Review: HIR at Steppenwolf Theatre Company
Taylor Mac credits the seed of inspiration for HIR to the 1997 Steppenwolf production of Sam Shepard’s BURIED CHILD. Coming full circle, HIR is now playing at Steppenwolf. The leap is not that far; just as Shepard’s work is an indicting statement on the modern American family of his time, Steppenwolf’s HIR is most certainly a reflection of Mac’s.
Review: THE SCHOOL FOR LIES at The Artistic Home
The actual 17th century France has nothing on this bold little show.
Review: WATER & POWER at UrbanTheater Company
WATER & POWER is a magically realist play about the Garcia brothers, Gilbert ‘Water’ and Gabriel ‘Power’ who have risen through the ranks of Chicago politics and law enforcement.
Review: MACBETH at Oak Park Festival Theatre
This shortest and bloodiest of Shakespeare’s tragedies, in less capable hands, could easily have devolved into a gory series of fights and frights for an evening of silly summer fun. But the talented cast and crew at OPFT have created a fantastic and memorable show for any season.
Review: HITLER ON THE ROOF at Akvavit Theatre
Amy Gorelow and Jay Torrence. Photo by Karl Clifton-Soderstrom. By Tonika Todorova HITLER ON THE ROOF doesn’t exactly offer subtleties when exploring its topical themes. The rise of Nationalistic pride and ideological fanaticism around the world gives everyone pause, but this production aptly reminds us what happens when you pause for too...
Review: LATE COMPANY at Cor Theatre
Matthew Elam and Tosha Fowler. Photo by Matthew Gregory Hollis. It is Cor Theatre’s mission to tell stories that take courage to tell, and LATE COMPANY fulfills that mission. The premise is intriguing. In the wake of a traumatic teen suicide, parents Deborah (Tosha Fowler) and Michael (Paul Fagan) host...
Review: LONDON ASSURANCE at City Lit Theater
The intelligent female characters of LONDON ASSURANCE shame much of the Western drama that follows.
Review: THE KING AND I National Tour at The Oriental Theater
The fifth work from the fathers of musical theater, Richard Rogers and Oscar Hammerstein II, the KING AND I, based on Margaret Landon’s novel ANNA AND THE KING OF SIAM, features a gorgeous score that sweeps us through the story of an English schoolteacher who comes to Siam to educate the children of the King, and consequently, the King himself.
Review: PASS OVER at Steppenwolf
We need to ask ourselves, “do black lives matter?” Because the thought of complacency is frightening for the future of humanity.
Review: NATIVE GARDENS at Victory Gardens Theater
This is a play that wields commentary about race and entitlement with swift aim, making incisions that cut deep.