For the past few years, the prolific, multi-talented Hershey Felder — who forged his career in the U.S., and then moved to homes in Paris and Florence — has taken a new direction in the form of an ever-expanding series of what he has dubbed “musical films” that are available for screening on the web.

Among the many charms of “Dear Jack, Dear Louise,” Ken Ludwig’s beguiling play about his parents’ courtship during World War II, is the way it suggests the power of handwritten letters. 

A painfully honest look at the relationship between a husband and wife, and a father and his two sons, the play captures a sense of the generational turmoil in one Pittsburgh family. And, along the way, Wilson subtly presages the more overtly revolutionary era that will unfold in the 1960s.

A new ballet production made its debut at the Navy Pier Lake Stage. “Rita Finds Home” is a family-friendly production resulting from a collaboration between the Joffrey and Miami City Ballet telling the story of a young artist who is swept from her tropical island home by a hurricane and must make a new life for herself.

A combination of admiration, disillusionment, guilt and pain drives “Life After,” the musical with a book, music and lyrics by the young Canadian-bred Britta Johnson. The 90-minute show is now running at the Goodman Theatre.

The recent Broadway smash “Six” is perhaps their most notable success. Now, the Chicago Shakespeare Theater is bringing aliens to center stage with a musical-comedy adaptation of the 1950s sci-fi film “It Came From Outer Space.”

Felicia Fields, the Chicago-based actress who won a Tony Award for her work in the Broadway production of “The Color Purple,” radiates joy and a good bit of mischief in this stellar production at Writers Theatre in Glencoe.  

Based on the iconic 1953 Universal Pictures film that was inspired by the writings of sci-fi master Ray Bradbury (who grew up in Waukegan, Illinois), “It Came From Outer Space,” the zany new musical now in its world premiere at the Chicago Shakespeare Theatre, is so crazily “in and out” of this world that it is irresistible.

“The Billboard,” a book-turned-play, follows a fictional health clinic in Englewood at the center of a political race and fight for reproductive rights. It was written by WBEZ reporter Natalie Moore.

Local stages are heating up this summer. While there may be plenty of worthwhile options, Hedy Weiss joins “Chicago Tonight” to give a rundown of some of her must-see productions.

An audience of 12,000 people poured into Millennium Park Monday evening to hear maestro Riccardo Muti lead the Chicago Symphony Orchestra in a thrilling performance of works by Shostakovich and Tchaikovsky on the Pritzker Pavilion stage.

Thursday evening’s bravura production was a major event in Muti’s penultimate season as the CSO’s music director. And it was a grand homage to both the composer whose work he has long cherished, and the orchestra he has embraced and nurtured since becoming its music director in 2010.

The Flint water environmental catastrophe, with its strong racial overtones, is at the core of “cullud watta,” the expertly written play by Erika Dickerson-Despenza. Her powerful story of three generations of Black women, now receiving a fiercely emotional regional premiere at Victory Gardens Theater, is a model for how to fully humanize a social crisis.

With the pandemic still bedeviling live performance these days understudies have become heroic figures. Now, the Chicago Symphony Orchestra has its very own “last minute hero” story, too. 

Performed earlier this month, a trio of Chicago Symphony Orchestra concerts led by guest conductors and featuring guest violinists deserve to be chronicled.

We take you to West Town, where a production at the Vittum Theater is commemorating more than 400 years of Black American history.