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Review: Wicked – Chicago Reader

Jon M. Chu’s film version of the 2003 (and still running) Broadway hit is a magnificent synthesis of movie musical and fantasy epic, one of those rare films that truly delivers “all-ages entertainment.” It’s smart, sweet, and sassy in equal measure, with eye-
popping special effects, lustrously colorful cinematography and production design, dynamic vocals and dancing, and—best of all—emotionally intimate storytelling. With terrific songs by Stephen Schwartz (Godspell) and screenplay by Winnie Holzman (the original musical book writer) and Dana Fox, it’s remarkably faithful to its stage source—or rather, to the first act of its stage source, with an anticipated part two scheduled for release in 2025. I can hardly wait.

Inspired by Gregory Maguire’s 1995 novel, which presents an alternative backstory to the classic 1900 children’s book The Wonderful Wizard of Oz, Wicked tells the “true story” of Elphaba Thropp, the unloved, green-skinned daughter of the governor of Munchkinland, who possesses uncanny supernatural powers that she can barely control. Elphaba (whose name is a play on the initials of Oz creator L. Frank Baum) forges an unlikely friendship with her pampered, pretty-in-pink college roommate Galinda, setting the pair on a path to meet none other than the Wizard of Oz himself—a journey that will transform Galinda into Glinda, the Good Witch of the North, and Elphaba into the infamous Wicked Witch of the West.

The heart of the film is the warm relationship between Cynthia Erivo’s Elphaba and Ariana Grande’s Galinda, which conveys the story’s resonant themes of inclusivity, self-esteem, and the importance of standing up to prejudice and injustice. The terrific supporting cast includes Michelle Yeoh as Elphaba’s mentor in magic, Madame Morrible; charismatic Jonathan Bailey as Elphaba’s possible love interest, Fiyero (more to come in part two); and Jeff Goldblum as the Wizard. There’s also delicious cameo appearances by Idina Menzel and Kristin Chenoweth, who originated the roles of Elphaba and Galinda in Wicked’s Broadway premiere. PG, 160 min.

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The Little Mermaid makes a splash at Drury Lane

For many, myself included, the vibrant colors of Disney’s 1989 film version of The Little Mermaid were electrifying. In Drury Lane Theatre’s production of the story of Ariel (Sarah Kay), who gives up her voice to find her true love Eric (Patrick Johnson), that vibrancy is just as alive and well. This enchanting production (directed by Scott Weinstein) will have you hooked—with one performance in particular.

The Little Mermaid
Through 1/12/25: Wed 1:30 PM, Thu 1:30 and 7 PM, Fri 7 PM, Sat 3 and 8 PM, Sun 2 and 6 PM; also Wed 11/27 7 PM, Thu 11/28 3 PM only, Mon 12/23 3 PM, Tue 12/31 8 PM, Wed 1/1 1 and 5:30 PM; no show Wed 12/25 or Thu 1/2 7 PM; Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, 630-530-0111, drurylanetheatre.com, $65-$125

“Finally someone did Ursula some justice,” was all I could think the moment Sawyer Smith came to the stage as the beloved sea witch. Surrounded by actors as their giant tentacles, Smith was absolutely divine in this role they were clearly born to play. If you take away nothing else from this show, you’re certain never to forget Smith’s vocal power or their embodiment of the iconic Disney villain. 

The other main star of this show is the high-fashion costume work by Ryan Park and Zhang Yu. Their impeccable designs elevate this show to a whole new level and take Ursula’s visage from costume to couture. When it comes to Broadway, few can do it better than Disney—though even the Mouse gets it wrong sometimes. Historically, The Little Mermaid was one of the company’s least successful Broadway endeavors with some less-than-magical additional songs. (The score was composed by Alan Menken, with lyrics by Howard Ashman and Glenn Slater and book by Doug Wright.) But despite its structural flaws, it’s still a fin-tastic way to spend an evening. After all, when the human world is a mess, sometimes you need a little time under the sea.


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The Secret Garden blooms at Theo

I read Frances Hodgson Burnett’s 1911 novel The Secret Garden six decades after its publication, but the story—a “difficult” ten-year-old girl who deals with unbearable sadness by using paganesque incantations to unleash the healing power of the earth itself—resonated strongly. Theo’s solid staging of the novel’s musical adaptation (book and lyrics by Marsha Norman, score by Lucy Simon) reveals a tale that remains timeless.

The Secret Garden
Through 1/5/25: Thu-Sat 7:30 PM, Sun 6 PM; no show Thu 11/28; Howard Street Theater, 721 Howard, Evanston, 773-939-4101, theo-u.com, $45-$60

Directed by Christopher Pazdernik with musical direction by Carolyn Brady, the plot begins with the cholera outbreak that orphans Mary Lennox (Joryhebel Ginorio), her household collapsing in a whirl of blood-red scarves in Nich O’Neil’s evocative choreography. Mary is sent to live with her emotionally distant uncle, Archibald (Will Koski), his villainous brother Neville (Jeffrey Charles), and Archibald’s sickly son, Colin (Kailey Azure Green). It falls to housekeeper Martha (Dakota Hughes) and her son Dickon (Lincoln J. Skoien) to restore a sense of joy in Mary, whose recovery forever changes the lives of her surviving relatives.

The production is mildly miscast: Ginorio’s Mary sounds great and captures the character’s filter-free bluntness, but she reads far closer to 20 than ten on stage. Koski’s Archibald has an extraordinarily powerful voice, but he’s serving boyish charm when Heathcliff levels of brooding are required.

That doesn’t matter when the cast is in song. Soaring case in point: “Hold On,” anchored by Hughes’s galvanic insistence:

“When you see a man who’s ragin’ / And he’s jealous and he fears / That you’ve walked through walls / He’s hid behind for years / What you do then is you tell yourself / To wait it out and say / ‘It’s this day, not me / That’s bound to go away.’”

Easier sung than done, but those are words to live by regardless, and they are powerfully delivered in Theo’s joyful production.


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Sexy Merry Men – Chicago Reader

For anyone missing The Buttcracker burlesque, which is sadly on hiatus this year, I’d suggest a visit to PrideArts to spice up your holiday theatergoing. With less bare skin and more ribald rhymes and phallic puns, Throbbin Wood is an adult take on the British theatrical tradition of pantomime, or panto. 

Throbbin Wood
Through 12/18: Wed-Sat 7:30 PM, Sun 3 PM; no shows 11/25-11/29; PrideArts Center, 4139 N. Broadway, 773-857-0222, pridearts.org, $35 (seniors/students $30)

Across the pond, pantos are silly, family-friendly retellings of fairy or folk tales, with plenty of slapstick comedy and audience participation. For the third consecutive year, PrideArts offers a similarly raucous experience, but instead of merely booing and hissing at the villain, viewers are invited to shout less printable greetings at characters such as Nanny Fanny (Neill Kelly) and Silly Willy (Freddy Mauricio).

Directed by Taylor Pasche, Throbbin Wood follows the eponymous hero (Bryan Fowler) and his band of Merry Men (Jackson Anderson, Jack Gordon, and Kyle Johnson) as they try to rescue Maid Marian (Emma Robie) from the Sheriff of Frottingham (the delightfully wicked Ryder Dean McDaniel) with some magical help from Fairy Glitter-ous (Danielle Bahn). Tom Whalley’s saucy script is peppered with covers of artists such as Chappell Roan and TikTok sensation Jane Bell, with music direction by Chad Gearig and choreography by Jen Cupani.

If an abundance of codpieces, references to King Dick (McDaniel), and sex toy–inspired choreography sounds like your idea of a good time, then get thee to Frottingham.

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The Chinese Mom Kitchen is Laura Yee’s great pop-up experiment

It all started back in August, when Laura Yee received an email invitation from Urban Belly to a multicourse backyard barbecue event with Aperol. She noticed that there wasn’t dessert on the menu, so she texted Chef Bill Kim, offering to bring miso chocolate chip cookies. Her cookies were so well-received that Kim suggested she do pop-ups at the side window of Urban Belly’s Wicker Park location. That was the encouragement Yee needed to launch her fledging baking business, the Chinese Mom Kitchen. Yee had been perfecting recipes and giving away sourdough bread, milk bread, and cookies to friends for more than a year, but in a few short weeks, she scrambled with branding, packaging, and logistics to make the pop-up a reality.

“Pulling off nine consecutive Sunday pop-ups at Urban Belly has been the most physically challenging but the most exhilarating work I’ve ever done,” she says. “It’s given me greater appreciation of the people in food service and the commitment they bring to their craft.” Yee is a veteran food journalist and editor, most recently overseeing production for US Foods’s Food Fanatics magazine, but this is her first foray into owning her own business.

Yee’s miso chocolate chip cookies
Credit: courtesy Laura Yee

“You can research, interview, and write about the business for the last 25 years like I have, but you don’t really know how hard it is until you do it regularly,” she says. “It’s certainly not lucrative, at least not in the beginning.” Friends chipped in to help, standing on the street corner offering samples of miso chocolate chip cookies and chili crisp crackers to passersby. Her Sunday pop-ups strategically coincided with the Wicker Park farmers’ market just down the street to glean traffic from neighborhood foodies. Yee still isn’t sure whether she made money from the nine-week endeavor, but she considers the pop-up an experiment. “It’s more about what I learned and how I can do this better.”

Figuring out how much product to make was always a challenge. After selling out one week, Yee made extra the next only to have it languish because it was the Chicago Marathon weekend, and many potential customers had decided to stay home. “I never got it quite right,” she muses. “It might be gangbusters one week and crickets the next.”

Miso chocolate chip cookies are one of her best-selling items. She originally called them “umami chocolate chip cookies,” but after several weeks of customers asking what was in them and not understanding what the word “umami” meant, she changed the name, and suddenly, they took off.

“I love the miso spice cookie with its fresh ginger, spices, and crispy edges, but people seem to prefer chocolate chip,” Yee says. She uses white and red miso in the miso spice and miso chocolate chip cookies, with a slightly different ratio for each cookie. “Red miso tends to have a deeper, saltier flavor,” she explains. “When you put miso in the cookie batter, it’s already heavenly. And then when you bake it, it tastes totally different.” On the savory side, her ultra-crunchy and buttery sourdough chili crisp crackers are a hit, along with scallion pancake-inspired sourdough crackers.

Yee’s love of baking stems from her childhood growing up in Boston in the 1970s with an Easy Bake Oven. “My mom was a single mom who worked three jobs to support us,” she says. Yee recalls making her mom meals that she could enjoy at home in between shifts at a Chinese restaurant and as a cocktail waitress, where she sometimes worked until 2 AM. Yee’s peach and cream cake was one of her mom’s favorites, made with yellow cake mix, canned Del Monte peaches, and Cool Whip.

Yee’s milk bread
Credit: courtesy Laura Yee

“Every time it rises and it comes out of the oven, you think you’ve split atoms, and you get this great joy,” she says. Yee still feels that same joy from baking and loves sharing tangible treats with friends, family, and customers. “It’s really gratifying in a way that sometimes other work is not.”

For now, Yee is baking out of her home kitchen, but her next step is looking for commercial kitchen space to expand production. She plans to be at a Chicago farmers’ market next year, and for now, she is taking orders online for local delivery and nationwide shipping.

“I’m crazy about freshness,” Yee says. “You can’t send things overnight, because it’s just too expensive.” Cookies and sourdough scallion and chili crisp crackers will be available for shipping, along with a lemon verbena peach jam that she makes with Mick Klug Farms peaches and lemon verbena from her own yard. More perishable treats like pineapple buns, cheeky furikake buns, sourdough, and milk bread are only available for local delivery and pickup. Follow along on Instagram @thechinesemomkitchen to learn about upcoming pop-up events at Urban Belly this holiday season.


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The Moviegoer: Experimental fantasias – Chicago Reader


In searching for a concise definition of experimental cinema, I came across this description from the Eye Filmmuseum in Amsterdam: “These films by definition are unconventional, and therefore almost never reach a wide audience.” This is true—even the most well-known experimental film is unlikely to be seen by even 1/100th of those who see the averagely successful commercial film, much less the blockbusters.

Two things I saw this past week intrigued me, as they are by definition “unconventional” yet were made for a wide audience. The first, Robert Zemeckis’s latest film, Here, has been described as experimental in many reviews of it, and the film certainly meets the technical standards of the “genre.” Here’s gimmick, if you will (though there may be no filmmaker for whom gimmickry is a more earnest pursuit than Zemeckis), is that it’s all shot from the same camera angle, largely taking place in one room, the home of Tom Hanks’s Richard and his family. This includes his childhood through his marriage to Margaret (Robin Wright, with whom Hanks costarred in Zemeckis’s 1994 film Forrest Gump), and what came before and what came after, ranging all the way back from the dinosaurs—a very Malickian touch—to the Black family living there in the near-present day, as is indicated by the conversation they have with their teenage son about police brutality and, later, the emergence of COVID.

But it’s nonlinear and also fragmented, literally, with the screen being broken up into squares and rectangles, with parts of one scenario turning into another, piece by piece. (The film is based on a graphic novel, borrowing this panel motif of its source to traverse between eras and families.) Here has been a flop, netting only $11.6 million at the box office against a production budget of approximately $50 million. But I quite liked the film. It’s ambitious, and the formal bravura keeps it fast-paced, making it entertaining on a pretty basic level. Was it the experimentation that detracted from critics’ and audiences’ appreciation of the otherwise conventional plot? Has Zemeckis pushed it too far past the palatable manipulations of Tom Hanks situated at various historical events? 

an animated Mickey Mouse in a sorcerer's hat bows to a walking broomstick holding buckets of water
A still from Fantasia (1940) Credit: Music Box Theatre

On the opposite side of things, Walt Disney’s Fantasia (1940), which I saw on 35 millimeter at the Music Box Theatre on Saturday (the matinee screening; I couldn’t stay up for the midnight show on Friday), is still Disney’s most “experimental” film to date. Obviously it needs no introduction—Mickey as the Sorcerer’s Apprentice is part of the cultural fabric. More than that, Fantasia embodies the magic of cinema and the relationship between image and sound, set as it is to all classical music. The mode comes to life through animated vignettes, none of which, except for “The Sorcerer’s Apprentice,” aligns with the “story” of its respective composition. 

In both films, the makers’ imaginations feel boundless, in Here to imagine several generations of families in one location (boundless in practice but not literally, an interesting juxtaposition), and in Fantasia, any number of situations made animated to music’s most famous classical compositions. I would like to say the experimental mindset perseveres, but alas, while the screening of Fantasia was packed to the gills (lots of families with children, of whom I was super impressed by sitting quietly, for the most part, during a two-hour film), Here hasn’t found its audience. 

In terms of a more traditional experimental screening, I also went to the second program of the 2024 Eyeworks Experimental Animation Series at Block Cinema on Saturday (after Fantasia), an annual event brilliantly curated by artists Alexander Stewart and Lilli Carré. It was a packed house there, too, so perhaps there’s some hope for more straightforwardly (haha) experimental fare.

Until next time, moviegoers.



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Reader Bites: Peacemaker po’boy at Daisy’s Po-Boy and Tavern


You know how it goes. You’re in dutch with your better half for staying out too late, drinking too many Yoo-hoos, chasing too many fireflies. There must be some kind of offering you can make to ensure your homecoming is peaceful, and that you won’t be sleeping on the couch. Something on bread . . . with beef . . . and fried seafood.

That’s merely one version of the New Orleans urban legend that’s grown up around the peacemaker, a surf and turf po’boy with as many variations as its origin story.

Typically it has that rich debris, the slurry of juices and beefy bits that fall from a roast, bedded on a fluffy, crackly baguette, with shredded lettuce, tomato, pickles, mayo, and either fried shrimp or oysters—a sandwich that gives new meaning to the term “marital aid.”

an illustration of a po'boy sandwich with a blue and white broken stripe background
Daisy’s peacemaker po’boy Credit: cori nakamura lin | onibaba studio

Just around the corner from Erick Williams’s Virtue, Daisy’s, his NOLA-inspired sports bar, offers a peacemaker that seems like a capable bedroom diplomat.

With shaved beef and a restrained application of gravy, it holds its form better than a typically sloppy debris po’boy. That’s also because, after arduous research on the ground in the Big Easy, Williams chose to build his with hard-fried oysters.

“We ate some amazing peacemakers made with oysters,” he says. “That style stood out to us most. We could have done shrimp, but I liked the texture of oysters more.”

Me too. On a couple occasions at Daisy’s, I asked for a regular beef po’boy topped with fried shrimp. This ad hoc version has a nice snap that unfortunately tends to disintegrate the whole affair—and perhaps your own fragile situationship.

On Williams’s peacemaker, boarded on NOLA’s Leidenheimer baguettes, the bivalves’ crunch yields to their briny, lush softness but also helps keep the veg from slipping overboard in a sloppy mayo slide.

Splash some tangy Crystal cayenne magic on the proceedings and you have a proper olive branch, available in six or 12 inches, depending on the seriousness of your offenses.


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Mike Sula (he/him) is a senior writer, food reporter, and restaurant critic at the Chicago Reader. He’s been a staffer since 1995.

His story about outlaw charcuterie appeared in Best Food Writing 2010. His story “Chicken of the Trees,” about eating city squirrels, won the James Beard Foundation’s 2013 M.F.K. Fisher Distinguished Writing Award. “The Whole Hog Project,” and “What happens when all-star chefs get in bed with Big Food?” were nominated for JBF Awards.

He’s the author of the anthology An Invasion of Gastronomic Proportions: My Adventures with Chicago Animals, Human and Otherwise, and the editor of the cookbook Reader Recipes: Chicago Cooks and Drinks at Home.

His work has appeared in the Chicago Tribune, the Chicago Sun-Times, NPR’s The Salt, Dill, Harper’s, Plate Magazine, Rolling Stone, and Eater. He’s the former editor in chief of Kitchen Toke.

He lives in Chicago and is the curator of Monday Night Foodball, a weekly chef pop-up hosting Chicago’s most exciting underground and up-and-coming chefs.

Sula speaks English and can be reached on X.

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The women who made Florence Price

Classical music, like so many art forms, requires two conditions: a steady flow of capital and preserving belief in the existence of singular, anachronistic genius.

As scholar-pianist Samantha Ege makes clear in South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene, Florence Price is no exception. Price is now widely recognized as the first Black woman to have had a symphony performed by a major American orchestra, at a 1933 Chicago Symphony concert associated with that year’s World’s Fair. (Twenty-year-old Margaret Bonds, who would become a well-known composer in her own right, performed as the evening’s soloist.) While predominantly white musical institutions have opted for a tidy narrative of “rediscovery,” in truth, Price’s legacy has always been safeguarded locally and among the Black musical cognoscenti. A public school at 44th and Drexel bore her name from 1964 until 2012, when it became a casualty of the Rahm-era school closures. Her music has been recorded since at least the 1980s; an ensemble associated with the Center for Black Music Research at Columbia College Chicago recorded her Symphony No. 1 in E minor as long ago as 2011, the same year Florence B. Price Elementary was condemned to closure.

But South Side Impresarios stresses Price and her peers—like Bonds and Nora Holt, a music critic and impresario who became the first African American in the country to receive a master’s degree in music—were almost certainly not the only composers of their race, gender, and time with the ability and aspiration to write symphonic music. “I reject a reading of [Price’s] path that fixates on her exceptionalism,” Ege writes.

Author Samantha Ege stands in a library, leaning against a shelf of books. She smiles and looks at the camera. She wears a black and blue printed dress and has short black hair.
Author Samantha Ege
Credit: Jason Dodd Photograph

Price and others were, however, lucky enough to be championed by an influential community of upper- and upper-middle-class south-siders who rallied around them and their music. In Chicago, that impresario class was, uniquely, dominated by women. This was a milieu where a woman (Marjorie Stewart Joyner, a businesswoman and longtime Bud Billiken Parade organizer) could have a fighting chance to be elected “mayor” of Bronzeville in 1936, in the neighborhood’s honorary elections. Ege makes it clear that these “Race women”—Ege uses the contemporaneous term to capture their elite status and social goals—were as essential to Price, Bonds, and Holt’s productivity as the Esterházys were to Haydn or Nadezhda von Meck was to Tchaikovsky. Sometimes it was through fundraising muscle; sometimes it was as profound as offering housing and companionship, as Bonds’s family did to Price and her children after she escaped an unhappy marriage.

Chicago’s “Race women” offered an alternative to white institutional support for Black art, which was nonexistent, fleeting, or excruciatingly double-edged. For all the ink spilled about the Chicago Symphony’s 1933 concert, Ege reminds readers that it opened with an overture by John Powell, a white supremacist who influenced the passage of a statute outlawing interracial marriage in Virginia. (The law wouldn’t be overturned until the passage of Loving v. Virginia in 1967. That story, by the way, is being adapted into an opera this spring by the Chicago-based composer Damien Geter.)

That these “Race women” have not been given their due illuminates how quickly a Price hagiography is being crafted before our very eyes, like so many composers before her. Until now, little (written) credit has been afforded the patron who underwrote that 1933 Chicago Symphony concert: Maude Roberts George. A retired soprano, George succeeded Holt both as staff music critic of the Defender and as the chair of the National Association of Negro Musicians—an organization whose inaugural convention was held, impossibly, during the 1919 Chicago Race Riot. Both women used those posts to rally community support for Black classical artists in Chicago and beyond. Ege imagines Holt may have been the one who introduced Price to her south-side base, perhaps even responding to Holt’s open invitation to her home via her Defender columns.

A word before you read: South Side Impresarios is an academic text. Ege’s book levies a social analysis, rather than attempting a narrative biography. (For that, try instead the late Rae Linda Brown’s The Heart of a Woman: The Life and Music of Florence B. Price, published in 2020 by the same press.) That’s despite Ege’s obvious knack for potent, vivifying description, which blooms in the book’s introduction and conclusion but mostly peters out in its main body. Her introduction transports us to the 1933 World’s Fair concert, then to her own trip to the Chicago Symphony, 84 years later. There, she describes, with fond acuity, the Chicago women who carry the torch Price, Bonds, Holt, George, and others ignited all those years ago: composers Renée C. Baker, Regina Harris Baiocchi, and Jessie Montgomery, the last of whom became only the second Black woman to have her music played by the Chicago Symphony while in residence at the orchestra from 2021 to 2024; Chicago Symphony African American Network (AAN) founder Sheila Anne Dawson-Jones; and music critic and AAN ambassador Barbara Wright-Pryor. Ege’s conclusion is cast as a heartfelt second-person address to Maude Roberts George herself, musing on her life and legacy. The effect is so immediate that when Ege reveals the brutal reality of George’s final years—she suffered a nearly fatal bullet wound in her own home, under circumstances that remain foggy—the reader, too, feels their feet swept out from under them.

But Ege’s general disinclination toward a narrative mode feels like a missed opportunity. Resisting hagiography also means emphasizing the humanity of great individuals; South Side Impresarios readers will leave with a comprehensive account of the networks and circumstances that made these composers’ rise possible but not necessarily with any stronger sense of them as people.

Ege beautifully renders the few exceptions to that rule. One which still sticks is her telling of a 1971 interview with Bonds, in which the composer, by then very ill, recalls Black musicians gathering to help copy out instrumental parts for Price on short notice. Why? Bonds apparently crumbles into laughter on this point in the recorded interview: “She seemed to procrastinate.”

Yes, the thought that even the great Florence Price blew a deadline once in a while is humbling. More than that, though, the scene presents a different, more communal vision of philanthropy. It’s a vision underrated in classical music’s past but almost certainly necessary for its future survival: many hands of many colors lifting in unison, rather than the white and white-gloved few.

South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene by Samantha Ege
University of Illinois Press, paperback, 296 pp., $24.95, press.uillinois.edu/books/?id=p088339


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Shedd workers approve union – Chicago Reader

A group of people in matching "Shedd Workers United" shirts stand together, some holding signs, during a press conference. one person in front of the group stands at a lectern with microphones.
Shedd workers celebrate their union ratification vote. Credit: Courtesy Shedd Workers United/AFSCME Council 31

For Rachel Berey-Wingate, working at Shedd Aquarium is easy to love but hard to maintain—especially without a union. 

“Shedd Aquarium tends to draw in a passionate workforce: people who care deeply about the animals, conservation, and public education,” she says. “But that can also lead to employers taking advantage of that passion.” 

The 24-year-old started their aquarium employment two and a half years ago, making $15.40 an hour in guest relations. She balanced her job at Shedd with a second job as a Chicago River tour guide—usually working 50 hours a week. 

Six months ago, Berey-Wingate took a full-time job on the public engagement team directing activities like behind-the-scenes tours and “animal chats.” Their wage increased to $20 an hour. Because of the raise, she can survive off of one job. But Berey-Wingate is only eligible to stay on her parents’ health insurance plan for one more year, and she worries what will happen when she has to pay for it herself. “I also live in a two-bedroom apartment with three roommates and lead paint in the walls, so that’s where I’m at.”

Berey-Wingate is one of 180 Shedd employees now represented by Shedd Workers United and the American Federation of State, County, and Municipal Employees (AFSCME) Council 31, after 75 percent of workers voted “yes” to forming a union on November 2. It capped off a yearlong anti-union campaign from management that spurred charges of labor law violations.

Shedd Aquarium is the ninth Chicago-area cultural institution to unionize with AFSCME Council 31 in the past three years. Now that they’ve won the union vote, members have set their sights on negotiating their first contract with Shedd leadership. 

The freshly unionized workers include 110 employees in guest relations, 50 in learning and community, and 15 in development and marketing. Some portion of workers are not yet unionized—like those in the animal care department—but are on track for a union vote soon. 

In a press release celebrating the win, the Shedd Workers United organizing committee said, “Shedd is an institution focused on sustainability for marine life. Together in our union, we can ensure an equal focus on making it a sustainable place to work.”

Johnny Ford, a Shedd spokesperson, said in a statement that the aquarium “commends its staff for navigating this unionization process with grace and respect” and is “now moving forward in working collaboratively with union representatives to outline the terms and conditions of employment.”

Employees also decry abysmal wages and high employee turnover. The starting wage for guest relations staff is $17 an hour and public engagement facilitators, like Berey-Wingate, make $20. Bilingual facilitators are not paid extra for translating services. Even wages for animal care specialists—who work directly with penguins, whales, and dolphins—start at $23 an hour. (In comparison, an entry-level zookeeper at the unionized Lincoln Park Zoo makes $29 an hour.) Bridget C. Coughlin, the aquarium’s CEO, earned more than $700,000 in salary and benefits in 2022, according to the aquarium’s tax filings. 

After eight years of working with aquatic creatures at Shedd, Michelle Nastasowski makes $28 an hour. She’s married, has two kids, and works full-time. She says the only reason she can afford to remain at Shedd is because her husband makes $10 an hour more than her doing maintenance. He is also a U.S. Marine veteran with PTSD whose disability payments total more than her salary. 

After the onset of COVID-19, the aquarium introduced a new policy that workers are no longer eligible for health insurance if they can be covered under their spouse’s policy. But Nastasowski says her husband’s health insurance is not the best quality, and his VA benefits are also poor compared to what Shedd would offer. 

Nastasowski is part of the nonunionized portion of employees, but she’s eager for their union campaign to also culminate with a “yes” vote. “In the eight years that I’ve been there, I have seen a myriad of different working conditions. At one point, we had to cover our own vacation time,” she says. “All sorts of logistical things that could be protected under a union contract that in the past have varied just because of who was in charge. I would like to see an agreement that both management and the staff can come to that’s protected.”

Kirby Garcia is the only hourly paid worker in the marketing department. After five years with the aquarium, they now make $24 an hour. Garcia also drives for Uber and DoorDash on the weekends. 

“The cost of groceries has been crazy for a long time. It’s something that I struggle with,” they say. “My rent keeps going up every year. I noticed pretty early on that my raises weren’t keeping up with inflation. And as far as I’m concerned, if my raise doesn’t keep up with inflation, then it’s a pay cut.” 

Garcia was on Medicaid when they started working at Shedd, and they jumped at the opportunity to enroll in benefits through the aquarium. “But now that I was paying for insurance and I didn’t have Medicaid and I didn’t qualify for SNAP anymore, I was actually coming out with less money at the end of the month.”

Employees describe a laundry list of anti-union activities during their 18-month campaign. Management told workers they couldn’t hang pro-union flyers or even discuss union matters at work. Garcia and others also say they received anti-union emails from management. 

“That was extremely disheartening for me,” Garcia says, “and what it showed me, really, was if we aren’t together as workers, then top leadership isn’t going to listen to us at all.”

In September, the union charged Shedd with violating federal labor law. The union claims management told workers that the aquarium’s policy against workplace solicitation barred them from talking about their union or asking others to sign union cards while at work. But they say that policy was not enforced if, for example, workers wanted to sell Girl Scout cookies or invite coworkers to a comedy show. The charge is still pending before the National Labor Relations Board, records show.

Ford, the Shedd spokesperson, argued in a statement that the union’s allegations are “inaccurate and misleading.” He added that “Shedd has a long history of honest, robust and bidirectional employee relations and communications – values we continue to hold ourselves to as this process continues.” 

Nastasowski and Garcia are both hopeful and excited for the future. Shedd joins eight other local cultural institutions that have unionized with AFSCME Council 31 in recent years, including staff at the Art Institute and the School of the Art Institute, the Newberry Library, the Peggy Notebaert Nature Museum, the Field Museum, the Museum of Science and Industry, and the Museum of Contemporary Art. 

Anders Lindall, an AFSCME spokesperson, says these victories represent the raising up of an entire sector of workers who have been taken for granted for too long. “They have been told, ‘You are just fortunate to be in proximity to these great institutions. You’re lucky to work here. There’s a line out the door of people that will take your job, and therefore you should be willing to swallow not having health insurance or having to DoorDash because you don’t make enough money.’” 

Berey-Wingate wants workers who hear about their win to understand that unionizing is possible. “People shouldn’t be putting up with injustice at their workplace, even if—especially if—it’s a workplace that they care deeply about. Right? Work situations can get better.”


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Volume 54, Number 8 – Chicago Reader

Bylines labeled “Chicago Reader Staff” are used for features that contain nonwritten, nonreported information like listings, for event and organization announcements by noneditorial personnel, and for advertiser content. Additionally, when multiple authors collaborate on an article, the byline “Chicago Reader Staff” is displayed, while individual contributions are credited throughout the feature.

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