Stories by Hedy Weiss

Now in its third season, the Joffrey Ballet’s radiant and altogether ingenious production of choreographer Christopher Wheeldon’s Chicago-themed reinvention of “The Nutcracker” is more luminous than ever. 

In his new book, Chris Jones – my colleague-on-the-aisle in Chicago since the 1990s – has chronicled the American theater in a singularly creative way.

With great bursts of raucous humor, as well as zany rom-com moments and deep anguish, playwright Danai Gurira infuses her exuberantly boisterous play with issues of family contention that go well beyond the usual disputes.

At Paramount Theatre, director-choreographer Amber Mak and her sensational team of actors and designers magically pay homage to the emotional richness of the 1939 film while incorporating some of the newest tricks of technology.

The new touring production of the epic show could not be more elaborate, but it trades more in shock value than pathos, and loses something in the process.

To bring Hans Christian Andersen’s “The Steadfast Tin Soldier” to vivid life, director Mary Zimmerman looks to the English pantomime tradition, and draws on her ingenious, visually stunning storytelling tricks.

Watching Northlight Theatre’s luminous world premiere stage version of Jane Austen’s third published novel, it was impossible not to wonder what the writer might make of her enduring cult status among 21st century audiences.

The recent Broadway musical based on the hit 1942 film is an old-fashioned charmer on every level, with just enough of a sardonic bite to make it feel fresh, and just enough nostalgia to pierce your heart.

This wildly imaginative version of Mary Shelley’s classic is at once handmade and high-tech, and as you take your seat at Court Theatre, you immediately sense that something completely out of the ordinary is about to unfold.

Verdi’s monumental and altogether ravishing “Requiem” is a signature work of Maestro Riccardo Muti and the Chicago Symphony Orchestra and Chorus. In light of recent shootings, Thursday’s performance brought even greater potency and fire to this work.

A study in the darkness and luminosity inherent in human interaction, “Take” is nothing short of spellbinding. And it marks a new high point in artistic director Nick Pupillo’s always original, sensual, highly charged choreography.

If you think this country’s political culture is the quintessential hornet’s nest, you probably haven’t been exposed to life in the world of scientific research. Jenny Connell Davis puts it under a powerful magnifying microscope in this world premiere work.

At an intimate press conference celebrating his return visit to the city, conductor Daniel Barenboim expressed his delight at what will be a two-part homecoming at Symphony Center.

As it happens, there are two “ladies” in Dael Orlandersmith’s play, “Lady in Denmark,” now in its world premiere at the Goodman Theatre. But only one is fully seen or heard on stage.

Audience members engage in a process similar to a television “elimination” contest to choose one of five contenders for an unspecified office. It is great fun, but also offers food for thought – and a healthy dose of cynicism.

The enduring 1964 hit with an impossibly catchy score fervently champions the quest for love, adventure, mischief and the all-important joy (and necessity) of seizing the day.

A beautifully realized, profoundly moving one-man show now on stage at the Greenhouse Theater Center features a performance of great heart by Shane O’Regan.

They say “the music died” on the day in 1959 when rock ‘n’ roll legend Buddy Holly perished in a plane crash. But that geeky Texas boy with the trademark thick glasses is still making a big noise.

You have just one more chance to catch a concert at Symphony Center that brings you into direct contact with absolute genius. Beg, borrow (or maybe even steal) a ticket to hear 27-year-old Russian pianist Daniil Trifonov in an electrifying performance.

It has been four years since the Joffrey Ballet first performed Christopher Wheeldon’s reimagining of “Swan Lake.” Its current revival serves as a vivid indication of the extraordinary artistry that now defines the Joffrey, from principal dancers to corps.

With her force-of-nature personality, powerhouse voice and galvanic emotional range, E. Faye Butler was clearly was born to play Mama Rose.

With echoes of “Oklahoma” in its evocation of the hardscrabble lives of exceptionally strong women, Pearl Cleage’s story revolves around the different choices made by four women, including the elderly but unbending matriarchal figure who experienced the abominations of slavery, yet survived to tell the story.

“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.

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.