Gaetano Donizetti’s beguiling romantic comedy is a delightful  and winningly insightful tale of true love, money, egotism, self-doubt, wishful thinking and charlatanism. And, to top it all off, it comes with a happy ending.

The Lyric Opera production of Giuseppe Verdi’s “Macbeth” — which marks both the ongoing pandemic-era reopening of the company’s renovated 3,200-seat theater, and the official start of Enrique Mazzola’s tenure as the company’s music director — is no standard witches’ brew. 

It was just before opening night that “American Mariachi” had to close its doors. Now, nearly 18 months later, the cast has returned to the stage. We go behind the scenes of this new musical play set in 1970s Chicago.

To open or not to open: That's been the question for Chicago’s performing arts community over the last year and a half. Now, the League of Chicago Theatres has announced new COVID-19 restrictions and safety measures as productions are set to fill up stages once again.

Miguel Cervantes joins us in conversation ahead of a performance this week at The Metropolitan Club and the reopening of “Hamilton” on Broadway next month.

From Grant Park to Ravinia, music and dance are returning in a big way this summer. Theater critic Hedy Weiss is returning, too, to talk about some recent live shows.

When theaters across the city shut down last year, a local multimedia company took the performing arts from stage to screen. With the help of some celebrated collaborators, they kept audiences in touch with artists. 

Broadway shows are planning their long-awaited return to Chicago. Theater critic Chris Jones has the latest, plus an update on his new role on the editorial pages of the Chicago Tribune.

“Overture,” the final entry in the Chicago Symphony Orchestra’s springtime series of three different programs was performed live in Orchestra Hall on Thursday.  Remaining performances are Saturday at 7:30 p.m. and Sunday at 3 p.m. 

It was a magical evening at Symphony Center Thursday as a meticulously spaced and masked audience gathered for “Strum,” the aptly titled second of three different programs of springtime concerts from the Chicago Symphony Orchestra.

The Chicago Symphony Orchestra walked onstage to perform their first concert before a live audience in more than 14 months, Thursday evening.

When a member of Chicago’s theater community was racially profiled, he turned the experience into a short film with the help of the Chicago International Puppet Theater Festival. Here’s a look at a one-man, one-puppet show about the consequences of “walking while Black.”

In “Nicholas, Anna & Sergei,” Hershey Felder fully captures the “history, pride and melancholy of the Russians” with the fervor Sergei Rachmaninoff carried with him to the end. And he plays the composer’s sweeping music to magnificent effect.

Adam Rapp’s “The Sound Inside” depicts the brief but harrowing relationship between Bella (Mary Beth Fisher), a lonely, middle-aged Yale professor and author who teaches a course in creative writing, and her intense, gifted, profoundly alienated freshman student, Christopher (John Drea).

Thanks to support from the Illinois Department of Public Health, Chicago theater company Collaboraction is exploring the impact of oral history, one story at a time. We learn about the group’s newest project, “Family Tree Stories,” and how it’s working to unite the city through storytelling.

With most traditional theater spaces off-limits and Zoom an increasingly annoying way to have to watch anything, two Chicago opera companies have demonstrated in radically different ways that “all the world is a stage” — or can be turned into one.