Coed Prison Sluts New Years Eve 2016 – 8pm

@ 8:00 | Mainstage

After 12/29 $75

About the Show

“Co-Ed Prison Sluts” first premiered in Chicago in 1989, and closed in 2000, making it the longest running musical in Chicago history! The show is back for one night only (2 shows!) on New Year’s Eve.

Inane residents of a prison live in fear of the arrival of The Clown…and the big fight with a drag queen and a clown never disappoints. See a cast of some of the brightest performers on the Chicago comedy scene.

Not for the easily offended!

2 drink tickets (well liquors, domestic beer & wine)
Appetizer buffet

1 drink ticket (well liquors, domestic beer & wine)
Choice of desserts served at table during show
Glass of Champagne for toast at midnight!

Other Performance Times

  • This event finished on 31 December 2016.

The People

Mick Napier, Original Director

Mick is the founder and Artistic Director of The Annoyance. He came to Chicago in 1987 after studying at Indiana University and with a group of friends, created The Annoyance’s first show Splatter Theater. Following the success of Splatter, Mick … Continue reading Mick Napier

Kyle Dolan, Director

Kyle Dolan has been involved with the Annoyance Theater for 20 years. Starting in 1994 as a student, Kyle was soon thrown into shows both onstage and behind the scenes in over 30 productions. Teaching for over 10 years, Kyle … Continue reading Kyle Dolan

Cast Members

Media & Reviews

The Chicago Reader says:

The secret to Coed Prison Sluts, which most of its many imitators miss, is that it’s a carefully constructed satire masquerading as an artless mess. Faith Soloway’s hilarious, well-written songs artfully mate sweet, sappy, very pop tunes (reminiscent of the mindlessly happy songs people sing in children’s television) with taboo-breaking lyrics … Likewise, the screwy plot, developed through improvisation under Mick Napier’s watchful eye, wittily marries the cliches of prison movies–the deadening daily routine, the underground prison economy, the climactic showdown between the good prisoner and his archenemy–and those of old-fashioned musical comedies: the cute meet, the relationship-threatening conflict, even the traditional pair of couples, the leads meant for romance and the others for comic relief.