A new show at the Goodman Theatre is exploring what the Victorian era was like for Black Americans.
Oscar Levant was a virtuosic pianist, conflicted champion of George Gershwin, conductor, film actor, author, proudly uncensored comic and self-confessed victim of mental illness. Actor Sean Hayes is so riveting, and so real, in his portrayal that you might begin to wonder if Levant has been fully reincarnated.
The Chicago actress is giving a rip-roaring performance in playwright Cheryl L. West’s “Fannie: The Music and Life of Fannie Lou Hamer,” a 75-minute, one-woman show to which the actress brings all the grit, endurance, fiery spirit and vocal power that marked the indomitable Hamer herself.
Among the shows that have marked the return of live theater in Chicago are three very different music-driven works variously set in the final three decades of the 20th century. Seen during present day upheaval, as well as through the lens of their original conception, the result is an intriguing double vision.
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.
The play by Adam Rapp will be streamed live through May 16
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).
The multitalented actor, pianist (and yes, composer in his own right) brings the eighth installment in his renowned “Great Composers Series” to Chicago in June and simultaneously makes his Goodman Theatre debut.
“The Music Man” marches into the Goodman Theatre. Tony Award-winning director Mary Zimmerman gives us details on the big parade.
“Twilight Bowl” is a telling depiction of a crucial transitional period in the lives of a cross-section of young women who are at once lost and found in the American heartland.
It takes an actor of formidable technique to bring this two-act, two-hour monologue to vivid, active, almost cinematic life. From the moment Brendan Coyle emerges from the shadows, the spell is cast.
As it happens, there are two “ladies” in Dael Orlandersmith’s play, “Lady in Denmark,” now in its world premiere at the Goodman Theatre. But only one is fully seen or heard on stage.
If ever you had any doubt about the healing and transformative powers of art, “We’re Only Alive for a Short Amount of Time,” David Cale’s hypnotically beautiful one-man show, will set you straight.
A little more than a year after he suffered “a mild heart attack” midway through his opening night performance in “Pamplona,” Stacy Keach is in top form.
While both “Support Group for Men” and “The Roommate” rely on predictable clichés, each serves as a prime example of how absolutely first-rate actors invariably bring total devotion to mediocre scripts.
Suzan-Lori Parks’ fascinating three-hour trilogy, now on stage at the Goodman Theatre, probes the meaning of freedom, and all the complexity and ambivalence that word can carry with it.