Chicago

ORPHANS OF THE RICH No one captures the volatile complexity and fragile bravado of mixed-up young adults better than the angry young plays of the 20th century. In Look Back in Anger, Dealer’s Choice, Stupid Kids, and subUrbia  lost generations find dead-ends they either deserve or don’t. This Is Our Youth, Anna Shapiro’s pile-driving (and New…

EVOLUTION OF  REVOLUTION IN THIS JUST-SO STORY Trap Door’s Regarding the Just shakes the dust off of Camus’ 1949 play, Les Justes, about Russian socialists who assassinate a Grand Duke at the turn of the century. As their plan comes to fruition, each of the revolutionaries contemplates the nature and extent to which they are committed…

A FEMINIST FANTASY SOAKED IN WHIMSY In Lifeline Theatre’s semi-delightful 150-minute romp, the war between the sexes is replaced by a war against sexism. The latest adaptation from this literature-loving ensemble is Chris Hainsworth’s faithful adaptation of  Monstrous Regiment, the 31st novel  in Terry Pratchett’s Discworld series.  This prolific author manages to meld sword-and-sorcery, 18th-century fantasy, and a…

A THREE-HOUR HOME RUN Clearly and cleanly, tried and true director/choreographer Kevin Bellie trusts the heart out of Adler and Ross’ 1952 Broadway classic. Damn Yankees, Light Opera Works’ summer treat at Northwestern University’s Cahn Auditorium, is glowing and glorious fun. Their faithful recreation gets richly rewarded by complete and accurate orchestrations, clever 50’s costumes,…

HEARKENING BACK TO HAPPY HARMONIES Too sweet to be termed a blast from the past, Theo Ubique Cabaret Theatre’s latest reclamation brings back, with all their pep, pizzazz and patriotism, the greatest sister act of all time (Lennon who? Boswell what? McGuire huh?)’”Patty, Maxene and LaVerne Andrews. Under director/choreographer David Heiman’s loving recreation, conceived in…

CYBER COMPASSION, OR PIXELS FAKE PASSION Like his equally probing The Day of the Locust, Nathanael West’s 1933 novella Miss Lonelyhearts all but skewers its subject: the loneliness of crowds and the desperation that anonymity generates in each and, finally, en masse. West’s seminal work depicts a hard-boiled young journalist who reluctantly becomes a newspaper…

HOME LOST HOME A world premiere from Sideshow Theatre Company, this curious and lengthy offering feels as familiar as it is threatening. In 145 minutes Kathleen Ackerley (who also co-directs) imagines a very ingrown world within a highly structured system: Basically, Tyrant (the title referring not to a dictator but to a rich man’s internal…

WILL WONDERS NEVER CEASE? No question, Black Ensemble Theatre’s latest offering boasts the usual superb quality control of sounds and notes, casting, performance, ensemble rapport, and musical impeccability that distinguish their worthy works. Contrary to previous delights by Jackie Taylor that showcased Jackie Wilson, Marvin Gaye, or Howlin’ Wolf, its title One Hit Wonders suggests…

BUILD-A-BEAR NARRATIVE In this year’s Spring Spectacle, Redmoon provides some characters, some comedy, some cruelty, their trademark whimsy, and ornate production values, but the chronological and structural aspects of Bellboys, Bears and Baggage are left to the audience. Visitors are admitted to performances in small groups and are confronted with three doors, each bearing an…

NOT SINCE THE REAGAN ERA Alas, it’s been 30 years since Paul Taylor Dance Company last played Chicago’s Auditorium Theatre. Even more alas, the too-brief weekend return ends today. At least now we know what the New York troupe is up to and, if not exciting, it’s certainly eclectic enough for whatever payoff that presents….

AN ANCIENT SWEETNESS ON A GOODMAN STAGE Infatuated with alteration, Tony-winner Mary Zimmerman loves transformations, metamorphoses, shape-shifting, and slow to rapid mood swings. Nothing should seem or stay as it looks or as we see it. Astonishment is all. Almost two millennia old, the ancient myth of a white snake who painstakingly enlightens herself into…

BEYOND THE BREACH It honors the text. That’s praise enough for any production, especially when the drama is the world’s greatest propaganda play:  Henry V. Shakespeare’s most patriotic work all but wallows in the come-from-behind victory at the Battle of Agincourt in 1415 and all but beatifies the warrior king whose false claim to the throne…

MELTING JIGS INTO DIRGES Whether it’s a Jewish family in  Awake and Sing!  or a black one in  A Raisin in the Sun,  poverty grinds down its unloved ones and prejudice finishes the kill. As steeped in the details of deprivation as the later Irish clan in  Angela’s Ashes, Sean O’Casey’s 1922 masterpiece uses the Irish Civil War (which killed…

PROKOFIEV GETS POLITICAL This is not your usual Romeo and Juliet. Truncated and concentrated, Joffrey Ballet’s U.S. premiere of Krzysztof Pastor’s two-act treatment of Prokofiev’s celebrated ballet carries no Renaissance finery, just real-world immediacy. Premiered by the Scottish Ballet in 2008, this muscular treatment of ancient Verona isolates the lovers all the more against a…

WHEN THE MIDDLE CLASS MATTERED The best thing about this well-earned, state-of-the-art revival of Frank Loesser’s Pulitzer-winning masterwork is this:   No one dared to update what must now be a vintage Eisenhower-Era period piece, as much as AMC’S Mad Men or The Man in the Gray Flannel Suit. It wouldn’t take anyway. Though fast-moving and…

CHARLES DARWIN AND NATURAL AFFECTION With its intentionally contradictory title, In the Garden: A Darwinian Love Story  is not about the Garden of Eden; it is an earnest but unengrossing world premiere at Lookingglass Theatre Company, a study in amorous opposites that attract. Lookingglass artistic associate Sara Gmitter delivers a warmly written but ponderously circular chronicle…

PREHISTORIC PERSPECTIVE ON THE PRESENT Extended until mid-May, Theater Wit’s Midwest debut of Madeleine George’s sharp new show has clearly touched hearts and nerves. It’s no secret: Full of the quirky, zany, and daffy characters that constitute the “new normal,” it’s a relationship drama with enough metaphor-mongering and symbol-serving to reflect whatever the viewer may…

MATCHMAKERS GET BURNED In the social maze of Regency England, where any successful matrimony required sexual politics and emotional intrigue, novelist Jane Austen understood how love gets lost. There were too many artful simulations of actual affection for the real deal to compete. Hard as it is to find love for oneself, 21-year-old Emma Woodhouse,…