It’s a good bet that no one seeing “The Originalist” will undergo a major shift in their opinions, but they certainly will be reminded of how the Supreme Court’s polarization reflects the temper of the current moment in politics.

Within the span of a single week I saw productions of two plays – Samuel Beckett’s “Waiting for Godot” and Sam Shepard’s “Buried Child” – that I wouldn’t necessarily have linked together had I not seen them in such quick succession.

Here is the formula for an astonishing evening of music: Take Bela Bartok’s Piano Concerto No. 3 and put it in the astonishing hands of pianist Mitsuko Uchida, the Chicago Symphony Orchestra and conductor Esa-Pekka Salonen.

If ever there were a way to remind audiences of what it would really take to “make America great again,” the Goodman Theatre’s revival of “Having Our Say” could easily qualify as the show to get the job done.

Although everything they touch turns to gold these days, nothing quite reveals the brilliance of the musicians of the Chicago Symphony Orchestra quite like the challenge of a Mahler masterwork. 

Theater critic Hedy Weiss gives us her take on shows from American Blues Theater, Shattered Globe, Porchlight, the Paramount Theatre and more.

An intensely disciplined, fearless, altogether remarkable ensemble of sophisticated young artists brings this singular – and singularly riveting – docu-drama to life.

Among its several honors, Will Snider’s “How to Use a Knife” was named a finalist for a PEN Center USA Literary Award. Based on this exceptional Shattered Globe production alone, it should have won the prize.

This immensely compelling production adapted and directed by playwright Aaron Posner and the magician Teller is filled with a full array of sensory treats.

Zachary Stevenson – a bravura performer who is the spittin’ image of the character he plays, and who possesses the voice, moves, guitar licks and irresistible energy of the “original” – is proof that Buddy Holly lives. 

There seems to be an unofficial renaissance of Rodgers and Hammerstein musicals by way of three classics from the 1940s. Is this mere coincidence, or a a much-needed balm?

The stunning performers now gathered on the stage of the Paramount Theatre bring this unconventional piece of musical theater to life with a beguiling mix of emotional depth and comic zest.

Nick Pupillo’s haunting, hourlong narrative work, performed in collaboration with the Chicago Philharmonic, highlights the impressive dramatic skills of the Visceral dancers.

You will never experience anything quite like it. Alexander Ekman’s “Midsummer Night’s Dream” is now receiving its North American premiere by the Joffrey Ballet, and it is a monumental achievement on every level.

A transformative evening in the theater, Porchlight Music Theatre’s production features galvanic direction, volcanic dancing, a powerhouse onstage band and a large, fiercely talented cast.

The work of both composers shares the Chicago Symphony Orchestra’s current program led by Maestro Riccardo Muti. And the result is a most winning mix of opposing musical temperaments.