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Chicago
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National Tour Theater Review: A GENTLEMAN’S GUIDE TO LOVE AND MURDER (Bank of America)
KILLING COUSINS Serial killers can be fun. In the film Theatre of Blood Vincent Price sardonically played a Shakespearean actor, a hate-filled ham who doggedly “offs” the critics who panned him. (He snuffs out each scribe in endgames inspired by the Bard.) Who’s Killing the Great Chefs of Europe? was a less important question than…
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Chicago Opera Review: LUCIO SILLA (Chicago Opera Theater at the Harris Theater)
LUCIO SILLA REVELS IN YOUTH’S BEAUTY Mozart’s early chamber opera Lucio Silla, written at the precocious age of sixteen, is an excellent example of the bel canto style. Not only is the singing, quite literally, “beautiful,” but there is a steady progression of recitative, solo arias, duets, etc. that showcase the extraordinary capabilities of the…
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Chicago Theater Review: EAST OF EDEN (Steppenwolf)
THE OLD TESTAMENT MEETS THE NEW WORLD A saga of American origins, John Steinbeck’s most ambitious novel was published in 1952 and, three years later, starred James Dean and Julie Harris in a seminal film version. Archly aphoristic, portentous with easy wisdom, East of Eden is a solemn and serious California update of the Biblical…
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Chicago Opera Review: THE MARRIAGE OF FIGARO (Lyric Opera)
A MARRIAGE MADE IN CHICAGO Lyric Opera’s season-opening production of Mozart’s The Marriage of Figaro celebrates love and beauty with vibrant colors, light-hearted laughter and sublime music. It is a joyful celebration, one that minimizes some of the darker elements and revolutionary undercurrents in Lorenzo da Ponte’s libretto, based on Pierre Beaumarchais’ 1778 play. Hungarian…
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Chicago Theater Review: DISGRACED (Goodman)
DRAMATIC PROFILING In the three years since American Theater Company debuted this corrosive cultural tragicomedy on the North Side, Disgraced has become a massive hit, with revivals on Broadway, slated productions at 10 major regional theaters, as well as 32 more in the next two years and a film version with HBO. Now, helmed by…
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Chicago Theater Review: THE TEMPEST (Chicago Shakespeare Theater)
A TRAGICOMEDY WITH TRICKS Well, why not do The Tempest as a magic show? It comes with Shakespeare’s territory. During the Duke of Milan’s unhappy exile, deposed by his nefarious brother, with only his daughter and two supernatural beings as companions, Prospero has become a sorcerer on an empty island. He’s able to cast spells,…
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Chicago Dance Review: MILLENNIALS (The Joffrey Ballet at the Auditorium Theatre)
COMING CHOREOGRAPHY Opening its 60th season, the Joffrey Ballet literally leaps into the future with Millennials, a three-part program at the Auditorium Theatre. Closing Sunday, it features many bold new moves within two world premieres and one Chicago debut. Even if the majority of Joffrey dancers qualify as millennials, the rationale to showcase today’s dance is reason enough to…
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Chicago Theater Review: DOGFIGHT (BoHo Theatre)
BOYS WILL BE PIGS The title can mislead: Dogfight is not about World War I flying aces Eddie Rickenbacker and The Red Baron doing loop-the-loops as they shoot each other out of the sky. Dogfight does take place during war, but the title refers to a much more cowardly act. Conducted by raw Marines in 1963…
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Chicago Theater Review: GUARDIANS (Mary-Arrchie)
THEY DO IT ALL FOR US 14 years ago, terror became a date in the calendar. “9/11” casts an ever darker shadow onto the future. It also remains the latest official loss of American innocence. (Happily, we suffer from such convenient cultural amnesia that we’ll regain it soon enough.) Lest we forget, here’s a two-person…
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Chicago Theater Review: JAMAICA, FAREWELL (Royal George Theatre)
WHEN GETTING THERE ISN’T HALF THE FUN Call it a combination of Locked Up Abroad and Coming to America. In 90 gorgeously pictured minutes, “multi-racial” performer Debra Erhardt thrillingly chronicles her escape to America 35 years ago when she was 18. Her riveting narration turns a one-person odyssey into a lavish epic: It enlists our imagination…
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Chicago Theater Review: THE RAINMAKER (American Blues Theater at Greenhouse Theater Center)
DELIVERANCE FROM DROUGHT It’s a terrific recipe for powerful theater. Confront audiences with an unfinished situation amid a collective challenge–with seemingly no way out. Then introduce a mysterious stranger who, like a catalyst, changes everything, maybe even himself. It works wonders with The Music Man, The Petrified Forest, Holiday, Shane, The Lone Ranger, Peter Pan,…
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Chicago Theater Review: PETER AND THE STARCATCHER (Drury Lane Theatre)
A POOR MAN’S PETER PAN Let’s put two prequels in perspective: What the novel-based Wicked is to The Wizard of Oz, Peter and the Starcatcher, a novel-derived “origins tale,” is for Sir James Barrie’s wonderful Peter Pan. Both “earlier versions” were written long after their celebrated “sequels.” Retrospectively, both provide complementary or alternate explanations for…
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Chicago Theater Review: BAD JEWS (Royal George)
BEYOND THE PALE Bad Jews (the provocative title not as anti-Semitic as it sounds) was a 2015 hit at London’s St. James and New York’s Roundabout theaters. In the Chicago area Jeremy Wechsler’s staging has already packed them in at Theater Wit, Northlight Theatre, and now the Royal George Cabaret. Clearly, Bad Jews found its…
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Chicago Theater Review: THE PRICE (TimeLine Theatre)
PLOYS IN THE ATTIC It’s noble to sacrifice for loved ones who need you. But what if it was for nothing? Arthur Miller’s 1968 family play The Price puts its title to rich use. Ostensibly, it’s about the purchase value of the heirlooms, keepsakes, and antiques in the cluttered attic of a Manhattan brownstone soon…
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Chicago Theater Review: THE JACKSONIAN (Profiles)
DIXIE DOODLES IN DISTRESS Beth Henley, author of 1979’s Pulitzer-winning Crimes of the Heart, has practically patented the Southern stereotype. Drawling in a stilted patois, Henley’s desperate, demented creatures are hell-bent on self-destruction: They’re pathologically ready to commit “crimes of the heart” to not get their way. 33 years after her masterpiece, Henley is still…
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Chicago Theater Review: OCTOBER SKY (Marriott Theatre in Lincolnshire)
FROM THE MINES TO THE MOON A feel-good story of literal uplift, the new musical October Sky, like the 1999 film, is an anagram of Rocket Boys, the true-life confessional of Homer H. Hickam, Jr. Pushing many buttons, this 150-minute world premiere by Chicagoans Aaron Thielen (book) and actor/composer Michael Mahler (music and lyrics) spins…
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Chicago Theater Review: THIS HOUSE BELIEVES THE AMERICAN DREAM IS AT THE EXPENSE OF THE AMERICAN NEGRO (Oracle Productions)
WAKING UP FROM THE AMERICAN DREAM The title of Oracle Theatre’s typically invigorating offering, THIS HOUSE BELIEVES THE AMERICAN DREAM IS AT THE EXPENSE OF THE AMERICAN NEGRO, is actually a proposition by the Cambridge Union Debating Chamber (called the “Arena of Ambition”) in February 1965 at England’s famed Cambridge University. Broadcast by National Educational Television…
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Chicago Theater Review: SOUTH PACIFIC (Light Opera Works in Evanston)
NO MAN IS AN ISLAND Whenever it’s revived, it’s hard to imagine a more necessary musical than this 1949 Pulitzer Prize winner. Seventy years after the Japanese surrender, it remains a healing tribute to resilience in adversity and tolerance in the thick of war. Consummate showmen, Rodgers and Hammerstein knew just why Americans need to…
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Chicago Theater Review: THE BOY FROM OZ (Pride Films and Plays at Stage 773)
RISING UP FROM DOWN UNDER 23 years ago, mega-entertainer Peter Allen died of AIDS. But The Boy from Oz is the story of a survivor. The self-made star refused to be stifled by the Australian country town of Tenterfield or a drunk, suicidal dad. Encouraged by an unconditionally loving mom, the gay, blond singer-composer moved…
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Tour Theater Review: KURIOS (Cirque du Soleil)
CIRQUE DU FIN DE SIÈCLE This is a snazzy and pizzazz-packed blast from the past: Kurios: Cabinet of Curiosities draws its whimsical magic from the “steampunk” style that melds Victorian design with intricately elaborate (and often useless) industrial gadgetry of the Rube Goldberg persuasion. To this all-morphing mindset, everything can become a machine–the pulleys and fly…



















