James Ijames’ 20-minute play marks the opening salvo in Steppenwolf Now — a series of six virtual productions designed to serve as placeholders until there is a return to live theater — a return that seems ever more elusive.
The revival of Tracy Letts’ 1996 play “Bug” stars his wife, Steppenwolf ensemble member Carrie Coon. We spoke to the creative team right before opening night.
If you were to consider the dominant feelings expressed by the adolescent girls in these two shows, the obvious conclusion would be that for all the talk, the feminist movement of the past five decades has failed to reach a whole generation or two of girls.
It would be all but impossible to survey the many great, good and sometimes disappointing productions of the past 12 months. But three recent shows suggest the great variety of work produced in Chicago – and the immense amount of talent here.
From a Chicago blues club to South Africa, a new show at Steppenwolf Theatre explores music and love across cultures. We get a behind-the-scenes look at “Lindiwe.”
Playwright Lauren Yee possesses a special gift for animating and personalizing history, and for penning exceptionally dynamic dialogue. And although not a single basketball is dropped into a hoop during “The Great Leap,” the sport comes to life.
Steppenwolf’s fabled 1982 production of Sam Shepard’s darkly comic tale is a foundational part of Chicago theater history. And now, two of the company’s “next generation” of actors are bringing their own high-octane intensity to the play.
This unabashedly flamboyant fantasia by Tina Landau and Tarell Alvin McCraney spins the true story of Joan Jett Blakk, who helped found the Chicago branch of the Queer Nation Party and ran for Chicago mayor in 1991.
Now receiving its Chicago premiere by Steppenwolf Theatre, British playwright Lucy Kirkwood’s quirky tragicomedy tackles aging, sexual competition, parenting and the catastrophic result of certain scientific and engineering “advances.”
Gary Sinise spoke with Chicago Tonight about his new book, “Grateful American: A Journey from Self to Service,” his work advocating for veterans and the history of Steppenwolf Theatre.
This sequel to Henrik Ibsen’s groundbreaking play – now receiving its Chicago debut at Steppenwolf Theatre – arrives at a moment when a whole new tsunami-like wave of feminist rebellion has gathered force.
Full of raw emotion, Isaac Gomez’s play, now receiving its world premiere at Steppenwolf Theatre, explores the brutal killing of hundreds of women and girls in Ciudad Juárez between 1993 and 2013.
With great bursts of raucous humor, as well as zany rom-com moments and deep anguish, playwright Danai Gurira infuses her exuberantly boisterous play with issues of family contention that go well beyond the usual disputes.
The pitch black, profoundly provocative world premiere by Bruce Norris brings to the fore all the arguments and nuances around sexual predators, and will either make you question your opinions on the subject or confirm them.
While both “Support Group for Men” and “The Roommate” rely on predictable clichés, each serves as a prime example of how absolutely first-rate actors invariably bring total devotion to mediocre scripts.
It is no secret that we live in a world of grotesque extremes. In “Guards at the Taj,” playwright Rajiv Joseph explores this phenomenon by spinning a story that contrasts the radically opposing instincts of a megalomaniacal ruler.