Felicia Fields, the Chicago-based actress who won a Tony Award for her work in the Broadway production of “The Color Purple,” radiates joy and a good bit of mischief in this stellar production at Writers Theatre in Glencoe.  

Based on the iconic 1953 Universal Pictures film that was inspired by the writings of sci-fi master Ray Bradbury (who grew up in Waukegan, Illinois), “It Came From Outer Space,” the zany new musical now in its world premiere at the Chicago Shakespeare Theatre, is so crazily “in and out” of this world that it is irresistible.

Local stages are heating up this summer. While there may be plenty of worthwhile options, Hedy Weiss joins “Chicago Tonight” to give a rundown of some of her must-see productions.

An audience of 12,000 people poured into Millennium Park Monday evening to hear maestro Riccardo Muti lead the Chicago Symphony Orchestra in a thrilling performance of works by Shostakovich and Tchaikovsky on the Pritzker Pavilion stage.

Thursday evening’s bravura production was a major event in Muti’s penultimate season as the CSO’s music director. And it was a grand homage to both the composer whose work he has long cherished, and the orchestra he has embraced and nurtured since becoming its music director in 2010.

The Flint water environmental catastrophe, with its strong racial overtones, is at the core of “cullud watta,” the expertly written play by Erika Dickerson-Despenza. Her powerful story of three generations of Black women, now receiving a fiercely emotional regional premiere at Victory Gardens Theater, is a model for how to fully humanize a social crisis.

With the pandemic still bedeviling live performance these days understudies have become heroic figures. Now, the Chicago Symphony Orchestra has its very own “last minute hero” story, too. 

Performed earlier this month, a trio of Chicago Symphony Orchestra concerts led by guest conductors and featuring guest violinists deserve to be chronicled.

Tony Award-winning Broadway star Kelli O’Hara performed a bravura solo concert Thursday accompanied by that ever dazzling “band,” the Chicago Symphony Orchestra.

The production not only ideally captures the mix of the comical, satirical, fantastical and romantic aspects of Miguel de Cervantes’ story, but with its beautiful sets, costumes, projections, puppets and aerial tricks it also is an ideal showcase for the Joffrey.

Michelle Renee Bester’s 90-minute show is a quasi-autobiographical story that pays homage to her late grandmother. It spins an intriguing psychological family drama that homes in on the particular fears, frustrations and needs of each of that woman’s four rather different and troubled grandchildren. 

“Ain’t Too Proud — The Life and Times of The Temptations” is an exhilarating, at times heartbreaking, and superbly executed musical now in an all too brief run at the Cadillac Palace Theatre in Chicago.

Arts critic Hedy Weiss gives us her recommendations.

“Two Trains Running” is one of the finest plays in August Wilson’s renowned 10-play “Century Cycle” that captures elements of Black life in each decade of the 20th century. And Court Theatre’s latest revival of this seminal work is not to be missed.

Guest conductor Karina Canellakis led the CSO in “Brio” (by Augusta Read Thomas); Robert Schumann’s lushly beautiful “Piano Concerto in A Minor” (featuring pianist Kirill Gerstein); and finally “Ein Heldenlaben (A Heroic Life),” Richard Strauss’ sweeping, fiercely emotional tone poem.

The current touring production of “Fiddler on the Roof,” playing Chicago for only one week, is an ideal example of how “a classic” can have a whole new resonance at this very moment.