The show, which uses high-energy pop music to tell the stories of the wives of King Henry VIII, is running in Chicago through July 14.
Broadway in Chicago
For Chicago area native Grant Reynolds, the performances mark his debut in a national tour for a Broadway show.
“Message in a Bottle,” which runs through Sunday at the Cadillac Palace Theatre, is simply a phenomenal production that should not be missed, writes WTTW News theater critic Hedy Weiss.
A 2024 edition of the classic four women sitcom, “Golden Girls,” has been making its way across the country, and soon they’ll be making their stop at Chicago’s Broadway Playhouse at Water Tower Place.
“BOOP! The Musical” is clearly on its way to Broadway with an absolutely starry performance by Jasmine Amy Rogers, an actress who can sing and dance up a storm in a role that is sure to fly her into the spotlight, writes WTTW News theater critic Hedy Weiss.
Tina Turner’s fiercely dramatic, profoundly painful and wildly successful life unfolds on stage in “Tina: The Tina Turner Musical.”
The production is a sad introduction for new audiences and a spirit-crushing experience for those who’ve seen “Oklahoma!” many times throughout the years.
What really blows this show out of the park is its knockout dancing, and the brilliant choreography by Bill T. Jones that in many ways is more potent than any spoken dialogue.
Among the shows that have marked the return of live theater in Chicago are three very different music-driven works variously set in the final three decades of the 20th century. Seen during present day upheaval, as well as through the lens of their original conception, the result is an intriguing double vision.
It’s been 822,900 minutes since Broadway in Chicago closed its doors. Now nearly a year and a half later, they’re back with a story that’s giving us 525,600 reasons to love.
In 90 uninterrupted minutes of altogether irresistible satire, Robert Dubac – an actor, writer, comedian and grand master of sleight-of-hand (and mind) – ingeniously nails the current regrettable state of the nation and the world at large.
The show is full of exuberant dancing and performances by strong actor-singers, but the crucial intimacy of its storytelling too often gets lost in the carnival atmosphere that has been generated to give this 90-minute gem a Broadway gloss.
If you were to consider the dominant feelings expressed by the adolescent girls in these two shows, the obvious conclusion would be that for all the talk, the feminist movement of the past five decades has failed to reach a whole generation or two of girls.
Listening to the richly faithful performances by Taylor Bloom and Ben Cooley was in many ways like stepping into a time machine. As I left the theater awash in memories, I wondered whether Simon and Garfunkel have seen the show in which they are so winningly captured.
Just over three years ago, Chicago audiences were introduced to the smash hit musical “Hamilton.” We catch up with two original cast members of the Chicago production.
J.T. Rogers’ superbly crafted, whip-smart, at times fancifully (and farcically) imagined 2017 Tony Award-winning play captures the efforts of a Norwegian husband-and-wife team to forge a peace process between the Israeli government and the PLO.
