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Lawrence Bommer
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Chicago Theater Review: GREY HOUSE (A Red Orchid)
CABIN FEVER AT ITS CRAZIEST Make of this what you will. All too predictably, every review that Grey House receives will be different. Because this new work by Red Orchid Theatre ensemble member Levi Holloway defies the consistency and plausibility that feed consensus. A 95-minute absurdist horror tale, director Shade Murray’s impressively enacted world premiere is a…
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Dance Review: JANE EYRE (The Joffrey Ballet)
DEMONS DANCE ON THE MOORS You can’t keep a good protagonist down. A 2016 British ballet (also performed in June by American Ballet Theatre), Jane Eyre transforms a romantic heroine into a feminist icon, her sterling goodness sturdy enough for 2019. Joffrey Ballet’s Chicago premiere of Cathy Marston’s literally moving 130-minute version reaffirms a once and future…
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Theater Review: SUNSET BOULEVARD (Porchlight Music Theatre at Ruth Page Center for the Arts)
UP CLOSE, SHE’S BIGGER THAN EVEN PEANUT BUTTER From the start it seemed strange that anyone would make a musical out of a movie that embodies its medium so completely. Yes, the film All About Eve deserved to become the musical Applause. Both were obsessed with the theater. But Billy Wilder’s consummately cinematic 1950 masterpiece was a cautionary…
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Theater Review: SUNDOWN, YELLOW MOON (Raven Theatre in Chicago)
A FAMILY IN KEY SIGNATURES As she showed in  Five Mile Lake,  Rachel Bonds works with a small brush. She lays low before her subject in order to convey tender, unassuming connections between the characters. The result: inconclusive plots that suggest so much more life around these souls — ones that we can only assume but nonetheless…
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Theater Review: THE HOUND OF THE BASKERVILLES (City Lit in Chicago)
THE CURIOUS CASE OF THE DOG IN THE NIGHT-TIME Terry McCabe, artistic director of City Lit Theater, knows Sherlock Holmes and his shadow sleuth Dr. Watson almost as well as author Sir Arthur Conan Doyle. His adaptations of their adventures combine storytelling urgency and narrative drive with crime solving at a perfect fever. Ever at…
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Theater Review: LERNER AND LOEWE’S GREATEST HITS (Music Theater Works)
WELL, LERNER & LOEWE ME DOWN Seldom has a dream team had a shorter span: It was all over in only 13 years. But between 1947 and 1960 Alan J. Lerner and Frederick Loewe ran a glorious gamut. It happened both on Broadway and in Hollywood transfers of five very different successes. The powerful partnership…
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Theater Review: BERNHARDT/HAMLET (Goodman Theatre in Chicago)
TO BE OR NOT TO BE SARAH BERNHARDT Well, with “Bernhardt” and “Hamlet” sharing the marquee, Goodman Theatre’s season-opener must be larger than life if not literature. Sprawling and stuffed at 150 minutes, Theresa Rebeck’s multi-focused 2018 drama Bernhardt/Hamlet takes a quizzical look at a bizarre chapter of theater lore. We’re witness to the sensation-seeking choice of…
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Theater Review: HELLO AGAIN (Theo Ubique Cabaret Theatre in Evanston)
A MUSICAL CIRCLE JERK You could call it a daisy chain of horizontal encounters, this chronicle of sexual partisans whose sleeping around creates a sort of chain letter of lust. A ton of talent reduced to silly shenanigans — a miscalculation dogs director/choreographer Brenda Didier’s revival of Hello Again, Michael John LaChiusa’s 1993 musical trivialization of…
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Theater Review: THE KING’S SPEECH (The Yard at Chicago Shakespeare)
MY FAIR MONARCH We love levelling. Mark Twain’s prince and the pauper, Queen Victoria and her Scottish and Indian boyfriends, Queen Anne and her favorites, a British schoolteacher and the King of Siam, King George III and his equally mad doctors — these equalizing polarities keep history real. Add to these opposites that attract another…
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Theater Review: OSLO (TimeLine Theatre at Broadway Playhouse in Chicago)
DANCE OF DIPLOMACY Clandestine and volatile, high-stakes diplomacy can be as taut as any courtroom drama. It’s hard to imagine a story more intrinsically theatrical than the real-life crises and complications that transform Oslo into a foreign-affairs thriller. Now at the Broadway Playhouse in a crackling collaboration between TimeLine Theatre Company and Broadway in Chicago, it’s history…
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Theater Review: THE GREAT LEAP (Steppenwolf)
HOOP DREAMS IN THE CELESTIAL KINGDOM No question, Lauren Yee is a wonderful new voice in theater. With Cambodian Rock Band she made crucial connections between iconic survivors and unspeakable genocide. Victory Gardens Theater’s 2018 local premiere was a powerful work of witness and redemption. Just as remarkable in its fusion of sport and history, people…
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Chicago Theater Review: TINY BEAUTIFUL THINGS (Victory Gardens)
CAPSULE CURES Not to be confused with anything else, Tiny Beautiful Things is a theatrical curiosity, fluidly blocked but dramatically static as it unleashes a swirling cascade of questions and answers. The latter, culled from 2010 to 2012, come from “Sugar,” an advice columnist of the Miss Lonelyhearts persuasion who wrote for The Rumpus, an online literary magazine. Unpaid…
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Theater Review: FIVE PRESIDENTS (American Blues Theater at Stage 773 in Chicago)
A CONVERGENCE OF HISTORY It was supposedly the “end of an era,” the memorial service for Richard Nixon in the Nixon Library in his birthplace Yorba Linda, California, on April 27, 1994. And we are there: Five Presidents, a recently revised 2015 drama by Chicago favorite Rick Cleveland, delivers 85 minutes of fascinating “fly on the…
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Theater Review: SPAMALOT (Mercury Theater Chicago)
NOT DEAD YET It’s at least a chuckle a minute. Half the hilarity is verbal sallies, half sight gags. This cheeky, subversive, and unashamedly sidesplitting Spamalot, described in the press release as “ridiculous men in tight pants,” is a labor of laughter. Its irreverence feels contagious, its target-shooting flawless. Nothing is spared its satire as it…
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Theater Review: MIDSUMMER [A PLAY WITH SONGS] (Greenhouse Theatre Center)
LOVE IN THE FAST LANE “Love will break your heart; sometimes you want it to.” That curious contradiction is the opening shot in MIDSUMMER (A Play with Songs). This theatrical roller coaster merrily chronicles a weekend “stand” in Edinburgh between convulsively disparate thirtysomething partners, a quirky encounter that may indeed have a future. Now in a…
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Theater Review: HOWARDS END (Remy Bumppo Theatre Company at Theater Wit)
MAY HOWARDS END NEVER END “Only connect..! Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer.” Seldom has a classic novel so strongly followed its defining drive as Howards End, E.M. Forster’s seminal 1910 good-will offering. As seen and…
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Theater Review: SONS AND LOVERS (Greenhouse Theatre Center & On The Spot Theatre in Chicago)
THE SON ALSO RISES It’s always fascinating to be present at the creation of a crucial writer. Like James Joyce’s Portrait of the Artist as a Young Man, Eugene O’Neill’s Long Day’s Journey into Night, and Tennessee Williams’ The Glass Menagerie, D.H. Lawrence’s 1913 coming-of-age classic marks a metamorphosis: Sons and Lovers chronicles a writer’s conditional emancipation from a home that…
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Theater Review: CASA VALENTINA (Pride Films and Plays in Chicago)
THE WRONG WARDROBE? Clothes make the man — even if he dresses as a woman. An entire individuality, it seems, can hang in a closet, as transvestites have proven across the centuries. Casa Valentina, a 2014 period piece by Harvey Fierstein (Torch Song Trilogy, Kinky Boots), explores a lost world of cross-dressers in the Catskills…
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Chicago Theater Review: THE HUNCHBACK OF NOTRE DAME (Music Theater Works in Evanston)
A SERMON IN FLESH WOW spelled backwards! In almost forty seasons it’s their biggest show, with full orchestra and a cast of over 40, including a seated choir. It sprawls with spectacle but it’s also tight as a stark story requires. Music Theater Work’s The Hunchback of Notre Dame — a “medieval” musical spun from the 1996 Disney…
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Theater Review: ALL QUIET ON THE WESTERN FRONT (Red Tape Theatre and Greenhouse Theatre)
ALL QUIET MAKES A BIG NOISE One of the saddest truths about humanity is that we always need to be warned against war, so tempting is its license to kill. All Quiet on the Western Front, Erich Maria Remarque’s 1929 novel, was not, alas, the anti-war novel to end all anti-war novels. It arrived half-way between…
Off-Broadway Review: THE MONSTERS (Manhattan Theatre Club at NY City Center)
by Alex Simmons | February 11, 2026
in New York, TheaterTheater Review: THREE COCONUTS (West Coast Jewish Theatre in Santa Monica)
by Judson Feder | February 11, 2026
in Los Angeles, TheaterBoston Theater Review: LITTLE WOMEN (Actors’ Shakespeare Project)
by Lynne Weiss | February 10, 2026
in Boston, TheaterTheater Review: MY LIFE AS A COWBOY (North American Premiere at Open Space Arts)
by Croydon Fernandes | February 9, 2026
in Chicago, TheaterTheater Review: MY SON THE PLAYWRIGHT (Rogue Machine)
by Michael Landman-Karney | February 9, 2026
in Los Angeles, TheaterTheater Review: CAMP MORNING WOOD (Prism Theater in Palm Springs)
by Stan Jenson | February 9, 2026
in Palm Springs
(Coachella Valley), TheaterTheater Review: THE IRISH … AND HOW THEY GOT THAT WAY (Porchlight Music Theatre)
by Croydon Fernandes | February 8, 2026
in Chicago, Theater



















