When it comes to revivals of Henrik Ibsen’s plays in this era of neo-feminism, “A Doll’s House” attracts the most attention. But it is the title character in “Hedda Gabler” who takes the cake. And in this new production, she has never been more compelling and convincing.
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.
A new rock musical from the House Theatre of Chicago tells the incredible story of a teenage punk band from Evanston. We meet the cast of “Verboten” and an original member of the band.
Lynn Nottage’s 2018 play about the savage slaughter and potential decimation of Africa’s “big tusk” elephant population, and the illicit trade in ivory that drives it, is a stunning piece of work – equal parts poetry, ritual and an anatomy of corruption.
Circus arts, comedy and cabaret come together at Teatro ZinZanni. Six months into its run, the show has completely juggled its cast. New performers include two people with Chicago ties but very different backstories.
Speaker of the House Nancy Pelosi was center stage in the House impeachment hearings. Now she is on stage, in a sense: a new play about Pelosi is receiving its world premiere in Chicago. We drop by an early rehearsal.
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.
The formidable full schedule will feature 10 major productions, eight of which will be “new to Chicago.” The season also will mark the grand finale of Sir Andrew Davis’ tenure as music director of the Lyric Opera.
In its airtight, fervent, emotionally riveting 90 minutes, “Freedom Ride” vividly captures a pivotal moment in American history and the civil rights movement of the early 1960s in the most sophisticated yet accessible way.
The revival of Tracy Letts’ 1996 play “Bug” stars his wife, Steppenwolf ensemble member Carrie Coon. We spoke to the creative team right before opening night.
Agatha Christie’s play, “The Mousetrap,” is now receiving a wonderfully entertaining revival at Court Theatre, while Northlight Theatre is presenting the world premiere of Steven Dietz’s “How a Boy Falls,” a compelling whodunit with very dark overtones.
This knockout revival could easily be airlifted onto a New York stage without a single alteration. Come and see it if you can.
The winter theater season is upon us, with a blizzard of good shows to see. Chicago theater critic Hedy Weiss gives her take on “Roe,” “Top Girls,” “The Mousetrap,” “Juliet” and “Verboten.”
The all-female cast of Caryl Churchill’s play made a statement from the very start, and now, the eight bravura actresses in the current cast turn in a collection of blistering performances that suggest the intentional irony of using the word “girls” (rather than “women”) in the title.
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.
At once haunting, sad and beautiful, Andras Visky’s “Juliet” – now in production by Theatre Y – is a work of both real life and pure poetry.