An intensely disciplined, fearless, altogether remarkable ensemble of sophisticated young artists brings this singular – and singularly riveting – docu-drama to life.
- Stories by Author
- Stories by Hedy Weiss
Stories by Hedy Weiss
Among its several honors, Will Snider’s “How to Use a Knife” was named a finalist for a PEN Center USA Literary Award. Based on this exceptional Shattered Globe production alone, it should have won the prize.
This immensely compelling production adapted and directed by playwright Aaron Posner and the magician Teller is filled with a full array of sensory treats.
There seems to be an unofficial renaissance of Rodgers and Hammerstein musicals by way of three classics from the 1940s. Is this mere coincidence, or a a much-needed balm?
The stunning performers now gathered on the stage of the Paramount Theatre bring this unconventional piece of musical theater to life with a beguiling mix of emotional depth and comic zest.
Nick Pupillo’s haunting, hourlong narrative work, performed in collaboration with the Chicago Philharmonic, highlights the impressive dramatic skills of the Visceral dancers.
You will never experience anything quite like it. Alexander Ekman’s “Midsummer Night’s Dream” is now receiving its North American premiere by the Joffrey Ballet, and it is a monumental achievement on every level.
A transformative evening in the theater, Porchlight Music Theatre’s production features galvanic direction, volcanic dancing, a powerhouse onstage band and a large, fiercely talented cast.
Acknowledging the existence of “gender fluidity,” the 45th annual Non-Equity Jeff Awards nominations for performance are now nonbinary.
The work of both composers shares the Chicago Symphony Orchestra’s current program led by Maestro Riccardo Muti. And the result is a most winning mix of opposing musical temperaments.
A sort of equal-opportunity snake pit of corruption, violence and ridiculous sex-capades, Matthew-Lee Erlbach’s play is now receiving its world premiere at Steppenwolf Theatre.
For those still unfamiliar with the magic Hershey Felder can create, an introduction to the man, whose enthralling show about Tchaikovsky is now in a limited engagement at Steppenwolf’s Upstairs Theatre, is essential.
The beautifully thought-out program serves as a subtle but revealing portrait of the deep but varied influences that have taken root in this country.
In many ways this show was ahead of its time when it was created. And now, whatever the flaws might be in this 21st century “rotation,” it is worth the price of a ticket for a ride on the “Carousel.”
The concert now being performed by the Chicago Symphony Orchestra and Chorus – with the German conductor-composer Matthias Pintscher in flawless command – is sure to serve as a vivid reminder that Maurice Ravel’s genius was far more complex than “Bolero.”
A richly evocative new play by Philip Dawkins is now receiving a vividly acted world premiere at Raven Theatre.
In her brilliant play “Smart People,” Lydia R. Diamond creates an impossibly thorny and twisted verbal, emotional and intellectual maze of race, sex and “super-achieverdom.”
Can a story that feeds on the decades-old roots of the #MeToo movement serve as a deftly massaged corrective?
I confess I was wary about how this story would hold up a full half-century after the film dealt with some very uncomfortable truths. But the more things have changed, the more things have remained (almost) the same.
The work of two of Chicago’s most enduring but dramatically different contemporary dance companies – Hubbard Street Dance Chicago and Giordano Dance Chicago – was on elaborate display this past weekend.
The human voice is a remarkable instrument. And when the 115 heavenly souls of the Chicago Symphony Chorus gather on stage with the musicians of the Chicago Symphony Orchestra, something extraordinary happens.
Corrupt and greedy politicians, a poorly educated citizenry skeptical of science and “facts,” and short-term thinking about the impact of pollution on health were all issues in 1882 when the play debuted and still resonate today.
A memorable moment from the film version of Peter Shaffer’s play, “Amadeus,” came rushing back to mind as I listened to this weekend’s glorious, spirit-altering concert by the Chicago Symphony Orchestra, which opened with Haydn’s “Symphony No. 89” and was followed by two works by his younger contemporary, Mozart.
With its three major venues on Navy Pier, the Chicago Shakespeare Theater is a nonstop operation. Evidence of that can be seen in the just-announced season: 14 productions, a slew of guest directors and a mix of shows created both here and abroad.