“There Is Greatness In Me” is the defining song in this riveting musical that releases the full “greatness” in its lead character by way of an electrifying performance by veteran Chicago actress Barbara E. Robertson. 

From the wives of Henry VIII to Frankenstein’s monster, there is plenty to see on local stages right now. Theater critic Hedy Weiss shares her take on five shows currently on stage.

The 200th anniversary of “Frankenstein” was celebrated by a slew of Chicago theaters last year. Lookingglass’ new production has arrived a bit late in the game, but with its raw beauty and feverish emotion, it turns out to be well worth the wait.

Forget about spending your last dime for tickets to The Rolling Stones’ concerts at Soldier Field next month. Instead, check out the fire-breathing female royalty of this sensational musical at Chicago Shakespeare Theater.

Steven Dietz’s hauntingly beautiful play is inspired by James Joyce’s groundbreaking novel “Ulysses,” but it is no stage adaptation. Rather, it’s a gorgeous, exquisitely imagined contemporary riff on Joyce’s essential themes.

Labeling a work of art a “masterpiece” is a dangerous business, but on rare occasions there can be no doubt that such a tag is unavoidable. This is one such case.

Watching the company as it performed Boris Eifman’s latest work, the feeling that his dancers are not well served by his relentlessly madhouse style of movement – manic, extreme, repetitive – could not be denied.

Hilary Hahn’s bravura handling of a fire-breathing passage in Sibelius’ “Violin Concerto in D Minor” brings forth a “Wow!” from what was certainly an adult man in the audience at Symphony Center.

This 2008 musical is unsettling, irritating, frustrating, relentless and more. But director David Cromer and his actors have tapped into the dark charm and moments of humor in the show with great skill.

In what is clearly a case of pure happenstance, two autobiographical solo shows about mental illness recently arrived on Chicago stages. A look at “Certain Woman of an Age” and “The Mushroom Cure.”

A number of extraordinary pianists have played on the Symphony Center stage during the past season or two. Sunday’s concert brought four encores, extended standing ovations and volcanic applause.

A concert by the Chicago Symphony Orchestra featuring the transcendent Mitsuko Uchida. A visit by Maestro Riccardo Muti and several master musicians to a juvenile detention center. And a virtuosic chamber concert.

“Chicago, The Musical” holds the record as the longest-running American musical in Broadway history – and it’s a keeper. “August Rush: The Musical” is a New York-bred “tryout” production, and it just doesn’t work.

This electrifying revival demonstrates how, without straining to “modernize” or rework the 1957 Broadway musical – but by maintaining total respect for its vintage truth and beauty – its enduring power can be fully released.

At the Symphony Center, a palpable sense of relief and joy as the Chicago Symphony Orchestra marked its return to the stage after a bruising seven-week strike.

How do you bring the music back to the stage of Symphony Center in the wake of an agonizing seven-week strike by the Chicago Symphony Orchestra? With two of the world’s most formidable virtuosos.