Arriving at Theo Ubique as the final show of the theater’s first season in its spacious new Evanston home, “Hedwig and the Angry Inch” serves as definitive proof that this company can finesse anything and everything in the musical theater repertory.
Hedy Weiss: Theater Reviews
The unlikely combination of Vivaldi, Beethoven and Gershwin with two contemporary works was full of delightful surprises and unexpected revelations.
The titles of the four pieces provide a telling suggestion of the psychologically probing works being performed with the company’s trademark blend of uncanny fluidity, plasticity, control and ensemble perfection.
In some ways, “For Services Rendered” is an old-fashioned play, but it is a beauty. And coming at a moment when Britain is undergoing a different sort of social and economic upheaval, it seems ideally timed for a revival.
This unabashedly flamboyant fantasia by Tina Landau and Tarell Alvin McCraney spins the true story of Joan Jett Blakk, who helped found the Chicago branch of the Queer Nation Party and ran for Chicago mayor in 1991.
“There Is Greatness In Me” is the defining song in this riveting musical that releases the full “greatness” in its lead character by way of an electrifying performance by veteran Chicago actress Barbara E. Robertson.
The 200th anniversary of “Frankenstein” was celebrated by a slew of Chicago theaters last year. Lookingglass’ new production has arrived a bit late in the game, but with its raw beauty and feverish emotion, it turns out to be well worth the wait.
Forget about spending your last dime for tickets to The Rolling Stones’ concerts at Soldier Field next month. Instead, check out the fire-breathing female royalty of this sensational musical at Chicago Shakespeare Theater.
Steven Dietz’s hauntingly beautiful play is inspired by James Joyce’s groundbreaking novel “Ulysses,” but it is no stage adaptation. Rather, it’s a gorgeous, exquisitely imagined contemporary riff on Joyce’s essential themes.
Labeling a work of art a “masterpiece” is a dangerous business, but on rare occasions there can be no doubt that such a tag is unavoidable. This is one such case.
Watching the company as it performed Boris Eifman’s latest work, the feeling that his dancers are not well served by his relentlessly madhouse style of movement – manic, extreme, repetitive – could not be denied.
Hilary Hahn’s bravura handling of a fire-breathing passage in Sibelius’ “Violin Concerto in D Minor” brings forth a “Wow!” from what was certainly an adult man in the audience at Symphony Center.
This 2008 musical is unsettling, irritating, frustrating, relentless and more. But director David Cromer and his actors have tapped into the dark charm and moments of humor in the show with great skill.
In what is clearly a case of pure happenstance, two autobiographical solo shows about mental illness recently arrived on Chicago stages. A look at “Certain Woman of an Age” and “The Mushroom Cure.”
A number of extraordinary pianists have played on the Symphony Center stage during the past season or two. Sunday’s concert brought four encores, extended standing ovations and volcanic applause.
A concert by the Chicago Symphony Orchestra featuring the transcendent Mitsuko Uchida. A visit by Maestro Riccardo Muti and several master musicians to a juvenile detention center. And a virtuosic chamber concert.