“Crumbs from the Table of Joy” – one of the playwright’s earliest works, now on stage at Raven Theatre – is continually engaging. And in the current climate, it also turns out to be uncannily timely.
Hedy Weiss: Theater Reviews
This past weekend saw the last Chicago Symphony Orchestra concerts to be conducted by Maestro Riccardo Muti until November, and they should not go without notice for several reasons.
Now receiving an altogether riveting world premiere production at Writers Theatre, “Witch” is a pitch-black fairy tale for our times, and one that is not to be missed.
The pitch black, profoundly provocative world premiere by Bruce Norris brings to the fore all the arguments and nuances around sexual predators, and will either make you question your opinions on the subject or confirm them.
With its incendiary production, Firebrand Theatre easily secures its place among the handful of Chicago’s hottest “smaller” musical theater companies. Though there is nothing at all “small” about this formidable assemblage of talent.
For all its timely social commentary, “Tootsie” (a gently updated musical version of the hit 1982 film) feels a bit like show business balm – a feel good work for the #MeToo era.
In its three-part fall season program, Hubbard Street Dance Chicago harkened back to the creation of the universe and the ascent of man before conjuring an apocalyptic vision of where it all went wrong.
If ever you had any doubt about the healing and transformative powers of art, “We’re Only Alive for a Short Amount of Time,” David Cale’s hypnotically beautiful one-man show, will set you straight.
Music is not apolitical. The Chicago Symphony Orchestra’s season opening concerts take note of this, with impassioned comments made by Maestro Riccardo Muti.
However you describe “BigMouth,” the virtuosic, one-of-a-kind, one-man show created and performed by Valentijn Dhaenens – its impact is undeniable.
The haunting dramatization of “Crime and Punishment” now on stage attacks the work with the same fire and attention to moral argument as the master writer, Fyodor Dostoyevsky, himself.
A revelatory, brilliantly acted revival of August Wilson’s play is currently on stage at Court Theatre, under the direction of Ron OJ Parson.
The blight, as well as the occasional bursts of beauty that define life in inner-city high schools is all too familiar. But rarely has it been captured with such a sense of wit, grace, exasperation and tragicomic insight.
Not only does director Calvin MacLean have deep Chicago roots, so do a number of the major players in this grand-scale production.