Get ready to be moved, inspired, and maybe even a little uncomfortable—because the Chicago Cultural Center’s 2025-2026 New Play Residency Readings are here, and they’re not holding back. From generational trauma to cultural reclamation, these plays tackle some of the most pressing and personal issues of our time. But here’s where it gets controversial: Can art truly heal historical wounds? And who gets to tell these stories? Let’s dive in.
A Century of Sparrows by Sierra Rosetta, produced by Freshly Brewed, is a hauntingly beautiful exploration of six Ojibwe women—grandmothers, mothers, and daughters—all bearing the Sparrow name. Bound by blood, spirit, and shared history, these women navigate the intricate web of generational trauma and resilience. From the dark legacy of Indian Boarding Schools to the intimate struggles of infertility, their stories are both deeply personal and universally resonant. And this is the part most people miss: The play is told non-linearly, challenging us to consider whether the past can ever be healed through the future. Inspired by real testimonies of Native women, A Century of Sparrows is a powerful reminder of the enduring strength of Indigenous voices. But here’s the question: Does non-linear storytelling risk alienating audiences, or does it deepen our understanding of complex histories?
Sierra Rosetta, an Indigenous playwright and theatre scholar, is no stranger to centering Native voices. Her debut play, From the Old Wood Forest, earned her the 2024 Yale Indigenous Performing Arts Program’s ‘Young Native Playwright’ award. Freshly Brewed, a Chicago-based new play development series, has been instrumental in amplifying emerging playwrights like Rosetta, fostering collaboration and community in the process.
Next up is Chalo! A Soccer Musical, written by Reva Sangal and Avery Powers, and produced by Pop Up! Productions. This vibrant musical follows Asha Gupta, a Desi-American teenager juggling her mother’s expectations of becoming a doctor with her own dream of playing professional soccer. But here’s where it gets controversial: Can Asha’s story truly represent the complexities of the Desi-American experience, or does it risk simplifying a diverse cultural identity? Sangal and Powers, both passionate about increasing Desi representation in musical theatre, have crafted a story that’s as much about family as it is about following your dreams.
Pop Up! Productions, founded by Hershey Suri, is dedicated to uplifting marginalized voices and creating accessible, community-rooted creative spaces. Their commitment to equitable pay in non-Equity theatre has earned them a 2024 Jeff Impact Fellowship—a testament to their swift and meaningful impact on Chicago’s theatre ecosystem.
Daybreak, written by Jacob Watson and Erin A. Lekovic with songs by Laura Stratford, takes us to the stars—literally. A spaceship, a mysterious ‘Dimming’ on Earth, and a sailor adrift on the ocean converge in this play with music that explores themes of connection, sacrifice, and awe. And this is the part most people miss: The play subtly asks whether our pursuit of progress risks severing the very ties that make us human. Watson, Lekovic, and Stratford’s collaboration is a testament to the power of interdisciplinary storytelling.
Then there’s The Girl Who Sang With The Moon, a new musical by Christie Chilles Twillie, produced by Firebrand Theatre. Blending Nigerian Igbo folklore with contemporary musical storytelling, this decolonized theatrical process explores themes of family, identity, and spirituality. But here’s where it gets controversial: Can Western theatre truly decolonize itself, or is it inherently bound to its colonial roots? Twillie’s use of Igbo dramaturgy and original compositions offers a richly layered journey of reclamation.
Firebrand Theatre, a feminist musical theatre company, is committed to empowering Women+ and challenging gender norms in the industry. Their intersectional approach ensures that voices from diverse racial and ethnic backgrounds are uplifted and celebrated.
Finally, The Rosina Project, produced by Chicago Fringe Opera and BraveSoul Movement, is a bold reimagining of Rossini’s The Barber of Seville. Mixing Hip-Hop MCs, opera singers, and street-dance artists, this immersive house party is a female-driven story of empowerment and friendship. But here’s the question: Does blending genres risk diluting the essence of each art form, or does it create something entirely new and revolutionary?
Chicago Fringe Opera and BraveSoul Movement are pushing boundaries, engaging communities, and fostering local talent. Their collaboration on The Rosina Project is a testament to the transformative power of art when it’s inclusive, innovative, and unapologetically bold.
So, what do you think? Can these plays truly heal, represent, or decolonize? Or are they just scratching the surface? Let’s keep the conversation going in the comments—because theatre, like life, is best when it’s shared.
