If you (or your child) ever wished you could open up a book and bring the illustrations and words to life, you needn’t look much further than the newly adapted page-to-stage production directed by Heidi Stillman.
The great American novelist Willa Cather wrote, “There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before.” The same can be said for many families as they change and grow with the passage of time.
I’m impressed. Bluebird Arts is the only theater company in Chicago dedicated to producing consecutive productions in English and Russian. What makes this more impressive is that even with such an intensive undertaking, their work is good.
Pictured: Mark L. Montgomery and Deanna Myers. Photo by Liz Lauren. Review: THE SCENE at Writers Theatre By Kelsey McGrath Theresa Rebeck is a master of dialogue and a craftswoman of character. Her 2004 work, THE SCENE — according to Writers Theatre where it is now playing — “explores the...
Pictured: Irvine Welsh, Don De Grazia and Tom Mullen. Photo by Jay Kennedy. Workshop Production: CREATIVES at Chicago Theatre Workshop By Jude Hansen The plot centers on eight students in a songwriting class at a progressive university competing for the chance to win $5,000 and the approval of a celebrity judge, an alumnus of...
Mrs. Whatsit’s metamorphosis into a character with long, colorful wings was a particularly effective moment — aided by a clever scaffold set which supported the children as they “flew” upon the creature.
Porchlight Music Theatre’s three-night-only concert staging of the 1962 Broadway musical LITTLE ME as part of its Porchlight Revisits series is every bit as effervescent as a glass of champagne—and it’s certainly an evening of theater worth toasting.
Upon exiting Stage 773’s THE BEST OF BRI-KO it was unsettling to have to check that I was not tracking mushed lettuce into the carpeted lobby. This vegetable was just one of many unlikely props wielded by three actors as they explored status and relationship in this hour-long silent sketch show.
Joseph Alsop (Philip Earl Johnson), our journalist protagonist, as a character draws similarities to Kushner’s’ Roy Cohn, but is not pathetically endearing or despicably hypocritical or even conflicted enough to hold the fascination that Kushner’s’ depiction of Roy creates. There is little urgency for this character and nothing particularly captivating about him.