A sort of equal-opportunity snake pit of corruption, violence and ridiculous sex-capades, Matthew-Lee Erlbach’s play is now receiving its world premiere at Steppenwolf Theatre.

For those still unfamiliar with the magic Hershey Felder can create, an introduction to the man, whose enthralling show about Tchaikovsky is now in a limited engagement at Steppenwolf’s Upstairs Theatre, is essential.

A richly evocative new play by Philip Dawkins is now receiving a vividly acted world premiere at Raven Theatre.

Theater critic Hedy Weiss reviews “Pretty Woman,” “Sweeney Todd,” plus dramas at the Goodman Theatre and more.

In her brilliant play “Smart People,” Lydia R. Diamond creates an impossibly thorny and twisted verbal, emotional and intellectual maze of race, sex and “super-achieverdom.”

Songwriter Bryan Adams and other members of the creative team behind “Pretty Woman: The Musical” talk about the intersection of pop music, movies and musicals.

Can a story that feeds on the decades-old roots of the #MeToo movement serve as a deftly massaged corrective?

I confess I was wary about how this story would hold up a full half-century after the film dealt with some very uncomfortable truths. But the more things have changed, the more things have remained (almost) the same.

Corrupt and greedy politicians, a poorly educated citizenry skeptical of science and “facts,” and short-term thinking about the impact of pollution on health were all issues in 1882 when the play debuted and still resonate today.

A memorable moment from the film version of Peter Shaffer’s play, “Amadeus,” came rushing back to mind as I listened to this weekend’s glorious, spirit-altering concert by the Chicago Symphony Orchestra, which opened with Haydn’s “Symphony No. 89” and was followed by two works by his younger contemporary, Mozart.

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.

This is a scorching production that is all the more potent for its extreme, immersive intimacy. Read the full review.

Reviews of two special productions that came to Chicago stages this past weekend: the world premiere of “Long Way Home” from hip-hop masters the Q Brothers Collective; and Lyric Opera’s celebration of Leonard Bernstein.

A review of Alvin Ailey American Dance Theater at the Auditorium Theatre, and in dance news: a $1 million gift for the Joffrey Ballet.

Despite a lush score, excellent voices and several memorable characterizations, the story often loses its focus in a new production of “Faust” at Lyric Opera of Chicago.

Three very different programs appeared on Chicago stages last weekend – and there is much more to come this month.