Review: BAD GIRLS: THE STYLISTS at Akvavit Theatre
BAD GIRLS: THE STYLISTS takes place entirely in a hair salon, one of the few domains where women generally exercise complete autonomy.
Review: MERCHANT ON VENICE at Rasaka Theatre Company and Vitalist Theatre of Chicago
MERCHANT ON VENICE has lofty ambitions, attempting to discuss highly controversial topics within a 3-hour arena.
Review: WHY DO YOU ALWAYS WEAR BLACK? at Organic Theater Company
Bursting with energy and intention onto a traditional living room set, this ensemble of four: Kat Christensen, Nyssa Lowenstein, Ariana Silvan-Grau, Taylor Wisham, and their director Anna Gelman have expertly crafted an exploration of Chekhov’s text and context that highlights its relevance, especially to the contemporary female experience.
Review: WOMEN LAUGHING ALONE WITH SALAD at Theater Wit
In WOMEN LAUGHING ALONE WITH SALAD, Callaghan explores critical issues surrounding the messages women receive about themselves and their bodies in advertising and in society in a style that is entirely unique to her.
Review: AN ENEMY OF THE PEOPLE at Goodman Theatre
AN ENEMY OF THE PEOPLE is a play of potent and polarizing ideas.
Review: SHE KILLS MONSTERS at Cuckoo’s Theater Project
Cuckoo’s production is evidence of the commitment and joy that drives the engine of Chicago storefront theatre.
Review: KINGDOM at Broken Nose Theatre
There is a lot to love about performances seeking to immortalize compassion in a compelling way.
Review: SWEENEY TODD at Theo Ubique Cabaret Theatre
Candlelights flicker in the darkness as the stony-faced actors invite us to attend the tale of SWEENEY TODD, the final full musical by the Theo Ubique company at the No Exit Café.
Review: HOT PINK, OR READY TO BLOW at New American Folk Theatre
HOT PINK, OR READY TO BLOW from New American Folk Theatre sounds like it would be a rowdy late-night show and noisy cult classic. To make this presumption would be to sell the play very, very short.
Review: SWEEP at Coffee & Whiskey Productions
Though lengthy, the play has a strong feminist message. Escobar’s concept of sweeping the past to fix the future is full of insight into what is happening around us these days, but the fantastical side of this play loads a lot of layers that weaken the strength of the message.