In the feverish intensity of its emotions alone, this Tennessee Williams revival directed by Marcia Milgrom Dodge is grand opera from start to finish.
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- Stories by Hedy Weiss
Stories by Hedy Weiss
In ‘The Csardas Princess,’ Cabaret Singer Embroiled In Love, Marriage and Social Chaos, Operetta-StyleHedy Weiss
What is most impressive about this romantic comedy, the first work to be produced in Folks Operetta’s “Reclaimed Voices” series, is the exceptional beauty of the voices in the show’s large cast, and the performers’ comic swagger.
Director Diane Paulus taps into the pain and high comedy of the story, but Chicago’s Cadillac Palace Theatre is far too big a venue for this essentially intimate show.
The elaborately produced 75-minute show has all the energy and magic necessary to keep young audiences engaged. At the same time, the adult aspects of the story emerge with particular force and clarity.
While both “Support Group for Men” and “The Roommate” rely on predictable clichés, each serves as a prime example of how absolutely first-rate actors invariably bring total devotion to mediocre scripts.
Mercury Theater’s ‘Avenue Q’ Revival Taps Into Irresistibly Funny Truthiness of Life’s DisappointmentsHedy Weiss
The surprising thing about “Avenue Q” is just how wise, witty, open-minded and openly devoid of by-the-book political correctness it manages to be.
The most winning aspect of this flashy new musical at the Oriental Theatre is how three different actresses with powerful voices so deftly capture Cher at various stages of her life.
Just as many Italian Renaissance paintings of the crucifixion possess a breathtaking beauty that defies the brutality of the event, this music continually captures a vivid sense of transcendence.
In promoting his first work of fiction, “The President is Missing,” former President Bill Clinton on Thursday in Chicago demonstrated that he remains a super-smart, silky-tongued talker with both a healthy ego and an easily self-deprecating sense of humor.
The often stormy and repressive nature of life in the Soviet Union clearly infused the music of Sergei Prokofiev and Dmitri Shostakovich.
Recent performances by a number of major Chicago dance companies suggest that in a city renowned for its theater scene, an impressive component of drama also can be found in the work of its dancers.
Although I don’t ordinarily write about fundraisers, the 29th annual Corporate Night concert at Symphony Center on Monday was so beguiling that it deserves attention.
It is no secret that we live in a world of grotesque extremes. In “Guards at the Taj,” playwright Rajiv Joseph explores this phenomenon by spinning a story that contrasts the radically opposing instincts of a megalomaniacal ruler.
Among the winners for “The Band’s Visit” – justly rewarded Sunday night with 10 Tony Awards – were two artists with Chicago connections: David Cromer and Katrina Lenk. Laurie Metcalf, of Steppenwolf (and “Roseanne”) fame, picked up her second Tony.
In the one-man show “Broadway & The Bard,” Len Cariou – an actor of exceptional breadth and experience – brings both a youthful enthusiasm and worldly wise sensibility to what is clearly a labor of love.
Suzan-Lori Parks’ fascinating three-hour trilogy, now on stage at the Goodman Theatre, probes the meaning of freedom, and all the complexity and ambivalence that word can carry with it.
Yael Farber’s blistering contemporary South African version of “Miss Julie,” the 1888 August Strindberg classic, is far and away the most brilliant play to arrive on a Chicago stage this season.
It’s one thing to star in your local high school musical. It’s a very different thing to take possession of the internationally renowned stage of Lyric Opera of Chicago. That’s just what these students did.
Looking for the best way to spend a sultry pre-summer evening aside from taste-testing the latest flavor of gelato? Easy. Catch a musical.
It’s a good bet that no one seeing “The Originalist” will undergo a major shift in their opinions, but they certainly will be reminded of how the Supreme Court’s polarization reflects the temper of the current moment in politics.
Within the span of a single week I saw productions of two plays – Samuel Beckett’s “Waiting for Godot” and Sam Shepard’s “Buried Child” – that I wouldn’t necessarily have linked together had I not seen them in such quick succession.
Here is the formula for an astonishing evening of music: Take Bela Bartok’s Piano Concerto No. 3 and put it in the astonishing hands of pianist Mitsuko Uchida, the Chicago Symphony Orchestra and conductor Esa-Pekka Salonen.
If ever there were a way to remind audiences of what it would really take to “make America great again,” the Goodman Theatre’s revival of “Having Our Say” could easily qualify as the show to get the job done.
Although everything they touch turns to gold these days, nothing quite reveals the brilliance of the musicians of the Chicago Symphony Orchestra quite like the challenge of a Mahler masterwork.
An intensely disciplined, fearless, altogether remarkable ensemble of sophisticated young artists brings this singular – and singularly riveting – docu-drama to life.