Verdi’s monumental and altogether ravishing “Requiem” is a signature work of Maestro Riccardo Muti and the Chicago Symphony Orchestra and Chorus. In light of recent shootings, Thursday’s performance brought even greater potency and fire to this work.
Stories by Hedy Weiss
A study in the darkness and luminosity inherent in human interaction, “Take” is nothing short of spellbinding. And it marks a new high point in artistic director Nick Pupillo’s always original, sensual, highly charged choreography.
If you think this country’s political culture is the quintessential hornet’s nest, you probably haven’t been exposed to life in the world of scientific research. Jenny Connell Davis puts it under a powerful magnifying microscope in this world premiere work.
As it happens, there are two “ladies” in Dael Orlandersmith’s play, “Lady in Denmark,” now in its world premiere at the Goodman Theatre. But only one is fully seen or heard on stage.
Audience members engage in a process similar to a television “elimination” contest to choose one of five contenders for an unspecified office. It is great fun, but also offers food for thought – and a healthy dose of cynicism.
The enduring 1964 hit with an impossibly catchy score fervently champions the quest for love, adventure, mischief and the all-important joy (and necessity) of seizing the day.
A beautifully realized, profoundly moving one-man show now on stage at the Greenhouse Theater Center features a performance of great heart by Shane O’Regan.
They say “the music died” on the day in 1959 when rock ‘n’ roll legend Buddy Holly perished in a plane crash. But that geeky Texas boy with the trademark thick glasses is still making a big noise.
You have just one more chance to catch a concert at Symphony Center that brings you into direct contact with absolute genius. Beg, borrow (or maybe even steal) a ticket to hear 27-year-old Russian pianist Daniil Trifonov in an electrifying performance.
It has been four years since the Joffrey Ballet first performed Christopher Wheeldon’s reimagining of “Swan Lake.” Its current revival serves as a vivid indication of the extraordinary artistry that now defines the Joffrey, from principal dancers to corps.
With her force-of-nature personality, powerhouse voice and galvanic emotional range, E. Faye Butler was clearly was born to play Mama Rose.
With echoes of “Oklahoma” in its evocation of the hardscrabble lives of exceptionally strong women, Pearl Cleage’s story revolves around the different choices made by four women, including the elderly but unbending matriarchal figure who experienced the abominations of slavery, yet survived to tell the story.
“Crumbs from the Table of Joy” – one of the playwright’s earliest works, now on stage at Raven Theatre – is continually engaging. And in the current climate, it also turns out to be uncannily timely.
This past weekend saw the last Chicago Symphony Orchestra concerts to be conducted by Maestro Riccardo Muti until November, and they should not go without notice for several reasons.
Now receiving an altogether riveting world premiere production at Writers Theatre, “Witch” is a pitch-black fairy tale for our times, and one that is not to be missed.
The pitch black, profoundly provocative world premiere by Bruce Norris brings to the fore all the arguments and nuances around sexual predators, and will either make you question your opinions on the subject or confirm them.
With its incendiary production, Firebrand Theatre easily secures its place among the handful of Chicago’s hottest “smaller” musical theater companies. Though there is nothing at all “small” about this formidable assemblage of talent.
For all its timely social commentary, “Tootsie” (a gently updated musical version of the hit 1982 film) feels a bit like show business balm – a feel good work for the #MeToo era.
In its three-part fall season program, Hubbard Street Dance Chicago harkened back to the creation of the universe and the ascent of man before conjuring an apocalyptic vision of where it all went wrong.
If ever you had any doubt about the healing and transformative powers of art, “We’re Only Alive for a Short Amount of Time,” David Cale’s hypnotically beautiful one-man show, will set you straight.
Music is not apolitical. The Chicago Symphony Orchestra’s season opening concerts take note of this, with impassioned comments made by Maestro Riccardo Muti.
However you describe “BigMouth,” the virtuosic, one-of-a-kind, one-man show created and performed by Valentijn Dhaenens – its impact is undeniable.
They are set in different eras, and come with notably different sounds and story lines, but the three musicals now being produced on local stages share one major theme. Here’s a closer look.
The haunting dramatization of “Crime and Punishment” now on stage attacks the work with the same fire and attention to moral argument as the master writer, Fyodor Dostoyevsky, himself.