The Marriott Theatre’s “West Side Story” opened Wednesday night in a production especially notable for its rip-roaring Latin and jazz-infused dance sequences choreographed by Alex Sanchez.
The infrequently revived 1948 musical gem boasts a brilliant score by Cole Porter of nearly 20 knockout songs, almost all of which are classics. It’s a wonderfully clever play-within-a-play book by Sam and Bella Spewack that owes a deep debt of gratitude to that guy by the name of William Shakespeare.
It might not be a Broadway-style blockbuster, but this intimate musical very skillfully mixes romantic comedy tropes with an uncompromising look at self-destructive behavior, self-doubt, alcoholism and complex friendships.
Three very different productions that recently opened on Chicago stages serve as a powerful reminder of the dramatically varied ways in which the language of dance can be spoken.
From monsters and novelists to a depressed construction foreman in Belarus, the Chicago theater scene is as varied as ever. Hedy Weiss joins us with reviews and recommendations.
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.
They are set in different eras, and come with notably different sounds and story lines, but the three musicals now being produced on local stages share one major theme. Here’s a closer look.
The real question at the heart of this 95-minute, music-infused marathon of a farce – which features two actors playing 13 characters and frequently sharing time at a piano – is whether the performers themselves will make it out alive.
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?
Hedy Weiss devours the latest version of Sweeney Todd to hit Chicago. She reviews that and three more shows.