From flamenco to contemporary to ballet, dance takes over Chicago area stages this month.
Stories by Hedy Weiss
This feverishly verbal play, now receiving its world premiere at Lookingglass Theatre, poses some epic, cosmic questions while capturing the more familiar aspects of family relationships and identity crises. But it supplies no answers.
The CSO’s current program features two radically different pieces: American composer William Schuman’s haunting “Symphony No. 9” and Mozart’s glorious “Requiem in D Minor.”
“Twilight Bowl” is a telling depiction of a crucial transitional period in the lives of a cross-section of young women who are at once lost and found in the American heartland.
Stephanie Alison Walker’s new play serves as a chilling reminder of a particularly horrific period in Argentina’s history when, from 1976 to 1983, that nation was under the thumb of a brutal military dictatorship.
The beauty of this production goes beyond the absolute glory of Giuseppe Verdi’s impassioned, vocally demanding score. And while the voices are uniformly superb, so is the almost conversational style of acting.
The harmonies, dissonances and inflections of the conversations among the four men who form Ma Rainey’s fractious band are something of a spoken-word blues opera in this Writers Theatre revival.
This haunting, visually fascinating interpretation of Leo Tolstoy’s massive 1877 novel serves as the latest evidence of the unique ability of the Joffrey to turn dance into riveting, multi-dimensional theater.
This sequel to Henrik Ibsen’s groundbreaking play – now receiving its Chicago debut at Steppenwolf Theatre – arrives at a moment when a whole new tsunami-like wave of feminist rebellion has gathered force.
For all its retrograde tropes, Jim Corti’s envelope-pushing (yet entirely faithful) take on Mel Brooks’ 2001 musical feels more contemporary, necessary and dangerously funny than ever before.
Lyric Opera’s production of “Elektra,” last seen here in 2012, has found its ideal cast this time around with singers whose spectacular, powerhouse voices are matched by superb acting skills.
The harrowing realism of “The Father” finesses a remarkable feat of imagination that makes the audience experience the same disorientation, confusion and anger that accompany the protagonist’s own loss of clarity and memory.
Christina Ham’s play, “Nina Simone: Four Women,” is the anatomy of a song. And by extension, it is the anatomy of the angry, emotionally wounded singer, songwriter, pianist and civil rights activist who wrote it.
Not even the polar vortex could deter the performers and audience as Porchlight Music Theatre opened its altogether bravura production this week. This brilliantly conceived and equally brilliantly performed show was meant to defy the odds on every count.
A wide array of concerts designed “to explore (Ludwig van Beethoven’s) individuality, power and genius” highlight the Chicago Symphony Orchestra’s 2019-2020 season.
Anna Ziegler’s play, now in a biting, emotionally vivid production at Court Theatre, shines a light on the visionary chemist who was crucial to the momentous scientific paper explaining the molecular structure of DNA.
The work of two theater companies – one from Belgium and the other from France – are paying all-too-brief visits to Chicago Shakespeare Theater stages at the moment.
Productions of Puccini’s “Madama Butterfly,” Tchaikovsky’s “The Queen of Spades” and the Chicago debut of “Dead Man Walking” are among the highlights of Lyric Opera’s 2019-2020 season.
In a joint production by Shattered Globe Theatre and Theater Wit, director Jeremy Wechsler and his cast have tapped into the deftly conjured, fragmented, offbeat rhythms of Will Eno’s characters with impressive skill.
A sampling of a trio of shows conveyed a strong sense that puppets have the power to take on the most vivid existences, even as their human puppeteers project powerful profiles of their own.
The show, which is literally breathtaking and a breathtakingly funny production by Windy City Playhouse, is a bravura exercise in extreme mental and physical comedy.
It takes an actor of formidable technique to bring this two-act, two-hour monologue to vivid, active, almost cinematic life. From the moment Brendan Coyle emerges from the shadows, the spell is cast.
Lyric Opera’s production of Giacomo Puccini’s popular romantic tragedy features singers who not only fit their roles ideally but also know how to act.
Students bold enough to try their hand at this challenging art form have the advantage of being able to tap into the raw emotion of youth in a uniquely fearless way.
With its lushly beautiful, ideally performed production of the Stephen Sondheim-James Lapine musical, Music Theater Works has an instant hit on its hands. But you had better move fast if you want to catch it.