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.
- Stories by Author
- Stories by Hedy Weiss
Stories by Hedy Weiss
In ‘Pygmalion Effect,’ Superb Dancers of Russia’s Eifman Ballet Undermined by Manic Choreography and Too Much StraussHedy Weiss
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.
This electrifying revival demonstrates how, without straining to “modernize” or rework the 1957 Broadway musical – but by maintaining total respect for its vintage truth and beauty – its enduring power can be fully released.
At the Symphony Center, a palpable sense of relief and joy as the Chicago Symphony Orchestra marked its return to the stage after a bruising seven-week strike.
How do you bring the music back to the stage of Symphony Center in the wake of an agonizing seven-week strike by the Chicago Symphony Orchestra? With two of the world’s most formidable virtuosos.
Now receiving its Chicago premiere by Steppenwolf Theatre, British playwright Lucy Kirkwood’s quirky tragicomedy tackles aging, sexual competition, parenting and the catastrophic result of certain scientific and engineering “advances.”
Transforming Herman Melville’s 1851 classic is no easy feat. This opera not only captures the pivotal characters in the novel, but also illuminates its major themes with impressive emotional directness.
Lauren Yee thrillingly fuses her writing with music that links two cultures and two eras in the richly theatrical “Cambodian Rock Band.”
Three very different productions that recently opened on Chicago stages serve as a powerful reminder of the dramatically varied ways in which the language of dance can be spoken.
Prepare to head home from “Djembe!” – the irresistibly engaging interactive music show now at the Apollo Theater – with callouses on the palms of your hands and a giant grin on your face.
Now receiving its Chicago debut, this full-length fairy tale production created for American Ballet Theatre is a frothy, visually lavish confection sure to generate either a light-headed sugar rush or a serious sugar coma.
“The Absolute Brightness of Leonard Pelkey” is a wildly creative story about a familiar message brought to life by Chicago actor Joe Foust’s effortless storytelling skills, comic sensibility and emotional range.
Fearsome choreography, dazzling dancers and innovative sound and music marked the Chicago debut of Gauthier Dance in a stunning program at the Harris Theater.
And: Composer Alan Menken charms Auditorium audience
Alan Menken performs his delightful one-man show to a packed house in the Loop as his first hit musical, “Little Shop of Horrors,” receives a terrific production on the North Side.
Here is the looming question: How could three great talents (Stephen Flaherty, Lynn Ahrens and Terrence McNally) go so completely wrong with this Broadway musical “inspired by” the 1997 animated musical film?
In this electrifying revival directed by Seret Scott, Ntozake Shange’s groundbreaking work has never been so sharply defined in terms of character, language and overall narrative drive.
For years now, Jackie Taylor has reminded Black Ensemble audiences that “going to the theater is like to going to church.” In her latest production, this sentiment takes on a decidedly literal meaning.
“Stomp!” based its show on the notion that you can make a joyful noise with everything from brooms to kitchen sinks. Mayumana builds on that concept with some great bolts of 21st century electrification.