Gwendolyn Whiteside Shines in American Blues Theater’s “Come Back, Little Sheba” Review or “Come Back, Little Sheba” Review: Gwendolyn Whiteside’s Powerful Chicago Return

Chicago’s American Blues Theater is currently hosting a revival of William Inge’s “Come Back, Little Sheba,” a play that, while once a staple of the American dramatic canon, has seen its prominence wane in recent decades. But this production, running through March 22, 2026, isn’t simply a nostalgic exercise. It’s a deeply affecting exploration of regret, loneliness, and the enduring power of hope, anchored by a remarkable performance from Gwendolyn Whiteside.

Whiteside, who also serves as the Executive Artistic Director of American Blues Theater, returns to the stage in the role of Lola Delaney, a former beauty queen grappling with a life that hasn’t lived up to her youthful dreams. As critic Chris Jones notes, Whiteside’s career has increasingly focused on directing and administrative roles in recent years, making her return to acting all the more impactful. Jones remembers her onstage work from two decades prior as “exceptional,” and finds it “yet more remarkable now.”

“Come Back, Little Sheba” centers on the Delaneys, a couple whose marriage was born out of circumstance – an unexpected pregnancy that forced a union and derailed Doc’s (played by Philip Earl Johnson) aspirations of becoming a doctor. The loss of their child further cemented a quiet desperation in their lives. The “Sheba” of the title is a lost dog, but serves as a potent symbol of the longing and unfulfilled desires that permeate their existence.

Into this stagnant world arrives Marie (Maya Lou Hlava), a young college student renting a room from the Delaneys. Marie’s youthful vitality and open sexuality serve as a catalyst, forcing Lola and Doc to confront their own repressed emotions and the choices that have shaped their lives. The play doesn’t shy away from the complexities of desire and the often-painful consequences of societal expectations.

The production, directed by Elyse Dolan, is staged in the intimate Studio Theater at American Blues, with the audience surrounding the performance space. This immersive setting, with only 31 seats per performance, allows for a visceral connection between the actors and the audience. The set design, by Shayna Patel, is described as evoking the “fragility of these characters” without relying on overly symbolic flourishes.

While the production isn’t without its minor flaws – Jones suggests the play might benefit from an intermission, as originally written, and notes that Johnson’s portrayal of Doc is initially somewhat subdued – We see ultimately Whiteside’s performance that elevates the entire production. Jones calls her performance “deeply moving” and “courageous,” and believes it surpasses other interpretations of the role he’s witnessed over the years. He writes that her vulnerability and optimism are particularly striking.

The cast also includes Justin Banks as Bruce, Ethan Serpan as Turk, and Zach Shultz as Ed & Voice, alongside American Blues Theater ensemble members Philip Earl Johnson, Joslyn Jones, and Gwendolyn Whiteside. Artistic affiliates Maya Lou Hlava, Cisco Lopez, and William Anthony Sebastian Rose II round out the company.

“Come Back, Little Sheba” isn’t a play that offers easy answers or tidy resolutions. It’s a raw and honest portrayal of the human condition, exploring themes of loss, regret, and the enduring search for connection. American Blues Theater’s production, particularly through Whiteside’s compelling performance, offers a powerful and moving experience that resonates long after the curtain falls. Tickets, priced between $34.50 and $64.50, are available through the American Blues Theater box office at (773) 654-3103 or online at americanbluestheater.com.

Review: “Come Back, Little Sheba” (3.5 stars)

When: Through March 22, 2026

Where: American Blues Theater, 5627 N. Lincoln Ave., Chicago

Running time: 1 hour, 35 minutes