Productions & Events featuring Andrew Hansen

A comedic showdown between truth and fact set in the world of non-fiction publishing.

JIM FINGAL IS AN EAGER YOUNG INTERN at a high-profile magazine hoping to impress his demanding editor-in-chief, Emily Penrose. When assigned the job of fact-checking legendary writer John D’Agata’s essay about the city of Las Vegas, Jim discovers a huge problem: many of the essay’s details were made up. As the publication deadline looms, a battle between truth and fact ensues in a gripping and fast-paced comedic showdown.

Drawing from true events surrounding real-life Jim Fingal’s fact-checking of the John D’Agata essay “What Happens There,” The Lifespan of a Fact has been praised as “a smart and engaging exploration of the nature of truth and the role of the media in society,” (Chicago Tribune) and “a tightly written and expertly crafted play that keeps the audience riveted from start to finish” (The New York Times).

The book on which the play is based, The Lifespan of a Fact, received critical attention from national media including NPR, The New York Times, and The Los Angeles Times. It was subsequently named a “Top 10 Most Crucial Book” by the editors of Slate, a “Best Book of the Year” by The Huffington Post, and an Editor’s Choice by The New York Times Book Review. 

The stage adaptation opened on Broadway in 2018, starring Daniel Radcliffe, Bobby Cannavale, and Cherry Jones.

CONTENT ADVISORY: To learn more about the specific content and themes of this production, please visit our content advisory page.

Based on the true story of Leone Baxter and Clem Whitaker, who formed the first political consulting firm in U.S. history, Campaigns, Inc. is a hysterical and jaw-dropping inside look at the underbelly of politics through the lens of two of the undeniable founders of “fake news.”

IT IS 1934, and famous novelist Upton Sinclair is all but guaranteed to become the first Democratic governor of the state of California—until a young, unknown pair of consultants from the shadows of the challenger’s campaign attempt to take him down. As Frank Merriam and Sinclair battle it out in the spotlight—seeking endorsements from the likes of Charlie Chaplin and FDR—Baxter and Whitaker work behind-the-scenes to methodically construct one of the most spectacular, unbelievable, and star-studded smear campaigns ever.

This world premiere play was developed through TimeLine’s Playwrights Collective, launched in 2013 to support Chicago-based playwrights in residence and create new work centered on TimeLine’s mission. Campaigns, Inc. is the third play developed through the Collective to receive a full production, following Brett Neveu’s To Catch a Fish (2018) and Tyla Abercrumbie’s Relentless (TimeLine and Goodman Theatre, 2022). Campaigns, Inc. received its first public reading as part of our inaugural First Draft Playwrights Collective Festival in 2018.

This hit production, which recalls the adventure and romance of Julia and Paul Child’s journey of discovery to Paris during the 1950s, is now offered for a limited time via online video streaming.

MORE ABOUT REMOTE VIEWING

From the French bistro where Julia Child fell in love with food, to the kitchen table where she recreated everything learned during cooking class, to a room where Paul was grilled by U.S. agents about alleged Communist contact, To Master the Art is the story of a larger-than-life culinary icon and her remarkable husband as they struggle to find themselves as Americans abroad.

Commissioned by TimeLine in 2008, To Master the Art received its world premiere at TimeLine in 2010, selling out its 8-week run within days and receiving more than 20 rave reviews and five Jeff Award nominations, including New Work and Production. The production was remounted in 2013 at the Broadway Playhouse via the Chicago Commercial Collective, Broadway In Chicago, and producers Brian Loevner and Aurélia F. Cohen. The video that will stream during this remote viewing run was filmed during the 2013 production.

During its two previous Chicago runs, To Master the Art was acclaimed as “an excellent, intimate, foodie-friendly staging, resonant with atmosphere and the kind of classic, cozy, autumnal kitchen ambiance that makes one want to swear off takeout food from this moment forth” by the Chicago Tribune, and “a total delight—funny, touching, charming and as enjoyable as an exquisite meal enjoyed together with good company” by Talkin’ Broadway. And Woditsch’s performance as Julia Child was declared “magnificent” and “a piece of acting not to be missed” (Chicago Tribune) and “so absolutely perfect … that we left the theater discussing the possibility that she is actually a better Julia Child than [Meryl] Streep” (Newcity).

Named one of the “100 plays of the century” by the Royal National Theatre, Githa Sowerby’s rarely produced family drama is a smart and absorbing twist on a woman’s “place” in a male dominated society.

In the industrial north of England in 1912, the patriarch of the Rutherford family has spent decades building a respected glass works company to pass on to his children, without any say from them. Caught between passion, purpose, and expectation, John, Richard, and Janet struggle to break free from an oppressive and narrow-minded father dead set on writing their stories himself. Less entangled by these family expectations and with ambitions to give her son the life he deserves, John’s young wife Mary is determined to upend the cycle, whatever it takes.

Playing on the conventions of the period with wit and creative edge, Rutherford and Son is a play ahead of its time, asking us to question if our “place” in life should be anything but what we ourselves determine it to be.

The estimated run time is 2 hours and 10 minutes, including one intermission.

This glorious, raw, and bittersweet look at one of opera’s most formidable talents was the Tony Award winner for Best Play in 1996.

Witness a master class conducted by legendary opera diva Maria Callas. Glamorous and demanding, Callas critiques and regales a new crop of opera’s finest. Both frustrated and amazed by the students thrust before her, she escapes into recollections of the glories and failures of her past, remembering her rise as one of opera’s biggest underdogs. This authentic and musically rich Master Class presents a portrait of a fading star who refuses to be anything but unapologetically herself.

TimeLine’s production stars Company Member Janet Ulrich Brooks, a six-time Jeff Award nominee for roles at TimeLine (including 33 Variations, A Walk in the Woods, and All My Sons), where she mostly recently appeared last season as Queen Elizabeth II in The Audience.

“Leave behind the stranglehold of convention and loosen your corset, you will breathe much better.”

This intimate and humorous story of awakening, equality, and the need for connection was a finalist for the Pulitzer Prize for Drama and a Tony Award nominee for Best Play. It is the 1880s and Thomas Edison’s invention of the electric light has begun to change the fabric of daily life. Inspired by Edison’s discovery, scientist and inventor Dr. Givings experiments with a piece of machinery to treat the increasingly common affliction of female hysteria. When he starts to see a new patient regularly, his wife’s curiosity with the invention and what occurs “in the next room” grows, leading to discoveries of her own. Don’t miss this entertaining night of self-discovery which shows that human connection is not simply a means to an end, but a vital part of life itself.

“If you stick round long enough, the same ideas come round again and again. Wearing a different coloured tie.”

A portrait of a dynamic and provocative woman—the symbol of a nation—as she weathers decades of history and political strife. Every Tuesday afternoon for more than 60 years, Queen Elizabeth II has met with her Prime Ministers in a private audience, a gesture of unity between government and Crown. Through moments of tension, negotiation, war, and unrest, these conversations with political leaders from Winston Churchill to Harold Wilson to Margaret Thatcher have remained a constant across the years. Playwright Peter Morgan re-imagines these meetings, giving us a glimpse at the queen’s role in guiding the circumstances that have shaped Great Britain, and a window into the mystery, compassion and humor of the woman behind the iconic crown.

“Miracles happen. Don’t they?”

A provocative and hilarious look at what makes art—and people—authentic. Maude has bought the ugliest thrift store painting she could get her hands on as a gag gift. When she’s told it might be an undiscovered work by the famed Jackson Pollock, she invites a world-class art expert to decide if it’s a forgery or the real thing, worth millions.

Inspired by a true story and set to feature TimeLine Company Member Janet Ulrich Brooks and TimeLine Associate Artist Mike Nussbaum in the two-person cast, Bakersfield Mist is “a perfect marriage of emotion and ideas that is rare indeed” (Los Angeles Times).

This classic play is about the legacy of the past and the price of life’s choices. In a New York brownstone marked for demolition, two estranged brothers meet to sort through and sell their late father’s belongings—a pile of relics and old furniture buried by a lifetime’s worth of family baggage. What follows is a poignant, intimate, and often heart-wrenching look at the ways we are liberated or trapped by those we love.

Richard Nelson’s celebrated series of four Apple Family Plays—first commissioned by The Public Theatre in New York where they premiered on the day they are set—explores politics, change, and family dynamics. TimeLine presents the Chicago debut of two of these remarkable works (the first and third in the series) on an alternating schedule.

Set in the American town of Rhinebeck, New York, That Hopey Changey Thing takes place as the polls close on the 2010 mid-term elections, and Sorry is set on the morning of the presidential election in 2012. Both explore how a family sorts through personal and political feelings of loss and confusion in the shadow of history as it is being made.

Based on the best-selling novel and set in post-war Brooklyn, MY NAME IS ASHER LEV follows the journey of a young Jewish painter torn between his Hasidic upbringing and his desperate need to fulfill his artistic promise. When his genius threatens to destroy his relationship with his parents, young Asher realizes he must make difficult choices between his passion and his faith. This stirring adaptation of a modern classic presents a heartbreaking and triumphant vision of what it means to be an artist at any cost—against the will of family, community and tradition.

MY NAME IS ASHER LEV received its world premiere in January 2009 at the
Arden Theatre in Philadelphia and recently closed a heralded 10-month run Off- Broadway in New York City, receiving the Outer Circle Critics Award for Best New Off-Broadway play. TimeLine’s production is the play’s Chicago premiere.

Originally premiered Off-Broadway in 1985, TimeLine’s production is the first Chicago staging of this landmark play that “blasts you like an open, overstoked furnace” (The New York Times) since its Tony-Award winning Broadway production in 2011. Set at the height of the public and private indifference to the AIDS plague in the early 1980s, this searing drama will feature acclaimed actor/director David Cromer in his return to the Chicago stage as a passionate activist leading the fight to awaken the world to the crisis. Along the way he, and the community he leads into the battle, must face the deeply held fears that led so many to remain silent for too long.

TimeLine’s latest world premiere follows extraordinary successes with new works like My Kind of Town, To Master the Artand Hannah and Martin. An American soldier, captured by the enemy in Vietnam and isolated in an underground cell, hears a voice from the other side of his prison wall. Thrust into each other’s lives, the two men are separated by solid ground, divergent backgrounds and opposite worldviews. But over time, they are drawn together as they battle dire conditions, loss of faith, and each other. This emotionally stirring new play affirms the extraordinary power of human connection to forge hope in even the darkest hours.

TimeLine’s 2012-13 season opener is an elegant waltz between past and present, fact and speculation, a mother and daughter, and art and life. One of classical music’s enduring riddles is why Ludwig van Beethoven devoted four years of his diminishing life writing 33 variations of a mediocre waltz. Two hundred years later, a modern-day music scholar is driven to solve the mystery even as her own health and relationship with her daughter crumbles.

The result is an extraordinary new American play — accompanied throughout by a live pianist playing the variations themselves — about passion, parenthood, and the moments of beauty that can transform a life.

Lee Blessing’s Pulitzer Prize-nominated drama, filled with unexpected humor and extraordinary humanity, is an absorbing, revealing and brilliant debate on the eternal hope and relentless futility of high-stakes politics. Two superpower arms negotiators— one a witty but cynical Russian veteran and the other an idealistic American newcomer — meet informally in the woods after long, frustrating hours at the bargaining table. TimeLine’s production is presented with a twist: The two characters (originally written as two men) are portrayed by TimeLine Company Members Janet Ulrich Brooks and David Parkes.

In this landmark comedy set inside the crowded pressroom at Chicago’s Criminal Courts Building during the 1920s, a group of reporters cover a controversial execution and expose the rampant corruption, scandal and hi-jinx associated with Windy City politics and journalism. TimeLine is thrilled to revive a quintessential Chicago classic and to highlight for audiences the wealth of local history embedded in Ben Hecht and Charles MacArthur’s hilarious and semi-autobiographical script.