Rachmanioff’s “Piano Concerto No. 3” is awash in ravishing melodies and virtuosic thrills, and Denis Matsuev brought such volcanic power, exquisite lyricism and absolute fluidity to the fiendishly demanding work that it felt as if he himself were writing the demonic piece on the spot.
Stories by Hedy Weiss
Inside a lavish, 330-seat theater space in the Loop is the madcap escapade “Love, Chaos & Dinner” – a high energy combination of cabaret, comedy and circus, plus a four-course dinner (or brunch) – all backed by a dynamite band.
The big surprise in this hit Broadway musical is how the seemingly most unlikely material for a musical – the aftermath of the Sept. 11, 2001, terror attacks – ends up feeling as if it were custom-made for the form and turns great darkness into a healing light.
Unquestionably one of the company’s most irresistible, highly polished, dance-fueled productions of recent seasons, “You Can’t Fake the Funk” will take you higher, set you on fire, and infuse you with a Superfly energy.
The widely celebrated 100th anniversary of the birth of Leonard Bernstein is now in the midst of a grand-scale finale as the Ravinia Festival moves through its second summer of programs devoted to all aspects of his legacy.
Dave Malloy’s time-warping web of a song cycle deals with competing sisters, strange parents, a photographer’s guilt, a subway murder, an astronomer, spirits (of the alcoholic variety), and the quest for love, revenge, stardom and truth over many centuries.
The 2001 musical with a soaring, intensely poetic score delivers both a rare emotional punch and a winning sense of forgiveness, redemption and love. It is uncannily timely.
“Cats” and “Les Miserables” have both returned to Chicago this summer, and “West Side Story” is in the throes of a renaissance. Here are some brief impressions about all three musicals as experienced in their recent incarnations.
Steppenwolf’s fabled 1982 production of Sam Shepard’s darkly comic tale is a foundational part of Chicago theater history. And now, two of the company’s “next generation” of actors are bringing their own high-octane intensity to the play.
With its volcanic staging of Jonathan Caren’s intensely physical play, Windy City Playhouse has carved out a unique niche for itself in Chicago with a style dubbed “immersive theater.”
The overall pacing of this bear of a show can sometimes feel a bit off. At the same time, there is such a sense of jubilation about this production that its imperfections are easy to overlook.
It might not be a Broadway-style blockbuster, but this intimate musical very skillfully mixes romantic comedy tropes with an uncompromising look at self-destructive behavior, self-doubt, alcoholism and complex friendships.
A wonderfully imagined riff on the Ada Lovelace story, Lauren Gunderson’s fascinating, emotionally feverish play is now receiving a vividly realized Chicago premiere production by The Artistic Home.
For all it’s polish and ambition I can’t say the show has turned me into a fan of the operetta style. But “The Flower of Hawaii” is unquestionably an artifact of musical theater interest, and this might just be the only chance you will ever have to experience it.
Despite the dire warnings about “the demise of the audience for classical music,” there is a significant audience in Chicago that values this incomparable art form. Two recent, radically different CSO concerts are prime examples.
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.
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.