Amy Morton Returns to Steppenwolf with YOU WILL GET SICK

Steppenwolf Theatre Company is no stranger to electrifying premieres, but this summer’s production might just be one of its most poignant. Tony nominee Amy Morton—a long-time ensemble member whose name is virtually synonymous with Chicago theatre—returns to the iconic venue after nearly a decade. She will star in the regional premiere of YOU WILL GET SICK by Noah Diaz, a thought-provoking piece that grapples with the fallout of an unexpected medical diagnosis. Opening on 15 June, the play is set to run from 5 June to 13 July, with the creative team promising audiences a fresh angle on how we confront mortality, honesty, and the ties that bind us.

Another Homecoming for a Steppenwolf Star

Steppenwolf has always been a breeding ground for talent, with luminaries such as John Malkovich, Gary Sinise, and Laurie Metcalf all calling it home at various points in their careers. Few, however, are as instantly identifiable with Chicago’s theatre scene as Amy Morton. Whether treading the boards in productions like AUGUST: OSAGE COUNTY or directing behind the scenes, Morton’s presence has often signalled a certain theatrical heft—an assurance of raw, unfiltered storytelling.

After nearly ten years away, her return feels like a homecoming of sorts. In a city where theatre is woven into the cultural fabric, Steppenwolf stands as a beacon of actor-driven work, and Morton is one of its most celebrated interpreters. Her Tony-nominated role in WHO’S AFRAID OF VIRGINIA WOOLF? showcased a performer unafraid to tackle messy, complicated emotions. Now, her decision to star in YOU WILL GET SICK carries with it an expectation of complexity and empathy that should pique the curiosity of any theatregoer. If you’re looking for a reason to keep an eye on Chicago’s theatre listings, Morton’s involvement might well be it.

The Heart of YOU WILL GET SICK

Penned by Noah Diaz, YOU WILL GET SICK explores what happens when a young man receives a medical diagnosis that turns his life upside down. Overwhelmed and unsure of how to break the news to those closest to him, he hires a stranger—played by Morton—to shoulder that daunting responsibility. From there, the story twists into a kaleidoscope of secrets, emotional revelations, and unexpected humour.

What sets Diaz’s play apart is its willingness to mine both pathos and absurdity from a situation many of us fear. Illness narratives typically veer into melodrama or romanticised tropes, but here we have a playwright who understands the disorienting nature of a life-changing diagnosis. The initial shock leads to an almost surreal transaction: what if you could hire someone else to deliver the worst news of your life?

Though the subject matter may appear weighty, Diaz balances gravitas with moments of levity. The script is expected to ask searching questions about identity, friendship, and our shared reluctance to speak openly about mortality. Early readings have suggested that the piece offers a uniquely modern lens on the way people form (and sometimes monetise) connections, perhaps a subtle commentary on how we cope in an era driven by side-hustles and on-demand services. For those craving drama that reflects our current reality—emotional turbulence and all—YOU WILL GET SICK could be exactly what the doctor ordered.

A Team of Familiar Faces

Beyond Amy Morton, the ensemble features Cliff Chamberlain, Namir Smallwood, Jordan Arredondo, and Sadieh Rifai. Chamberlain’s credits, including THE MINUTES and SUPERIOR DONUTS, have already established him as a performer of significant range. Meanwhile, Smallwood has delivered powerhouse turns in PASS OVER, TRUE WEST, and BUG, earning praise for a visceral style that connects deeply with audiences. This combination of Steppenwolf regulars and fresh talent reflects the theatre’s mission to blend the new with the familiar in a way that keeps audiences on their toes.

If you track the patterns of ensemble casting at Steppenwolf, you’ll know the company is renowned for forging a sense of camaraderie and creative trust among its members. The interplay between Morton and performers like Smallwood—both no strangers to intense roles—promises an atmosphere ripe for bold choices. Directed by Audrey Francis, who knows Steppenwolf’s environment intimately, the production is primed to capture the raw energy that has long defined the theatre’s best work.

Bringing Magic and Illusion to the Stage

Though we typically associate illusions with musicals or more fantastical plays, YOU WILL GET SICK will feature a dash of stage magic. Skyler Fox is on board as the illusions designer, hinting that the production is willing to bend reality to mirror the play’s emotional disorientation. It’s a bold choice for a piece that’s seemingly grounded in everyday life. Then again, there’s something inherently surreal about confronting a diagnosis that can upend one’s identity and sense of self.

Other members of the creative team include scenic designer Andrew Boyce, costume designer Raquel Adorno, lighting designer Jen Schriever, and sound designer Willow James. Each will play a pivotal part in shaping the show’s atmosphere—especially crucial in a work that aims to depict internal turmoil as vividly as external circumstance. From subtle lighting cues that reflect the protagonist’s mental state to carefully curated soundscapes that heighten tension, these design elements can make or break the immersive quality of any theatre piece.

The Role of Comedy in Hard-Hitting Themes

If there’s one thing critics have frequently noted about Noah Diaz’s writing, it’s his knack for injecting humour into the darkest corners of the human experience. By focusing on comedic elements—be they awkward social misunderstandings or a wry take on modern relationships—YOU WILL GET SICK ensures the audience remains engaged, rather than overwhelmed.

Steppenwolf itself has a track record of balancing sombre themes with sharp humour. Productions like AUGUST: OSAGE COUNTY delved into family dysfunction but still found room for biting wit. This interplay of light and dark is part of what makes the theatre’s output so addictive for those who crave depth without succumbing to despair. Early indications suggest Diaz’s piece will continue this tradition, likely appealing to those who prefer their existential dread spiced with the occasional laugh.

Why Chicago Theatre Still Matters

In an era when streaming services dominate leisure time and many of theatregoers’ eyes drift to Broadway or London’s West End, it’s easy to forget that Chicago remains one of North America’s most dynamic theatre hubs. Steppenwolf, in particular, has built a legacy on championing new voices while maintaining a loyal ensemble that shapes the city’s cultural identity. The theatre’s ensemble-based approach fosters a sense of continuity that allows adventurous works like YOU WILL GET SICK to thrive.

Data from the League of Chicago Theatres consistently shows high levels of attendance at off-Loop and regional venues, proving there’s still an appetite for live, challenging storytelling outside the usual commercial spaces. While tourists might flock to the big musicals, local audiences and dedicated theatre travellers often seek out Steppenwolf’s home-grown productions to witness that raw, electric energy you can only find when actors and audience share the same intimate space.

Steppenwolf’s Next Chapter

This production arrives at a time of evolution for Steppenwolf. With expansions to its campus and a renewed focus on nurturing emerging playwrights, the theatre is poised to broaden its reach. The choice to bring Amy Morton back after nearly a decade away is symbolic: it ties the theatre’s storied past to the new wave of writers like Noah Diaz, suggesting a continuum that honours tradition while forging ahead.

Patrick Zakem serves as creative producer, Tom Pearl as producing director, and JC Clementz handles casting. Together with a stage management team led by Laura D. Glenn and Kathleen Barrett, they’ve assembled a production that feels like more than just the sum of its parts. It’s also a reminder that theatre is a collective effort. Every show involves countless behind-the-scenes roles that shape what we see under the spotlight.

A Chance to Witness Change

Ultimately, YOU WILL GET SICK stands to remind us that vulnerability is not weakness—it can spark life-altering conversations and unexpected alliances. The show’s premise taps directly into that uneasy zone where personal fears collide with external pressures. With Amy Morton anchoring the production and a cast brimming with talent, there’s every reason to believe the play will leave a lasting impression.

Morton’s return is a testament to Steppenwolf’s enduring appeal—both for established theatre icons and younger artists eager to make their mark. If you’re in or around Chicago between 5 June and 13 July, popping into this production might be more than a typical night out. It could be an experience that resonates long after you’ve left the theatre, prompting you to reconsider the limits of empathy, the weight of secrets, and the lengths we go to protect ourselves from pain.

When the curtain finally falls on YOU WILL GET SICK, the hope is that audiences leave not just with an appreciation for bold new storytelling, but also with a deeper understanding of how life’s toughest moments can reveal the best—or worst—in us. After all, theatre’s true magic lies in its power to hold a mirror up to our daily struggles, urging us to see them anew, and sometimes even to laugh at them. That, more than anything, might be the key to enduring them.