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Chicago

  • Chicago Theater Review: TILIKUM (Sideshow Theatre Company at Victory Gardens)

    SEA WORLD AS A CITADEL OF CAUCASIAN COMMAND Orcas, it seems, can suffer for our sins. In Tilikum — a world-premiere from Sideshow Theatre Company — the struggle of indigenous people to reclaim their stolen land comes down to a giant fish tank. Playwright Kristiana Rae Colon imagines a white-supremacist version of Sea World. Its…

  • Theater Review: THE VIEW UPSTAIRS (Circle Theatre)

    A DIFFERENT LOOK AT THE VIEW Now a nearly forgotten but seminal gay tragedy, it happened after Stonewall but before AIDS and Orlando’s Pulse terrorist attack – a 1973 arson atrocity in The Big Easy. Powerfully premiered by Circle Theatre at the Pride Arts Center, The View UpStairs is Max Vernon’s 2013 musical, nominated for…

  • Chicago Theater Review: GUARDS AT THE TAJ (Steppenwolf)

    BEAUTY AND BLOOD Guards at the Taj  is, in the very best sense, unavoidable. To appreciate this grim and great drama by Rajiv Joseph (Bengal Tiger at the Baghdad Zoo,  The Lake Effect), it helps to recall the facts that inspire it: The Taj Mahal means “Crown of the Palace,” but this magnificent marble mausoleum and its…

  • Chicago Theater Review: THE PIRATES OF PENZANCE (Music Theater Works in Evanston)

    PIRATES STEALS YOUR HEART Music Theater Works just unleashed 140 minutes of undiluted ecstasy and hilarious nonsense, and the lucky location is Northwestern University’s Cahn Auditorium in Evanston. True to the topsy-turvy twists and turns of Victorian satire, this gem sounds great with Linda Madonia’s 26-piece orchestra, looks great with awesomely accurate costumes by Jana…

  • Chicago Theater Review: BURNHAM’S DREAM: THE WHITE CITY (Theater Wit)

    OUR LOST DREAM CITY It’s possible to think that it never happened, that we imagined its splendor to exalt our past. It was the most transient of treasures, with only the Museum of Science and Industry and photos to suggest the Beaux Arts, alabaster magnificence of marvels that bejeweled Jackson Park and the South Side…

  • Chicago Theater Review: FATHER COMES HOME FROM THE WARS (PARTS 1, 2 & 3) (Goodman Theatre)

    THE UNCIVIL WAR Goodman Theatre’s current epic won’t be confused with other dramas. It explores the Civil War as seen and suffered by the slaves. Not the usual perspective but it delivers a very broad canvas for Pulitzer Prize winner Suzan-Lori Parks. Running over three hours and requiring two intermissions, Father Comes Home from the…

  • Chicago Theater Review: 20,000 LEAGUES UNDER THE SEAS (Lookingglass Theatre Company)

    A LEAGUES OF THEIR OWN You can’t keep a bad man down. Especially when he’s Captain Nemo, the scourge of the sea. Returning to the watery roots of Moby Dick, Lookingglass Theatre Company launches 20,000 Leagues Under the Seas. This 140-minute adventure on the low seas navigates the psyche of a world-wide terrorist in a…

  • Chicago Theater Review: MIES JULIE (Victory Gardens)

    STRINDBERG SET IN SOUTH AFRICA Yes, it’s Mies Julie, not Miss Julie, and it’s by Yaël Farber, not August Strindberg. And that makes a monstrous difference. Repurposed to depict a different divergence between two star-crossed and mismatched lovers, reset in an uprooted country torn between the curse of apartheid and the uncertainty of nationhood, Strindberg’s…

  • Chicago Theater Review: BULL IN A CHINA SHOP (About Face Theatre)

    A POWER COUPLE WORTH RECLAIMING Lest we forget two women who long ago shaped their future into our present, witness Bull in a China Shop. Written by Mount Holyoke alumna Bryna Turner, this concentrated one-act pays a conditional tribute to Mary Wooley and Jeanette Marks, radical academics and long-time lovers. The former was President of…

  • Chicago Theater Review: A LITTLE NIGHT MUSIC (BoHo Theatre)

    EINE KLEINE SWEDISH SOLSTICE Some 40 years after its birth, A Little Night Music feels like it’s always been here. Wisely and warmly, composer Stephen Sondheim and writer Hugh Wheeler, borrowing from one of Ingmar Bergman’s finest films (Smiles of a Summer Night), compassionately anatomize three mismatched turn-of-the-century couples. They’re midsummer fools of love caught…

  • Theater Review: WAITING FOR GODOT (Druid Theatre)

    STOOD UP YET AGAIN: “Birth was the death of him”: Terse to the point of cruelty, Samuel Beckett here devours the human experience in six words.  Waiting for Godot, his minimalist masterpiece, takes nearly three hours for the same result. But Beckett succeeds in his life-long task: to “find the form that will accommodate the mess”…

  • Chicago Theater Review: HAVING OUR SAY (Goodman)

    OUT OF THE MOUTHS OF CENTENARIANS “Life is short. It’s up to you to make it sweet.” No cliché in Emily Mann’s moving 1993 play, this is one of many hard-earned pearls of wisdom in her generous portrait of centenarian sisters. Based on the oral history provided by Sadie and Bessie Delany before their much-protracted…

  • Chicago Theater Review: A NEW ATTITUDE (Black Ensemble Theater)

    PATTI QUAKES, PATTI SHAKES. PATTI GETS HER CAKES You can only listen and love: The former Patricia Louise Holt-Edwards oozes energy on stage. She kicks off her shoes in sheer delight. Loving jazz from the outside in, she sets style standards with each new wardrobe. An entrepreneur, she sells her own “Fancy Cakes” on the…

  • Chicago Theater Review: PROMETHEUS BOUND (City Lit at Edgewater Presbyterian Church)

    PROMETHEUS  SETS THE STAGE AFIRE Imagination sometimes seems abstract. It’s a term you can’t always savor — until you see it blossom before you. It’s in full force in City Lit’s revival of  Prometheus Bound, the surviving drama from Aeschylus’s trilogy dating back to the fifth century BC. A labor of love spanning 20 years, this eye-popping,…

  • Chicago Theater Review: FLIES! THE MUSICAL! (Pride Films and Plays at the Pride Arts Center)

    YOUR FLIES! IS OPEN The running joke behind this unauthorized musical based on a 1954 novel and a 1963 film is how it hides its homage: To avoid copyright infringement, we never hear “Flies” and “Lord” in the same sentence. Critics, happily, needn’t be so coy: A world premiere from Pride Films & Plays,  Flies! The…

  • Chicago Theater Review: SUDDENLY LAST SUMMER (Raven Theatre)

    NOT A TENNESSEE WALTZ The strangest thing about  Suddenly Last Summer  is that the main character is never seen. But, talked about for 90 minutes by two dangerously partisan women, he’s fully felt. So is the play’s dark discovery: “We all use each other –and that’s what we think of as love.” Jason Gerace’s taut Raven Theatre…

  • Theatre Review: MACBETH (adapted and directed by Aaron Posner and Teller at Chicago Shakespeare)

    A LOT OF BLOOD WILL OUT Blood will have blood. It also sells tickets. And the theater’s thirstiest sanguinary spectacle remains the unspeakable Scottish tragedy. The darkest doings the Bard could imagine infest  Macbeth —  regicide, betrayal, the slaughter of innocents. Restraint is lost on his tale of sound and fury. But, unlike life, it does  not  signify nothing….

  • Chicago Theater Review: TO CATCH A FISH (TimeLine)

    A ROTTEN KIND OF GUN CONTROL It’s an inhuman term, “collateral damage.” Usually it’s reserved for supposedly dispensable victims, necessary sacrifices for a nobler cause. But what if the bigger picture ain’t noble? Then, as Arthur Miller hauntingly says in the passive voice, “Attention must be paid.” In  the inaugural offering from TimeLine Theatre Company’s Playwright…

  • Chicago Theatre Review: BIRDS OF A FEATHER (Greenhouse Theatre)

    A PLAY THAT POOPS ON ITSELF The animal realm (we won’t say kingdom) fairly teems with same-sex survival. In all, over 1,500 species experiment with  alternative lifestyles: Sapphic seagulls, flaming flamingos, bisexual bottle-nosed dolphins, gender-bending giraffes, white whales, and — in  Birds of a Feather  — two gay birds. This Chicago premiere from Greenhouse Theater Center both celebrates…

  • Chicago Theater Review: UNTIL THE FLOOD (Goodman)

    A GLOBAL FLASHPOINT BECOMES A THEATRICAL FLASHFLOOD Until the Flood  lasts only 70 minutes. But its concentrated running time delivers a devastating drama. A ton of truth-telling now on tour, this 2016 one-act is the creation of actor, poet and oral historian Dael Orlandersmith. She becomes the partisans, witnesses, survivors and, above all, inhabitants of a…

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