The recent Broadway musical based on the hit 1942 film is an old-fashioned charmer on every level, with just enough of a sardonic bite to make it feel fresh, and just enough nostalgia to pierce your heart.

This wildly imaginative version of Mary Shelley’s classic is at once handmade and high-tech, and as you take your seat at Court Theatre, you immediately sense that something completely out of the ordinary is about to unfold.

Verdi’s monumental and altogether ravishing “Requiem” is a signature work of Maestro Riccardo Muti and the Chicago Symphony Orchestra and Chorus. In light of recent shootings, Thursday’s performance brought even greater potency and fire to this work.

A study in the darkness and luminosity inherent in human interaction, “Take” is nothing short of spellbinding. And it marks a new high point in artistic director Nick Pupillo’s always original, sensual, highly charged choreography.

If you think this country’s political culture is the quintessential hornet’s nest, you probably haven’t been exposed to life in the world of scientific research. Jenny Connell Davis puts it under a powerful magnifying microscope in this world premiere work.

At an intimate press conference celebrating his return visit to the city, conductor Daniel Barenboim expressed his delight at what will be a two-part homecoming at Symphony Center.

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.

Audience members engage in a process similar to a television “elimination” contest to choose one of five contenders for an unspecified office. It is great fun, but also offers food for thought – and a healthy dose of cynicism.

The enduring 1964 hit with an impossibly catchy score fervently champions the quest for love, adventure, mischief and the all-important joy (and necessity) of seizing the day.

A beautifully realized, profoundly moving one-man show now on stage at the Greenhouse Theater Center features a performance of great heart by Shane O’Regan.

They say “the music died” on the day in 1959 when rock ‘n’ roll legend Buddy Holly perished in a plane crash. But that geeky Texas boy with the trademark thick glasses is still making a big noise.

You have just one more chance to catch a concert at Symphony Center that brings you into direct contact with absolute genius. Beg, borrow (or maybe even steal) a ticket to hear 27-year-old Russian pianist Daniil Trifonov in an electrifying performance.

It has been four years since the Joffrey Ballet first performed Christopher Wheeldon’s reimagining of “Swan Lake.” Its current revival serves as a vivid indication of the extraordinary artistry that now defines the Joffrey, from principal dancers to corps.

With her force-of-nature personality, powerhouse voice and galvanic emotional range, E. Faye Butler was clearly was born to play Mama Rose.

With echoes of “Oklahoma” in its evocation of the hardscrabble lives of exceptionally strong women, Pearl Cleage’s story revolves around the different choices made by four women, including the elderly but unbending matriarchal figure who experienced the abominations of slavery, yet survived to tell the story.

“Crumbs from the Table of Joy” – one of the playwright’s earliest works, now on stage at Raven Theatre – is continually engaging. And in the current climate, it also turns out to be uncannily timely.