I remember waking up the morning after the election absolutely astounded by the results whilst wondering how the polls were wrong.
Though Young Jean Lee’s play STRAIGHT WHITE MEN—now in its Chicago premiere at Steppenwolf Theatre Company—primarily concerns itself with characters befitting its title, the piece opens with two gender non-conforming performers (Elliott Jenetopulos and Will Wilhelm).
I hold very few things sacred, yet, SWEENEY TODD: THE DEMON BARBER OF FLEET STREET rises to the ranks. Over twenty years ago, I saw a production that transformed me into a musical theater lover.
Within minutes of the curtain fluttering open, a young woman Micaëla enters the army camp of men; the scene I saw before me bore a striking similarity to that I had experienced not twenty-four hours beforehand. It was only the first in many moments of relevance that Rob Ashford’s expert direction delivers in his shining new production.
Pictured: Blue Man Group ensemble. Photo by Lindsey Best. Review: BLUE MAN GROUP at Briar Street Theatre By Jude Hansen The Blue Man Group is a multi-sensory experience incorporating elements of clowning, percussion and rave culture. This revamped iteration of the show incorporates references to smartphone technology, rock concerts, some...
Now in its Chicago premiere at Porchlight Music Theatre, John Kander and Fred Ebb’s THE SCOTTSBORO BOYS could not be a more timely musical to produce.
How does one handle the magnitude of being the chosen example? How does one upkeep the personification of a crusade?