PicksInSix Q & A: Mrs. Doubtfire's Craig Allen Smith and Ava Rose Doty

Mrs. Doubtfire's Craig Allen Smith and Ava Rose Doty
PicksInSix® Q & A | Ed Tracy

When “Mrs. Doubtfire” sweeps into the Morris Performing Arts Center in South Bend for four shows March 13-15, Craig Allen Smith will be heading up a company that has been on the touring circuit for well over seven months. Smith, who lives in Lancaster, Pennsylvania, leads the company in his first national in the titular role made famous in the film by Robin Williams and on Broadway by Rob McClure. Smith freely admits that those are large shoes to fill but has approached the role from a fresh perspective all his own developed with director Stephen Edlund.

When we met on a recent Zoom call, we were joined by a mighty mite named Ava Rose Doty, who hails from Downers Grove, Illinois, and shares the role of Natalie Hillard in the show. Brimming with energy for the early morning chat, Ava, whose regional credits include Tiny Tim in “A Christmas Carol” and Young Tommy in The Who’s “Tommy,” both at Goodman Theatre, is indeed one of the most charming young performers you will ever meet and a font of information about her own first road tour experience.

Our conversation was a unique opportunity to explore a generational perspective of the tour from two performers who get along as well off stage as on.

The following conversation has been edited for clarity and length.

E Tracy: What was it like the first day you did the show and then knowing that you have to do another show tomorrow in another city?

CA Smith: It was definitely a learning curve in terms of trying to figure out how to pack for your life on tour in terms of making sure you have all the things you need, and then realizing I didn't need half of the things that I packed! Being on the bus for like six hours, then getting into the theater, having to do soundcheck, and then an hour later to just be on and do the show. That was a new thing for me.

AR Doty: It's my first tour too. We were in New York City, and then we went to Elmira, New York to do tech week, and then we went to Boston to do opening night. And when we were moving to those three cities—we were in New York City for a month—it was fun to go explore. When we were traveling to Elmira the tour hadn't really started yet. We were moving a lot after opening night. City to city to city. Those one-nighters are rough.

ET: Was that your first trip to New York, Ava?

ARD: I had been to New York for a lot for auditions, callbacks and seeing shows, but this was my first time in New York for rehearsals for a tour.

ET: And you are splitting the role?

ARD: Yes. Our show is double cast, so every other show a different kid goes on. The other girl is named Vivian (Atencio). We have four kids. We all do school, hotel, bus, airplane, theater and we have a tutor on tour and do online school programs.

ET: Craig, this is an ambitious role. You have not only 30 plus costume changes, but you have quite a legacy to live up to. How did you approach putting Mrs. Doubtfire together?

CAS: Well, when I first met (director) Steve Edlund, we had a Doubtfire Bootcamp week. I came in along with Chaz, my understudy, and we had a week-long, eight-hour-a-day work session with the production team, the music director, choreographer, and Steve. We worked through the show from top to bottom. Rob (McClure) had done this on Broadway and again on the first national tour. I purposely didn't watch (his performance on video) because I am such a sponge. I wanted to work with Steve and be a clean slate.

I know the movie very well, like everybody, and we wanted to pay tribute to Robin and his legacy. A lot of the stuff Steve and I worked together might still be what Rob did. I don't know. I still don't know to this day if we're doing the same kind of bits and stuff. It was a great working experience with Steve to put together the story and to be able to create both of those characters, not only Daniel, but also Mrs. Doubtfire. The respect that Steve has for both characters, especially Mrs. Doubtfire is really great… his love for the characters is just so infectious that the weight of “I'm playing Mrs. Doubtfire!” was almost lifted off of me because we're just going to work, the two of us together, and make this what it is.

ET: It is one of those all-consuming roles. You are on stage all the time. If you are not on stage, you are changing to go on stage.

CAS: And if something goes wrong you literally can't think about anything. You have to constantly stay in the moment for each scene because the minute you start thinking, “Oh, I screwed that up!” there's five other moments that have just passed that are getting missed because you're thinking about something else.

ARD: Yeah. When stuff happens, you just improv.

CAS: Just improv. We keep going. The show must go on.

ET: What is the biggest thrill for you, Ava? What part of the show do you like more than any other?

ARD: I really like doing ‘What the Hell’ the song that all the kids sing at the beginning when they first have Mrs. Doubtfire as their nanny. That one is always really fun to sing with all the kids. I also like the opening because there's so much stuff happening.

CAS: That opening number moves a lot. We have a lot of different pieces that have to come together to make that opening number work.

ET: Have you been dancing all your life?

ARD: When I'm home, I take dance lessons and I started taking them when I was littler. My sister does ballet now and I take jazz contemporaries with theater, hip hop, that type of stuff.

CAS: I was married to a dance instructor and then we split.

ET: Craig, there is additional background research you've already completed for this role.

CAS: Right.

ET: All of the things that are happening in the show, the longing for a family and acceptance pieces, they are all interwoven… and being an out-of-work actor probably is something just about every actor knows about.

CAS: Right? Yeah. Their original child wrangler who was helping in New York City came up to me one day and he said “Do you feel like everything in your life has led up to this moment in this role?” And, honestly, I never thought about that, but thinking about it now, yes, literally everything in my life. I'm a divorced dad with two kids from a previous marriage. At one point I'm throwing footballs… I’m playing with a loop machine on stage, and I used to make music in college with a four track! Any actor would be like you're going to throw football, you're going to record this stuff. I was not afraid of anything except for the quick changes because that was a timing thing. You have to get these changes in under 30 seconds. I've never done quick changes this fast in my life, but, fortunately, I have a team that helps me.

ET: I think as we get older—and we're a generation apart—we realize that almost everything you take on is the product of everything that has come before. We only just get better, hopefully. You get a little bit more used to it. I think Ava's going to find that out probably at the end of this tour when she starts to do the next tour.

ARD: Right, right.

ET: It is quite a thing to be of a certain age and be on tour. There are a lot of things that you are accomplishing that kids your age never have an opportunity to do. So that's really exciting.

CAS: It is very impressive. Not only do they have to do schoolwork, but then they have to be on every night to do the show. And even if they are not in the show, they are backstage in case something, God forbid, happens and they have to go on.

ARD: Knock on wood!

ET: Ava, do you have 30 costume changes too?

ARD: No, I only have one every scene and they are not that quick for me. Not as quick as Craig's. The only quick one is when we go from the nightmare sequence ‘Playing with Fire’ to ‘La Rosa.’

ET: Do you have fun every night, Ava? Do you get nervous before you go out or are you cool?

ARD: I have been doing this for seven months. I feel like I've gotten more used to my character and I can start adding more things and taking away.

CAS: And when you keep doing it for seven months, you're finding new ways to keep things fresh.

ET: I want to tell you that when I was your age, I was making choices between peanut butter or peanut butter and jelly.

CAS: Honestly. Same.

ET: So, Craig, how many people are on this changing team?

CAS: I have two dressers. One—they call her the ‘Star Dresser’—is Nicole, who is in charge of all of my costumes. And then I have a wig and the mask dresser. Her name is Emily and she helps me get in and out of the wig and mask for each change. And then, for each venue we go to, we acquire one local dresser who will help like zip-up and put shoes on. It's a well-oiled machine. We got it down.

ET: That mask is really an innovative piece of this puzzle. Not a part of regular musical theater.

CAS: No. And I was wondering because I never acted with any sort of prosthetics. I didn't know how it was going to feel and if I was going to be able to communicate the story well enough with this thing on my face. But it really does feel like a second skin. The way that they have crafted it, a nose piece with an opening for the mouth and there is a strap so you have access to my eyes and my mouth and everything. It is pretty impressive the way they came up with this design.

ET: Do you wear a mask, Ava?

ARD: No, I don't. I have hair clips if that counts!

ET: A national tour is a big deal for any actor at any level.

CAS: We have been going for seven months now. I broke my toe in December literally two weeks before Christmas. They sent me home. I kept going through the rest of the acts and because of having to get in and out of high heels, they decided that I just go home and heal. So, my understudy is a champion, went on and did four weeks up until the Christmas break so I had time to heal. We had a week-long sit down in Jacksonville and we got to go to Disney World for a day. We look forward to the week-long sit downs. You have to plan out things to look forward to down the road.

ET: Ava, do you look for a certain thing when you get to a city? The best place to eat, a museum or Disneyland?

ARD: If we are in a city long enough and we have a day off, or a day with only one show where we have time, we try to look for fun things for the kids to do. If there is a pool there or we might go bowling or Disney, museums, the aquarium and we went on a ghost tour once. The kids like to collect stickers from each city or something to remember the city or find a little souvenir to bring back to their family.

ET: Do the community members along the way reach out to the cast and include them in some local activities?

ARD: One time we did a canned food drive. We have lots of interviews. One time they cooked us all a meal.

DAS: In Jacksonville, I got to go as Mrs. Doubtfire to a lot of local businesses. There was a pie shop, funny enough, so we pretended to make a pie. There was a chocolate factory. I was dipping pretzels in chocolate. It was cool to explore these different communities.

ET: This is a really unique character, Craig. You get to play both sides of your life. You're an actor, but also you are playing this person on stage who is creating a new reality. What is the audience reaction to what you are doing on stage, the separation of these two characters? What is the most satisfying part of that for you?

DAS: The show moves so fast that I really don't have time to reflect on anything. I love getting the audience to laugh. That's my ultimate high. Making sure I hit each of those moments and get their response is very rewarding for me. I know Steve loves to come and watch when he can. There have been a number of moments, he says, where he absolutely thinks it is the most amazing reaction. One scene I'm tricking my ex-wife, doing all these different voices and she's getting annoyed because she's looking for a babysitter and I'm pretending to be all these terrible babysitters. And then finally, I drop the Mrs. Doubtfire voice. When I first come out after we do a number where I'm trying on all these different wigs and trying to figure out what Mrs. Doubtfire is going to look like. It's called ‘Make Me a Woman.’ The whole ensemble is dancing crazy.

And when the drop comes up, the front door opens, there's Mrs. Doubtfire. Our music director said at one point there was little girl behind him. She turned to her mom and whispered, “There she is.”

PHOTO|Shelby DuPont

Broadway in South Bend
presents
Mrs. Doubtfire
Morris Performing Arts Center
211 N. Michigan Street,
South Bend, Indiana
March 13-15, 2026

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NATIONAL TOUR

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PicksInSix Review: Hamnet - Royal Shakespeare Company - Chicago Shakespeare Theater

‘Hamnet’: “A Wonderous Trick of Nature”
PicksInSix® Review | Ed Tracy

The Royal Shakespeare Company’s “Hamnet”—a stunning co-production with Neal Street Productions adapted for the stage by Lolita Chakrabarti based on the best-selling novel by Maggie O’Farrell and directed by Erica Whyman—opened the US tour in The Yard at Chicago Shakespeare Theater this weekend. The captivating play imagines the courtship, marriage and family life of William Shakespeare (Rory Alexander) and Agnes Hathaway (Kemi-Bo Jacobs) and provides a fascinating fictional portrait of how Shakespeare’s plays may have been influenced by their time together and the tragic death of their young son Hamnet (Ajani Cabey).

It is, of course, the story that has received recent, multiple Oscar Award nominations for the 2025 film—a separate adaptation by Chloé Zhao, who also directed, with O’Farrell that followed the 2023 play—and places Agnes as the central figure in a family coping with separation, grief and unfathomable loss. If you have seen the film, do not expect a true-to-form stage representation but rather a compelling and emotionally-charged production that shares the same emotional space, but is itself a unique story all its own and richly told.

Despite many theories, history is sparse on Shakespeare’s personal life. Shakespeare and his first wife met, married and Agnes gave birth to a daughter, Susanna (Ava Hinds Jones) and twins Judith (Saffron Dey) and Hamnet (Cabey) in Stratford-upon-Avon. As Shakespeare’s literary career in London began to flourish, he was often away from the day-to-day life of his family. Chakrabarti’s adaption expands O’Farrell’s vision of how those early days unfolded with Shakespeare serving as a Latin tutor to local children of Agnes’s brother Bartholomew (Troy Alexander) who is owed a large debt by Shakespeare’s belligerent father John (Nigel Barrett). During their brief, passionate courtship, Agnes, who is a healer and one with nature, experiences mystical visions of her family and Shakespeare as her soulmate. Throughout the first act, there are moments of foreshadowing of the close relationship between the twins and an ominous event that hangs thick in the air.

The second act picks up a decade forward. Hamnet and Judith are the life’s blood of the home, inseparable and even indistinguishable one from the other. Shakespeare is now well-established in London at the Globe, his company performing before the Queen. Back at home on Henley Street, as Agnes waits for the family to be reunited, Judith is suddenly bed-ridden with only Hamnet there to provide comfort and care until Agnes returns to take charge. Though successful in bringing Judith through the night, Hamnet, who has challenged death to save his sister, falls ill and dies over the three days it takes Shakespeare to return.

Intermixed throughout are vignettes of the players in London, rehearsal scenes and references to Midsummer Night’s Dream, Measure for Measure and Romeo and Juliet—Barrett is hilarious as Globe actor Will Kempe—and a riveting, climactic scene from Hamlet. The shock of a public presentation of a personal tragedy rocks Agnes, compelling her to travel to London with Bartholomew to confront Shakespeare on his perceived insensitivity and discover for herself the powerful relationship between grief, loss and eternal love.

The action unfolds on a massive, multi-story post and beam scenic design that strongly evokes the Globe by Tom Piper who also designed period costumes, all of which utilize bold on-stage transformations that allow the story to move forward remarkably well despite a tendency to linger on exposition in the early going. That is a very minor point since, when the dramatic arc of the story matures, the drama erupts as Cabey’s commanding performance rises to the level of the stellar turns of Jacobs and Alexander, all leading to a revelatory conclusion—every bit as thrilling as one would expect from the world-class partnership between Royal Shakespeare Company and the Chicago Shakespeare Theater.

Audience Notice: Mature themes including scenes of domestic violence, child loss and grief, scenes of childbirth, and depictions of sexual activity.

“Hamnet” runs through March 8 on Navy Pier and then on to the Shakespeare Theatre Company in Washington, DC (March 17- April 12, 2026), and American Conservatory Theater in San Francisco (April 22 to May 24, 2026).

PHOTO | Kyle Flubacker

Chicago Shakespeare Theater
Royal Shakespeare Company
Neal Street Productions
presents
Hamnet
The Yard
Navy Pier
through March 8, 2026

WEBSITE

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PROGRAM

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DRAW THE CURTAIN. DIM THE LIGHTS. MEMORABLE PERFORMANCE PICKS FOR 2025

DRAW THE CURTAIN. DIM THE LIGHTS.
Memorable Performance Picks for 2025
PicksInSix® Review | Ed Tracy

It is hard to believe that CONVERSATIONS|PicksInSix® turned ten this year. To be honest, with the shutdown, it feels a bit more like the second act of a ten scene play with an overly long intermission. The post-pandemic era in which we live still has mighty challenges for the performing arts, but the new normal has had a spirited rebirth that continues to provide a wide range of offerings to Chicago audiences.

It is always a challenge to single out the memorable moments of the shows we cover each year, including both onstage artists and off stage creative teams. We cannot see everything, but we try to do our best in theaters across the city and suburbs as well as the work of producers who bring their projects for Chicago’s diverse and discerning audiences.

Among the notable productions in that last category that fall outside the year-end review were “Sunny Afternoon,” and “Billy Jean” at Chicago Shakespeare, “Kimberly Akimbo,” “Parade” and “The Sound of Music” at Broadway in Chicago and the touring production of “Les Miserables” that we saw at Broadway in South Bend with Chicago’s own Matt Crowle in the role of Thenardier. Chicago’s Larry Yando is still out making magic on the road with “Harry Potter,” as are the wonderful Heidi Kettenring and Gene Weygandt with “A Beautiful Noise: The Neil Diamond Musical” and a rising star we think you will be hearing a lot more about, Darilyn Burtley, who is touring as Tina Turner in “Tina.” Chicago talent is making an impression everywhere.

There were some disappointments, too, chiefly that “BOOP! The Musical,” with the stunning Jasmine Amy Rogers and Steppenwolf’s “Little Bear Ridge Road,” with the captivating Laurie Metcalf, did not transfer well to New York after sensational runs in town.  

Chicago is a creative laboratory for theatre, despite the challenges facing everyone at a time when our arts and live performance creators are reimagining operating models. It is a big lift to maintain the delicate balance between developing new talent and consistently presenting ambitious, unique and profitable projects. The responsibility for future success does not rest with one faction. It will take the combined efforts of emerging artists, educators, every theatre company and their leadership working with angel donors, sponsors, technical professionals and volunteer organizations like the Jeff Committee to infuse energy, enthusiasm and financial support.

It is a business, however, and all creative artists involved deserve to be respected for their own investment and given the opportunity to earn a living doing what they do so well. One of the most exciting developments evolving now is the three-year, $600,000 grant from the Paul M. Angell Foundation for Theater Wit's Shared Spaces program that allows the organization to offer reduced rates to producing companies. Imagine if other like-minded philanthropists joined to establish a universal live production endowment, perhaps managed independently on a pro-bono basis by a group of investment and industry professionals who distributed funds solely for the benefit and sustainability of performing artistic organizations in Chicago. If you would like to talk about the possibilities, let’s get in touch.

In the meantime, there are dozens of individuals who dedicate their time and talent to the Chicago theatre community. Our regional and national publicists provide invaluable, comprehensive support—at all times of the day and night—and allow the media access to create features, promotional pieces and reviews. It’s an honor to be invited and a responsibility that we all take very seriously. Thank you!

The brilliant Chicago theatre photographers like Michael Brosilow, Brett Beiner, Joe Mazza, Todd Rosenberg, Evan Hanover, Kyle Flubacker, Justin Barbin, Boris Martin and videographers HMS Media, among many others, commit their expertise and professionalism to document these productions and preserve a vivid archive for future generations. A special mention to the late Rich Hein (a/k/a/ Liz Lauren) whose passing this year was a stunning loss. Our gallery tribute was a testament to only a small portion of his work over a decades long photographic career.

This year CONVERSATIONS|PicksInSix® celebrated 10 years creating a fascinating archive of conversations and hundreds of reviews that would have not been possible without the support of writers like Ronald Keaton, Scott Gryder, Kaitlyn Linsner, Sarah Frances Fiorello, Catey Sullivan and Regina Belt-Daniels. Thank you most sincerely. Special thanks to the American Theatre Critics/Journalists Association and Theatre in Chicago’s Mark Meyer for coalescing critical reviews for the public at large.

In the end, it’s all about the show. Our thanks to all of the artists and organizations who invited us to share in their productions. Each performance is a new and exciting experience. What follows, in alphabetical order, are a few of the memorable moments, with a link to the review, from the shows that stood out as among the best and brightest for 2025:

Shanésia Davis – The storyline of the classic “A Raisin in the Sun” at Court Theatre, directed by Senior Artistic Producer Gabrielle Randle-Bent, is largely based on playwright Lorraine Hansberry’s own experiences growing up on the South Side of Chicago. The brilliant company was led by the riveting performance of Shanésia Davis as Lena ‘Mama’ Younger, the matriarch of the family. Simply astounding! P6

Sean Fortunato – Over the years, Sean Fortunato has expertly been reshaping dramatic, comic and musical roles on stages across the city and suburbs. This year, Fortunato shined in Marriott’s “Catch Me If You Can” but it was his inspired take on Dogberry in Chicago Shakespeare’s “Much Ado About Nothing”—which you can still see on stage there—that has elevated his comic abilities to a new level of entertainment. A tour-de-force performance! P6  

David Girolmo – For decades, working actors like David Girolmo go whenever and wherever the job sends them. Thankfully this year, we have had two opportunities to view this fine actor at work. In “Titanic” at Marriott Theatre, Girolmo’s Captain E.J. Smith was dashing, stalwart and vulnerable. Now playing in Paramount’s glorious production of “White Christmas,” Girolmo renders a commanding performance as the beloved General Waverly. A stately and superb craftsman! P6

 “Jeykll & Hyde” – Simply everything about Derek Van Barham’s direction of the Kokandy production at Chopin Theater was fabulous on opening night, from the soaring vocals of David Moreland, Ava Lane Stovall and Emily McCormick, Brenda Didier’s dynamic choreography, the on-stage presence of a 15-piece orchestra, and a multi-talented ensemble under the extraordinary musical direction of Nick Sula. Still playing at Chopin with limited availability. P6

Michelle Lauto – One of our favorite shows of the year, Paramount’s “Waitress,” starred Michelle Lauto as Jenna whose transition in life plays out in a single moment of truth in Lauto’s stunning, soul-searching rendition of “She Used to Be Mine.” A stunner! P6

James Sherman – Ronald Keaton wrote that “First Lady of Television” is “Sherman's marvelous, articulate plunge into show business history,” with William Dick and Cindy Gold playing beautifully together. “This is an ensemble play built on purpose and earnest leanings, as playwright Sherman shows us all, despite the history we think we know, what was still good in that time and place.” P6

A very worthy final bow to: 

Roberts Falls’ directorial debut of “Amadeus” at Steppenwolf and Charles Newell’s “Berlin.” Each one quite simply a masterpiece! … the captivating stage presence of Aurora Penepacker in Kokandy’s “Amélie.” More please! … the depth and experience of Francis Guinan on full display in Goodman’s “Ashland Avenue” … Phoebe Gonzalez’s bravura performance in Writers’ “As You Like It”…  puppet master Jesse Mooney-Bullock’s stunning work on Marriott’s “Nemo” … exceptional scenic designers Collette Pollard (Northlight’s “Gaslight” and Marriott’s “Titanic: The Musical”) and Andrew Boyce (Court Theatre’s “A Raisin in the Sun” and Writer’s “Translations”) and a few world-class stocking stuffers: Liz Callaway:To Steve with Love, the live concert tribute to Stephen Sondheim (as seen and heard at the Studebaker Theater) … Paul Marinaro’s – Mood Ellington and Elaine Dame’s – Reminiscing. You can still order all of them in time for Christmas!

Happy Holidays!

See you on the other side of the aisle!

Ed Tracy is an award-winning television and webcast producer, author, editor and program host. A career nonprofit professional, Tracy is President of Roxbury Road Creative, LLC, a professional management company and is a licensed real estate agent with Cressy & Everett Real Estate in St. Joseph, Michigan. CONVERSATIONS|PicksInSix® reviews theatre in Chicago and throughout the Midwest. American Theatre Critics/Journalists Association

PHOTO Credits: Michael Brosilow, Brett Beiner, Joe Mazza, Todd Rosenberg, Evan Hanover, Kyle Flubacker, Justin Barbin, Boris Martin

For more reviews, visit: Theatre In Chicago

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PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

Hundreds and Hundreds of Stars - Kimberly Senior and Sandra Delgado

A Love Letter To The City
Kimberly Senior & Sandra Delgado
CONVERSATIONS | Ed Tracy

According to director Kimberly Senior, Sandra Delgado’s new play “Hundreds and Hundreds of Stars”—produced by TimeLine Theatre and currently in previews at Lookingglass Theatre in Water Tower Water Works—“lives in an interstitial space that is neither here nor there and takes place in the memory of the main character, Clara” played by Delgado. The longtime friends and collaborators date back nearly three decades to the inception of Chicago’s Collaboraction Theatre Company when Senior, the founder and now company member emeritus worked with founding company member Delgado, who now serves on the Board.

Senior directed the Broadway production of the Pulitzer Prize- and Tony Award-nominated Disgraced  by Ayad Akhtar. Among dozens of notable award-winning productions at theaters across Chicagoland and beyond, Senior has been lauded for her innate storytelling abilities in over 30 Collaboraction productions, a decade as an administrator and Resident Artist with Steppenwolf, her work with Goodman Theatre’s Artistic Collective and with TimeLine where she is an associate artist.

The captivating Delgado, a writer, producer, actor/singer/dancer is best known for her award-winning musical anthology “La Havana Madrid” based on true stories framed from within the famous 1960s Caribbean Latino nightclub. Her play, “Felons and Familias,” was part of Theatre on the Lake’s 2018 season and Goodman Theatre’s New Stages Festival under the new title, “Hundreds and Hundreds of Stars.” Moving into the 2025 TimeLine schedule last fall, the show is presented through a special arrangement at the Water Tower Water Works theater.

We all had a minute on a Zoom call to talk about the play during final preparations for the first preview performance last week. It was a wide-ranging discussion with two of Chicago’s top creative powerhouses who are telling the heartfelt story of a mother and daughter navigating our challenging immigration system. If it sounds like it might be of the moment, consider that Delgado’s play is rooted in Chicago and set in 2015 during a very different, but nonetheless compelling, inflection point in a national policy debate that has been smoldering for decades.

It is a “love letter to the city,” Delgado says, “that I hope is as satisfying for our audiences that love the city as much as Kimberly and I do.”

The following transcript has been edited for length and clarity.

Sandra Delgado: “My entry into the performing arts was through music, through singing, but also through dance. La Havana Madrid was definitely an expression of the singing part of me. And with Hundreds and Hundreds of Stars, I get to express more of my movement background. So, one of the elements that we're using to tell the story is, I wouldn't say dance, but it is a heightened movement.  

In 2015, Obama was president and he enacted immigration policies. The original title of the play was called Felons and Familias because in the speech that he gave when he enacted these new immigration policies, one of the things he said was: ‘We're targeting felons, not families. We're targeting the drug dealers, not the mom who's working hard to take care of her kids.’

I heard this story on NPR about a man from Guyana who had come as a toddler to the United States with documentation. He had always been a legal permanent resident of the United States. And in his thirties, a couple of past drug convictions caught up with him and he was deported because of the new immigration policies. And that really struck me. As a mother, I was like, “In what world does it make sense to split this family apart?” At the time, his son was ten years old and now this man is going back to a place where he doesn't have anyone and his son is growing up without his father.

For some communities, Obama became known as the “deporter-in-chief,” but I would say, by and large, especially with our theater-going community, which tends to be a liberal community, they don't know that this has been happening way before Trump and even before Obama. We've always had problematic immigration policies. But I think in a way, setting (the play) in 2015 is just enough of a space for us to really look at where we were and where we are now, especially, as things have really escalated.”

Ed Tracy: And the laws have changed, decriminalizing marijuana and some of those kinds of things might not happen to American citizens. But as we are now, if there is anything there, it is coming to the surface.

SD: “That is really interesting to bring up because, of course, cannabis became legalized in 2020, but if you are not a citizen—and I am not saying an ‘undocumented person’—if you are a person who has a visa, who is a green card holder, you don't have those protections. I also wanted to examine this hazy gray area where a lot of what we see on the news is about undocumented people. It is binary, right? You are either a citizen or you are undocumented, as far as the stories that we are seeing surrounding immigration and deportation. But there is this whole other subset of people who are not citizens, but they are documented. They don't have protections either. So, this play is also examining that, because even today, for example, when (Governor) Pritzker a couple years ago pardoned all the people that were in prison for low level drug offenses, if you were a citizen, you got to leave prison. If you were a legal permanent resident, you were still there doing your time.”

ET: So how do you tell this story? How does art help you to tell this story so that it has the kind of universal reach that you are going for? 

Kimberly Senior: “Well, you tell a story through people, right? This is a story about a family, right? So, there are three people on this Zoom, and we are three different people, and we all have different things that affect us. We have things that are in common, and we have different things that are not in common. And some of them are legal, some of them are historic, some of them are whatever, right? But that, like everything, affects different people. The true things that motivate us are the things that we love and the people that we love. That is how we make our decisions, based on our values, and based on what drives us are the people that we love.

This is really a story about a mother and a daughter and also this family and the people that surround them. There is an intergenerational story. It is a story of Clara. It is a story of her and her daughter. Her father is also in the play. I am very moved by that relationship in the play as well and the ties that bind us. And so, when these things are happening around us, how did that impact this family?

Sandra tells about hearing the story of this father from Guyana. It's not the law that is moving Sandra. It is the story about this father. This law is unfair, but no, what about this family? How does this law impact this family? I think where storytelling is so exciting, and so many of the stories that both Sandra and I have been interested in telling throughout our careers, is who are the people at the center of these stories? Because you can read history books and you can read news articles, but who are the actual people.

Like Sandra was pointing out, what we see on the news and what is presented to us are rarely the human faces. And, in fact, so often I think those things are being presented to us in a way where we are not connecting with the people so that we don't actually understand. And that is the role of the arts and how exciting and vital and how good it feels, especially in this moment, to be able to present a character like Clara who looks and behaves and who is just like any one of us walking around Chicago, who eats hot dogs and loves the 4th of July, and went to college and, goes to a mall and does all the things that we think are just American. Just like us, but yet the same rules don't apply because she wasn't born at Swedish Covenant Hospital but looks just the same and speaks with unaccented perfect English. I think it is a really interesting thing to put that face on it for our audiences.“

SD: “And, I think especially in this age where so much of the news that we are getting is in these little, viral soundbites, that viral video, where things are just reduced. It is so important to present a story of these fully, three-dimensional human beings. At its heart, this is a love story between a mother and a daughter. This is the story of a Chicago family. This is the story of an American family. And that is where art lives. You are getting to spend ninety minutes with these people and getting to know them as people. I have an IMDB credit called ‘crying Hispanic woman.’ It is not that soundbite of, or that viral video of, that crying Hispanic woman. You are getting to know these people as people. And as far as free speech, yeah, theater is free speech. We are holding on. And it is more important than ever.”

Currently in previews, the world premiere of the Timeline Theatre production of Sandra Delgado’s “Hundreds and Hundreds of Stars” directed by Kimberly Senior opens October 15 and runs through November 9, 2025 at the Lookingglass Theatre at Water Tower Water Works, 163 E. Pearson Street, Chicago.

PHOTO | Emma Schoenfelner
COVER | Joe Mazza brave lux inc.

TimeLine Theatre Company
presents
World Premiere
Hundreds and Hundreds of Stars
Water Tower Water Works
through November 9, 2025

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