Tim Kough’s unconventional
thriller finds surprising
humanity beneath its violence

The cast of Safe Landing: Coyote Embrace, Authentic Chicago Ensemble at Theater Wit

Theater comes wrapped in all manner of trappings, and it’s often the works that stray furthest from convention that linger longest in the memory. Safe Landing: Coyote Embrace, now playing at Theater Wit, is one of those productions. Written by Tim Kough and directed by Jordan Ratliff, it’s a brash, ballsy story rich in visual metaphor that ultimately arrives at an unexpected message. A gallery of high-intensity characters and an unusual premise draw us in before leading us through a suspenseful tale punctuated by moments of offbeat humor.

It takes a moment after the lights go down to realize that Rio (Emma Anderson) and Riley Ray (Joey Chelius) are hired assassins preparing for a hit. Riley Ray, however, is suffering what appears to be an existential crisis. Rio tries to steady him before they leave, but it’s clear his unraveling could have deadly consequences. If their boss sends Angel instead, someone isn’t coming back alive.

Elsewhere, in a remote corner of Illinois, the mood shifts entirely. A bait shop that also serves as a bistro is run by two proprietors named Jack and Jax, who seem perfectly content despite having almost no customers. Kough plays Jack with luminous warmth, turning him into a charismatic, middle-aged firecracker overflowing with corny jokes and genuine kindness. Jax (Danielle Lorae Byas) balances his exuberance with razor-sharp wit and a stand-up comic’s timing. Together they create a welcoming refuge that couldn’t feel further removed from the violence unfolding elsewhere.

Melody Contreas, Sara Kough and Heather Elaine Abbott

Their property also includes several rental units, one occupied by Anj (Heather Abbott), the assassins’ intended target. Burdened by regret that remains intentionally mysterious, Anj has lured her estranged sister Casey (Sara Kough), an up-and-coming singer, and her small entourage to the bait shop under the pretense of performing a gig.

Once these storylines begin converging, the play truly finds its footing. Riley Ray is quickly dispatched, leaving Rio to work alongside Angel (Melody Contreas) in pursuit of their target. Angel is every bit the psychopath her reputation suggests—aloof, utterly indifferent to suffering, and disturbingly exhilarated by violence.

A brief soliloquy offers a glimpse into the abuse and degradation that shaped Angel’s worldview. Rather than excuse her brutality, it explains the emotional armor she has constructed around herself. Strength, for Angel, has become synonymous with the power to extinguish life before anyone can inflict pain upon her again.

Tommy Rothwells, Susan Payne Anderson and Izadorius Tortuga

Anderson’s Rio proves equally formidable but far more disciplined. She suppresses bloodlust in favor of professionalism, making her the more dangerous of the two. Seeing these menacing roles inhabited by young women rather than the men audiences might traditionally expect serves as a subtle reminder that violence and moral corruption know no gender.

The play’s emotional center, however, lies elsewhere. The fractured relationship between Anj and Casey carries genuine weight, illustrating how neglected family bonds can harden into wounds that seem impossible to heal. Sara Kough gives Casey’s disappointment an honesty that resonates long after their scenes together end.

Casey’s “band” turns out to be more of an entourage. Izadorius Tortuga is solid as Clayton, her head of security, while Tommy Rothwell’s Ellis, Clayton’s partner of six months, brings the optimism of a relationship still in its honeymoon phase. Fidgety and evasive from the moment she appears, Susan Payne Anderson’s Dede emerges as the evening’s wild card. When the hired killers arrive, her connection to the unfolding events—and the reasons behind it—gradually come to light.

Tim Kough and Danielle Lorae Byas

It’s after this turning point, punctuated by some imaginatively choreographed carnage, that the play pivots from impending tragedy toward forgiveness and the resilience of community. Neighbors rally around someone who has made a terrible mistake but remains worthy of compassion. Kough explored a similar idea in last year’s Safe Landing: How the Owls Saved Me, in which healing came through reconnecting with nature. Here, redemption grows from human connection instead.

That thematic turn won’t work for everyone. The shift from violent thriller to heartfelt meditation on empathy is abrupt, but Ratliff navigates it with enough confidence that the emotional payoff feels earned rather than imposed. The production never entirely abandons its rough edges, yet those edges become part of its identity. What begins as a story about professional killers gradually reveals itself to be a meditation on forgiveness, belonging, and the possibility that even lives shaped by violence need not remain defined by it.

With its unconventional structure, striking imagery, and thoughtful exploration of how coyotes have adapted to life alongside Chicago’s human population, Safe Landing: Coyote Embrace quietly asks audiences to reconsider how they move through the world. Kough suggests that survival isn’t simply about strength, but about recognizing one another’s wounds before it’s too late. It’s an unexpectedly hopeful conclusion to a play that spends much of its running time staring brutality in the face.

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photos by Alex Albrecht

Safe Landing: Coyote Embrace
Authentic Chicago Ensemble
Theater Wit, 1229 W. Belmont Ave. in Chicago
1 hour 45 minutes with intermission
ends on July 26, 2026
for tickets, visit Theater Wit

for more shows, visit Theatre in Chicago

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