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Chicago

  • Los Angeles/Chicago Dance Review: THE NUTCRACKER (Joffrey Ballet at the Dorothy Chandler in Los Angeles & the Auditorium Theatre in Chicago)

    EVEN WITH A FEW CRACKS, THIS HOLIDAY CHESTNUT STILL DELIGHTS It is a testament to the vision of Robert Joffrey that his 1987 version of Pyotr Illyich Tchaikovsky’s perennial ballet The Nutcracker has become an annual event both on tour and at the Joffrey’s home base in Chicago. This year, 2011, the Mice, Princes, Sweets…

  • Chicago Theater Review: CHANGES OF HEART (Remy Bumppo at Greenhouse Theater Center)

    THE 1700s MEET THE 1960s Back in the early 1700’s, Pierre Marivaux was a major playwright in France, but his romantic comedies never made much of an impact on the American stage until the 1990s, when opera and theater director Stephen Wadsworth translated Marivaux’s plays into English. Wadsworth’s successful adaptations made Marivaux a significant presence…

  • Theater Review: MEMPHIS (National Tour)

    MEMPHIS PROVIDES RHYTHM BUT ULTIMATELY GIVES YOU THE BLUES Kicking off its national tour, Memphis blew into Chicago trying to sell itself as a romping, stomping celebration of rhythm and blues and rock ‘n’ roll during its turbulent early years in the 1950s. There is plenty of energy on the stage at the Cadillac Palace…

  • Chicago Theater Review: THE JACKIE WILSON STORY (Black Ensemble Theater)

    THE JACKIE TAYLOR STORY TAKES PRECEDENCE OVER THE JACKIE WILSON STORY Jackie Taylor is a happy lady these days, and everyone with a fondness to Chicagoland theater should rejoice with her. Taylor finally has her new theater, a sumptuous multi-story that is the home of Taylor’s Black Ensemble Theater. The architectural ornament stands just a…

  • Chicago Theater Review: SEASON’S GREETINGS (Northlight Theatre in Skokie)

    HO HO HUM Alan Ayckbourn’s Season’s Greetings is an anti-holiday-cheer comedy which should be appropriate for audiences ready for an excursion into the dark side of the Christmas season. There’s drunkenness, attempted adultery, endless family bickering, a shooting, and a preposterous marionette show. For anyone who has endured a dysfunctional family holiday gathering, this show…

  • Chicago Theater Review: AN ILIAD (Court Theatre)

    A HOMER RUN One-actor shows are by their nature demanding, but Timothy Edward Kane’s volcanic storytelling in An Iliad is a stunning marvel. This retelling of the famous epic The Iliad – attributed to the ancient Greek poet Homer – is an exceptionally staggering test of a performer’s physical and emotional resources. The adaptation is…

  • Chicago Theater Review: THE BAKER’S WIFE (Circle Theatre in Oak Park)

    STILL WAITING TO SEE IF THIS DOUGH WILL EVER RISE The Baker’s Wife never made it to Broadway. The musical folded in Washington. D.C. in 1976 before reaching New York City but has since gained something of a cult status in both the United States and England. Area audiences now have the opportunity to see…

  • Chicago Theater Review: THE CARETAKER (Writers Theatre in Glencoe)

    TAKING CARE TO CREATE EXCELLENT THEATER The plot of Harold Pinters’ The Caretaker is uncomplicated on the surface and densely complex in its subtexts; it is a melding of realism and theatre-of-the-absurd which places a thuggish and volatile young man, his brain-damaged older brother, and a scruffy old tramp together in a rubbish-strewn room.   From…

  • Chicago Theater Review: ASSISTED LIVING (Profiles)

    PROFILES OF A DREARY EXISTENCE The Profiles Theatre has carved out an essential niche for itself on the local Chicagoland theater scene with sexy, violent, and edgy modern dramas. Recently, playwright Deirdre O’Connor gave Profiles one of its major hits with Jailbait, about a pair of teen-aged girls who venture into the adult world of…

  • Chicago Theater Review: JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (Paramount Theatre in Aurora – Chicago Area)

    A DREAMBOAT IN DREAMCOAT In just two productions, the Paramount Theatre has elevated itself to the top of the class in Chicagoland musical theater, in company with Drury Lane in Oakbrook Terrace and the Marriott Theatre in Lincolnshire. The Paramount opened with an ecstatically reviewed revival of My Fair Lady in September and is now…

  • Chicago Theater Review: MAPLE AND VINE (Next Theatre in Evanston)

    PROMISING PREMISE PRODUCES PREPOSTEROUS PRODUCT Katha and Ryu are a modern married couple fed up with their harried lives: Ryu hates his 60-hour workweeks as a doctor and Katha is discontented with her job in front a computer screen. Plus, she is drenched in depression following a miscarriage. Katha accidentally meets well-groomed, mild-mannered, and middle-aged…

  • Chicago Theater Review: A BEHANDING IN SPOKANE (Profiles Theatre)

    HAND OVER GIST Martin McDonagh, the English dramatist known for his quirky and violent plays set in rural Ireland, sets A Behanding in Spokane in the United States, but the setting hasn’t inspired him to create the rich ethnic canvas that makes his Irish plays such vivid playgoing experiences. Although it is not a great…

  • Chicago Theater Review: THE SOUND OF MUSIC (Drury Lane Theatre)

    A RESONANT AND RESOUNDING SOUND OF MUSIC Although the Drury Lane Theatre extended the run of its revival of THE SOUND OF MUSIC even before the show opened, the laudable theater company might want to consider adding yet another extension. Director Rachel Rockwell returns after her triumphant production of  Sweeney Todd to create an evening that…

  • Chicago Theater Review: IRVING BERLIN’S WHITE CHRISTMAS (The Marriott Theatre in Lincolnshire)

    I’M DREAMING OF A WHITE CHRISTMAS THAT WORKS It is possible that Irving Berlin’s White Christmas might succeed with audiences. Possible, that is, if they are willing to tolerate a lame, cliché-ridden plot in exchange for large samplings of the Irving Berlin songbook. The musical is an adaptation of a 1954 motion picture (simply called…

  • Chicago Theater Review: FOLLIES (Chicago Shakespeare Theater)

    ‘TIS FOLLY TO OVERPRAISE FOLLIES The buzz in the lobby of Chicago Shakespeare Theater (CST) on opening night of Stephen Sondheim’s landmark 1971 musical Follies was palpable; people from around the world were clamoring to see this rarely produced work – and for good reason. The original Broadway production is legendary: people lucky enough to…

  • Chicago Theater Review: THE DOYLE AND DEBBIE SHOW (The Royal George Theatre)

    COUNTRY MUSIC PARODY BETTER THAN COUNTRY MUSIC ITSELF Country music can be whiney, right wing, corny, and macho. In the case of The Doyle and Debbie Show, it is also hilarious. I am no lover of country music, but who can resist a revue that includes numbers like “Stock Car Love,” “Barefoot and Pregnant,” and…

  • Chicago Theater Review: BUS STOP (The Raven Theatre)

    PORTRAYALS BRING BUS STOP TO LIFE William Inge was a hot American playwright during the 1950’s, but in the turbulent 1960’s and beyond, his realistic studies of small town Midwestern life became unfashionable. Lately, Inge has reappeared on the radar of important American playwrights, with theaters and audiences again finding pleasure in his sturdy dramaturgy…

  • Chicago Theater Review: CLYBOURNE PARK (Steppenwolf Theatre)

    TWO PLAYS IN ONE What is the purpose of theater? Some say that it is to reflect reality while being entertaining, enlightening, and/or educating. Yet when Shakespeare wrote that theatre is designed to “hold, as ’twere, the mirror up to Nature,” his character of Hamlet actually used theatre to shape reality, not merely reflect it….

  • Chicago Theater Review: THE SHADOW OF A GUNMAN (Seanachaí­ Theatre Company)

    THE SHADOW OF A GREAT PLAY The birth of the Irish Republic occurred around Dublin in 1916. Aiming to end British rule, Irish Volunteers staged an insurrection known as the Easter Rising, a rebellion many Irishmen did not support. However, after quelling the week-long insurrection, the British Government’s hostile reaction – including conscription (compulsory enlistment)…

  • Chicago Theater Review: THE REAL THING (Writers Theatre in Glencoe)

    WHO IS TO SAY WHAT IS REAL? Tom Stoppard is the thinking person’s playwright. Ever since his breakout hit Rosencrantz and Guildenstern are Dead in 1967, the erudite scribe has been earmarked an absurdist, one whose work concentrates on the futility of man’s search for meaning in a meaningless existence. As with all Theatre of…

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