Review by Emily Werner.
Lifeline Theatre concludes its 43rd season with the world premiere of the rock musical Loki—The End of the World Tour. With Loki, director Heather Currie leans into the company’s mission of reimagining literary works, delivering a high-energy reinterpretation of Norse mythology backed by a bold original score.
Drawing from the myths of the Poetic Edda, the shape-shifting trickster god Loki (Jack Chylinski) arrives in Asgard bringing chaos, comedy, and disruption. When Loki introduces his children—Hel (Grace Reidenauer), Fenris (Anthony Kayer), and Middy (Avery Thompson)—the ruling god Odin (Scott Danielson) fears they are the monsters foretold in his vision of the apocalyptic Ragnarök. Acting on that fear, Odin imprisons the children with the help of Thor (Keenan Odenkirk), Freya (Janelle Sanabria), and Sigyn (India Renteria). In response, Loki sets out to challenge the authority and hypocrisy of the gods, igniting a chain of revelations and confrontations.
Written by Christine Calvit (book) and George Howe (music and lyrics), LOKI offers a playful yet pointed retelling that welcomes both mythology enthusiasts and newcomers. Beneath its spectacle, the show explores timely themes of prejudice, identity, and systemic corruption.
The ensemble showcases a strong blend of musicality, comedy, drama, and movement. Chylinski captures Loki’s mischief with commanding vocals while also revealing a more nuanced side of the character—one that is deeply loving, wounded, and vulnerable. Danielson’s resonant bass grounds Odin in authority, while Sanabria and Odenkirk lean effectively into the physicality and ego of Freya and Thor. As Baldur, the god of light and joy, Peter Gertas brings warmth and levity to the stage. Meanwhile, Reidenauer, Kayer, and Thompson give compelling performances as Loki’s children, embodying the pain and resilience of those cast aside by societal norms. An engaging creative choice is the use of the fate-weaving Norns as both narrators and onstage musicians. Kelan Smith, Kara Olander, and Alek Boggio bring energy to the production, seamlessly blending storytelling with live music and humor.
Visually, the production makes a strong first impression. Lindsay Mummert’s scenic design evokes both a rock concert venue and the ruins of a once-grand hall, setting the tone for a mythic story told through a modern lens. Aly Amidei’s costumes strike a balance between contemporary style and subtle Norse symbolism. G. Max Maxin’s lighting and Emily Hayman’s sound design effectively create the immersive feel of a live concert—though at times, the intensity may be overwhelming for audience members sensitive to light or sound. Near the closing sequence, heavy fog obscures the staged vision of Ragnarök (with fight choreography by Sheryl Williams), making it difficult to follow the action and raising some concerns about visibility and safety.
Ultimately, Loki—The End of the World Tour is an ambitious and imaginative production embracing spectacle without losing sight of its emotional core. While some technical elements could benefit from refinement, the show succeeds in reexamining a familiar myth through a contemporary and human lens. Lifeline Theatre closes its season with a production that is as thought-provoking as it is entertaining—inviting the eternal question: in an us vs. them world, can we envision a new mythology?
Loki—The End of the World Tour continues until June 14 at Lifeline Theatre, 6912 N. Glenwood Ave. Run time is 2.5 hours with one intermission. Tickets (starting at $45) and more information are available here.
Emily Werner is a theater critic and administrator located in Chicago. She works at Lyric Opera and is a board member of Porchlight Young Professionals at Porchlight Music Theatre. You can find her articles on her website, Werner's Theatre Reviews or follow her on Instagram at @wernerstheatrereviews.
For more information on this and other productions, see theatreinchicago.com.
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