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?