The flaws and fancies, and triumphs and comeuppances of Jane Austen’s characters continue to ring true two centuries after the publication of her books. The latest proof can be found in this utterly charming production at Chicago Shakespeare Theater.
Chicago Shakespeare Theater
The show’s three exceptionally graceful, expressive actors – each of them powerful solo players – form a seamless bond that is beautiful to behold. They are at once passionate artists and fierce cultural warriors.
We go backstage as an actor prepares “The King’s Speech” at Chicago Shakespeare Theater – and remembers his role on “Downton Abbey.”
Based on the book by Jonny Steinberg, “A Good Man of Hope,” is a heart-wrenching, fiercely honest, staggeringly beautiful production by South Africa’s extraordinary Isango Ensemble now on stage at Chicago Shakespeare Theater.
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.
Lift a glass and make a toast to the musical and verbal talents of some Emerald Islanders who have arrived on the shores of Lake Michigan for brief stays.
The work of two theater companies – one from Belgium and the other from France – are paying all-too-brief visits to Chicago Shakespeare Theater stages at the moment.
Despite a number of fine performances and a gorgeous “flower power” set, the whole thing ends up feeling more clunky and exhausting than beguiling. Subtle it is not, and often the poetry and emotion get lost.
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.
However you describe “BigMouth,” the virtuosic, one-of-a-kind, one-man show created and performed by Valentijn Dhaenens – its impact is undeniable.
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.
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.
This immensely compelling production adapted and directed by playwright Aaron Posner and the magician Teller is filled with a full array of sensory treats.
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.
A vivid production of “Schiller’s Mary Stuart” at the Chicago Shakespeare Theater is fresh and modern, but never artificially tricked up.