was a show that was entirely in Brazilian Portuguese. We have Latinx-style comedy. We have shows centered around race. Representation is very important, whoever you’re representing. But this was just one thing that we didn’t really have.” 

Criss Henderson Courtesy Chicago Shakespeare Theater

Criss Henderson leaving Chicago Shakespeare

After 33 years in the job, Chicago Shakespeare Theater’s executive director Criss Henderson announced earlier this week that he’s stepping down at the end of the year. His announcement comes nearly six months after founding artistic director Barbara Gaines announced that she’s leaving the company in 2023. 

This is just the latest in a string of personnel changes at the top for major Chicago theaters. But though Henderson wasn’t there at the very birth of Chicago Shakes (which began back in 1986 with a performance of Henry V on the rooftop of the Red Lion on Lincoln), he and Gaines have been so closely aligned in the company’s growth that it’s not entirely surprising that he would decide to leave around the same time. Under Henderson and Gaines’s leadership, the company moved to their two-venue theater on Navy Pier in 1999 and expanded next door to The Yard in 2017. They also focused on international productions, both by taking Chicago Shakes shows abroad and by producing the lauded WorldStage series at home.

Chicago Shakes board president Mark Ouweleen notes that the company will hire interim leadership after Henderson’s departure, and Henderson will continue on a consulting basis through 2023. No successor for Gaines has been named as of yet.

Jeff Award nominations announced

On Tuesday, the Joseph Jefferson Awards committee announced the nominees for the Equity Awards. (Per Jeffs tradition, the categories for best production, best director, and the design elements are divided by “large” and “midsize” theaters operating under Equity contracts, while performers and playwrights all compete head-to-head regardless of theater size; the non-Equity Jeffs are usually presented in the spring.) 

In recognition of the ongoing challenges of producing in the pandemic, this year the Jeffs include categories for short-run productions (nine to 17 performances). Since most of those nominated are the only ones in their categories—including About Face’s staging of Terry Guest’s The Magnolia Balletfor best production, Congo Square’s What to Send Up When It Goes Downfor best ensemble (which returns September 24 in a coproduction with Lookingglass), Angela Webber Miller for her scenic design for Theater Wit’s Who’s Holiday!, and Natalie Y. Moore’s The Billboard with 16th Street Theater for best new work—it seems a safe bet to say they’ll win. 

By the numbers, suburban Drury Lane and the Goodman had the most nominations, with 21 and 20, respectively (the latter reflecting four coproductions). In the midsize categories, TimeLine got ten noms, including one for best new work (Tyla Abercrumbie’s Relentless, which opened with TimeLine at Theater Wit and subsequently moved to the Goodman’s Owen stage). The single show with the most nominations (eight total) was Paramount Theatre in Aurora’s staging of Kinky Boots. Among individual artists, sound designer and composer Christopher Kriz topped the list with five nominations (including for his original music in Relentless).

The ceremony will be held Monday, October 17, at Drury Lane Oakbrook—the first live Jeff Awards show since the 2020 shutdown. 

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Just days away from the regular season, the Chicago Bears still don’t have answers at the wide receiver position.

Darnell Mooney is the clear-cut number one, with Equanimeous cementing himself as the number two. Rookie Velus Jones Jr. will likely start out as the number three guy, starting in the slot as long as Byron Pringle remains out with injury.

But, beyond those guys, the Bears have a bunch of question marks — and even then, the starters don’t quite inspire confidence as Mooney is the only established pro.

Soon, though, rosters will be seeing a lot of change. Teams have to cut their rosters down to 53 players in just four days, meaning there will be plenty of guys hitting waivers that the Bears could look at.

One of those options is a rather young, former second-round pick, still presenting some upside. Denzel Mims of the New York Jets has requested a trade as of Thursday afternoon, and may just end up being cut when it’s all said and done.

Ryan Poles and the Chicago Bears should give Denzel Mims a look if he’s cut, along with other potential veteran options.

Mims came to the league out of Baylor as a big play guy, who could make those tough catches up in the air and down the sideline. Two seasons in, though, he hasn’t quite made the impact Jets fans would have liked to see.

Having his best offseason of work to date, though, Mims feels he is deserving of some serious playing time. Although, the Jets re-signed Braxton Berrios, committed to Corey Davis, drafted Elijah Moore in 2021 and drafted Garrett Wilson this year.

It may be too little too late for Mims in New York, thus the trade request.

To date, Mims has just 31 receptions for 490 yards and zero touchdowns in the NFL. But, the 6-foot-3 wideout is still 24 years old and has plenty to prove — much like N’Keal Harry, which is why the Bears took a flier on him also.

Meanwhile, another AFC wide receiver could soon be looking for a new home. Kansas City Chiefs wideout and notable veteran Josh Gordon is fighting for a roster spot at the moment, following a tumultuous offseason within the Chiefs’ wide receiving room.

The Chiefs lost Tyreek Hill via trade, along with Demarcus Robinson and Byron Pringle via free agency. Bringing in JuJu Smith-Schuster and Marquez Valdes-Scantling as the de facto starters, the Chiefs also drafted Skyy Moore and have Mecole Hardman there still — that makes up the top four, right there.

Head coach Andy Reid didn’t exactly give Gordon a guarantee when speaking about his camp a few days ago, simply speaking in generalities and saying he likes Gordon’s attitude. Reid noted that Gordon has played with the ones, twos and threes throughout camp, so his roster spot is anything but concrete, although anything is possible.

Gordon may not be the talent he once was, after being in and out of the league several times, but his experience could still be enough to warrant a roster spot and allow Justin Fields to develop further.

Whether it’s Gordon, Mims, or another option, the likelihood of the Bears bringing in a receiver following the final cut-downs is high.

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It’s been a wild ride for second-year pro Teven Jenkins. Over the past month or so, the Chicago Bears‘ 2021 2nd round pick has dealt with plenty of adversity.

As it stands, though, Jenkins looks to be the starting right guard for the Bears and most are moving forward with that assumption as the regular season looms near.

Following practice on Thursday, Jenkins spoke to the media and opened up about his current state of mind after all of the trade rumors, missing the first portion of training camp with an injury and now fighting for his future.

After the presser was over, most could conclude that Jenkins seems to be in a healthy state of mind and is doing everything he can to be the best player possible.

If the Chicago Bears get a healthy and locked-in Teven Jenkins, the entire saga will be forgotten in a hurry.

With the way the offensive line has looked, it’s safe to say that the Bears need him to play well and start at right guard, and that’s exactly how it appears to be going.

Right away when speaking to the media, Jenkins credited his loved ones, saying his fianc? is the main reason he’s been able to stay grounded.

“She’s my rock right now… I’m really grateful for her.”

He was later asked about his time learning the guard position as opposed to being on the edge at tackle. Jenkins has always been known to be a smart football player, so his answer was right on par.

“Ultimately, the goal is to make sure everybody knows every call … but, understanding that the guard has different calls in certain situations … a lot of it has to do with your eyes and being able to communicate with your tackle … understanding blitz looks…”

It’s clear he’s looking to help everyone up front learn and gel together.

Jenkins was also asked if he expected to be the starting right guard on September 11 and answered it rather humbly.

“I’m never one to say ‘Yeah, that’s MY job…that just sets up for bad chemistry. I’m not one to do that.'”

He did say that it’s up to him to keep being physical and playing well enough to earn the job. But, hearing him stay humble and refuse to buy into an easy “headline question” from the media was a positive.

Towards the end of his press conference, Jenkins simply left us with this:

“This is my career. This is my life. I have to take hold of it.”

For his sake, and the Bears’ sake, let’s hope Jenkins not only stays healthy, but continues to stay locked in and develops into a cornerstone piece for this franchise.

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Alright, let me start off by saying that I (a Chicago Cubs fan) consider myself a Seattle Mariners supporter. Am I a fan? No. But I did name my dog Griffey when I was about ten years old.

The Mariners and their fans deserve success. The fact that they never made it to a World Series with stacked rosters that at times featured players like Ken Griffey, Jr., Alex Rodriguez, Edgar Martinez, Randy Johnson, and Ichiro Suzuki is really a travesty.

I mean, you’re telling me that we couldn’t spare one World Series for the Mariners in that three-peat by the insufferable New York Yankees? After all, the Chicago Cubs and Seattle Mariners have their share of similarities.

The all-time MLB record for single-season wins is shared by the Cubs and Mariners. The 1906 Chicago Cubs and 2001 Seattle Mariners both won 116 games, more than any other team in MLB history. Both teams failed to win a World Series that year.

Both franchises also have had their share of futility as the Mariners currently have the longest active playoff drought in Major League Baseball.

The Cubs, well. We don’t need to remind the world of their playoff and championship droughts. We can all ramble off those stats in our sleep, thanks to decades of ESPN Sunday Night Baseball throwing up a crummy graphic with the tally of years since the Cubs won a World Series.

As the Mariners continue to follow in the Cubs’ footsteps after failing to appear in the postseason since 2001, they decided to take another page out of the Cubs’ book.

Starting this season, the roof of Seattle’s T-Mobile Park is now lit up with a blue “W” after every Mariners win.

Sound familiar? Of course, it does. Shortly after the addition of the current hand-operated scoreboard in center field, the Cubs began flying a white flag with a blue “W” atop the scoreboard after each Cubs home win.

At the time, it was to alert passersby on the Red Line of what happened in the Cubs game that day, as it was well before the age of technology or easy access to MLB scores.

The Seattle Mariners have a new tradition familiar to Chicago Cubs fans.

To give the Mariners credit, there’s no “L” lighting after a loss, unlike the “L” flag at Wrigley Field. It should also be stated that when the Cubs began the W flag tradition, the colors were inverted with a white W on a blue flag.

The color scheme was reversed when the Cubs began retiring players’ jersey numbers in the color of a white flag with blue pinstripes and numbers.

But nonetheless, it’s a blatant duplication of the Cubs tradition as the T-Mobile “W” serves to alert Mariners fans passing by of the team’s success on that day as they pass the ballpark on I-5 to the east, much like the Red Line to the east of Wrigley Field.

T-Mobile Park even has a train line in right field, much like Wrigley (although the Seattle line is obstructed by the roof over the right field stands). Is it strictly a Cubs tradition? Not exactly. But it’s pretty darn close.

At the end of the day, the Cubs aren’t the only franchise allowed to fly a W after a game, and blue is sort of the Mariners’ color as well (at times). Plus, why not let the Mariners fly the W this year as they fight for a playoff spot for the first time since 2001? It’s not like the flag is a mainstay at Wrigley this year.

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I’ve long admired Chicago indie label Star Creature Universal Vibrations for its efforts to push the synth-heavy sounds of boogie and modern funk and bolster the international underground community that loves them. The label focuses on contemporary artists and releases, but it also maintains an indispensable archival project in the form of its ongoing Chicago Boogie compilation series. Star Creature cofounder Tim Zawada and his Boogie Munsters partner Hersh Singh (who DJs with the crew under the name Kool Hersh) released the first 12-inch, Attack of the Chicago Boogie, in September 2020. Its four songs bubble with the happy-go-lucky euphoria of the best boogie, and the digital edition costs just $10—not bad at all, given that you’d have to trade in a used car to afford original vinyl copies of each track. (A month after the January 2021 release of the second compilation, Zawada became managing director for Chicago archival label Numero Group, for which I’ve been doing some contract writing—specifically liner notes and PR copy for hardcore and emo reissues.) The newest release, The Chicago Boogie Volume 3: Set It Out, adheres to the high standards of the first two installments as it further documents the fascinating and sometimes strange ways that local artists interpreted postdisco funk and soul in the late 70s and early 80s. The string flourishes in Nimbiss’s sharply funky heater “Paradise” give it an elegant, wide-screen polish. The Light Touch Band’s “Chi-C-A-G-O (It’s My Chicago)” features one of the earliest examples of rap recorded in the city—and its playful disco stomp would make it a killer song even without that distinction. The four tracks on Set It Out work together like a great 20-minute DJ set—that is, they’ll do what all top-shelf boogie cuts do and leave you wishing the party could last longer.

Star Creature Universal Vibration’s The Chicago Boogie, Vol. 3 is available through Bandcamp. (drops 9/1)

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I’ve long admired Chicago indie label Star Creature Universal Vibrations for its efforts to push the synth-heavy sounds of boogie and modern funk and bolster the international underground community that loves them. The label focuses on contemporary artists and releases, but it also maintains an indispensable archival project in the form of its ongoing Chicago Boogie compilation series. Star Creature cofounder Tim Zawada and his Boogie Munsters partner Hersh Singh (who DJs with the crew under the name Kool Hersh) released the first 12-inch, Attack of the Chicago Boogie, in September 2020. Its four songs bubble with the happy-go-lucky euphoria of the best boogie, and the digital edition costs just $10—not bad at all, given that you’d have to trade in a used car to afford original vinyl copies of each track. (A month after the January 2021 release of the second compilation, Zawada became managing director for Chicago archival label Numero Group, for which I’ve been doing some contract writing—specifically liner notes and PR copy for hardcore and emo reissues.) The newest release, The Chicago Boogie Volume 3: Set It Out, adheres to the high standards of the first two installments as it further documents the fascinating and sometimes strange ways that local artists interpreted postdisco funk and soul in the late 70s and early 80s. The string flourishes in Nimbiss’s sharply funky heater “Paradise” give it an elegant, wide-screen polish. The Light Touch Band’s “Chi-C-A-G-O (It’s My Chicago)” features one of the earliest examples of rap recorded in the city—and its playful disco stomp would make it a killer song even without that distinction. The four tracks on Set It Out work together like a great 20-minute DJ set—that is, they’ll do what all top-shelf boogie cuts do and leave you wishing the party could last longer.

Star Creature Universal Vibration’s The Chicago Boogie, Vol. 3 is available through Bandcamp. (drops 9/1)

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