image - 2025-02-03T092338.004

Chicago

  • 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…

  • 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…

  • Chicago Opera Review: THE BARBER OF SEVILLE (Lyric Opera)

    A SHEER DELIGHT; A CUT ABOVE Opening night of the season is typically an opportunity to enjoy some people watching on the red carpet, a classic, accessible, and not-too-serious opera, and an early night (since the opera starts at 6pm). Gioachino Rossini’s Il Barbiere di Siviglia (1816) delivered superbly on all three counts, despite the…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • 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…

  • Chicago Theater Review: ALL THAT HE WAS (Pride Films and Plays)

    MEMORIES IN MUSIC FORGE A GREATER WHOLE We’re witnesses to an aftermath and its collateral healing, the unsought legacy of a gay guy who died too soon: Newly revised after its 1993 inception and directed by bookwriter/lyricist Larry Todd Cousineau,  All That He Was  (with music by Cindy O’Connor) is a beautifully structured and powerfully performed valedictory….

  • Theater Review: BOOGIEBAN (Chicago Dramatists and 13th Street Repertory Theatre in New York)

    COLLATERAL HEALING It’s a justified transfer. A very enterprising theater called none too fragile from Akron, Ohio has come to Chicago (and later to New York City) to offer a pretty powerful play. Presented at Chicago Dramatists in the West Loop, it’s a world-premiere production of a one-act about the hard healing that comes after…

  • Review: COME FROM AWAY (North American Tour)

    THE OTHER SIDE OF TERROR Maybe because we need them so much, miracles are hard to take but crucial to believe.  Come from Away is a miracle musical in every way. Just as Lanford Wilson wrote  The Fifth of July  to reckon with the aftermath of a too-hopeful holiday, this Canadian wonderwork  confronts — and redeems — the horrors…

[my_pagination]

Search Articles

Please help keep
Stage and Cinema going!