Rachel Weinberg - Page 9

BroadwayWorld had a sneak peek at the newly opened HAMILTON: THE EXHIBITION on Northerly Island. Here are some highlights from the sprawling tent where it happens.

Chicago Shakespeare Theater Artistic Director Barbara Gaines has staged a HAMLET that captures both the universality of Shakespeare's language and the equally universal-but also profoundly personal-experience of grief for the title character.

In advance of her upcoming concert tour date in Chicago, legendary Broadway performer Lea Salonga chatted with BroadwayWorld about what audiences can expect from her Human Heart tour and her thoughts on representation in the current Broadway landscape.

Under the direction of Brenda Didier and with show-stopping choreography from Christopher Chase Carter, Porchlight's A CHORUS LINE captures the emotional heart at the center of this classic musical and has plenty of pizzazz. Whether you're a long-time fan of A CHORUS LINE or experiencing this musical for the first time, Porchlight's production-like all of the hopeful performers in it-deserves to be seen.

It seems only fitting that Ike Holter would conclude his seven-play "Rightlynd Saga," set in the fictional 51st Ward of Chicago, by literally sending it off with a party. And this is no ordinary celebration. A cast of characters from previous installments in the "Rightlynd Saga" gathers in Mallory's backyard; she's the neighborhood's maternal figure, and she's poised to give away a sizable sum of money to one lucky winner.

If you're feeling nostalgic for the catchy pop hits of the '90s, CRUEL INTENTIONS: THE '90S MUSICAL is just the ticket.

Now in its Chicago debut at Theater Wit under the direction of Artistic Director Jeremy Wechsler, Joshua Harmon's ADMISSIONS is entirely prescient. The play takes a critical look at both prep school and college admissions, and the lengths to which people will go to have their children admitted. The play also asks keen, complicated questions about white privilege, racism, and how we should now be deciding who gets a seat at the table.

Launching BoHo Theatre's fifteenth season, Steve Martin and Edie Brickell's BRIGHT STAR is an earnest and charming show that wears its heart proudly on its musical sleeve.

Lynn Nottage's 2017 Pulitzer Prize-winning SWEAT, now in its Chicago premiere at Goodman Theatre under the direction of Ron OJ Parson, focuses on a group of blue-collar factory workers in Reading, Pennsylvania. Bound together by the toils of working-class life in the town's steel-tubing factory, these friends and family members gather at a local bar to let off steam and celebrate special occasions. And though the work at the factory may not be fulfilling, Nottage makes clear this work is vital for the characters' livelihoods. For many of them, a life of working at the factory dates back generations. As the play toggles between 2000 and 2008, Nottage also reflects how her characters' lives intersect with current events and questions of race, class, and success in America.

In HANDS ON A HARDBODY, now making its Chicago premiere with Refuge Theatre Project, the mobility offered by that titular hardbody truck is not just of the wheeled variety. Instead, the contest among 10 working class Texans to be the last to have their hands on that Nissan truck also becomes a rather obvious symbol of the American Dream.

It's in the moments of high energy and pure entertainment that A BRONX TALE succeeds the most, and the company finds all the joy in Alan Menken's reliably tuneful score.

Jackie Sibblies Drury's WE ARE PROUD TO PRESENT A PRESENTATION…, currently onstage as the second production in Steppenwolf for Young Adults' season, opens up challenging questions about history, who has the right to tell what story, and how best we can represent critical moments from the past without complete information.

AN INSPECTOR CALLS is a gripping theatrical experience from start-to-finish. Director Stephen Daldry's breathtaking revival of J.B. Priestley's 1946 thriller had its origins in 1992 and comes to Chicago Shakespeare Theater now as part of an international tour from the National Theatre of Great Britain. Though Daldry originally conceived of this staging decades ago and Priestly has set his play in 1912, this production possesses both a timeliness and a timelessness that make it deeply impactful now.

TWILIGHT BOWL is a thoughtful and delicate examination of what it means for the young women in the play to find their places in the world, and the fact that 'making it' in life might look quite different for all of them. The play posits that there is no definitive definition of success and that the best outcome for these young women is to figure out where they fit for themselves.

As with THE MADRES, Walker has once again constructed a devastating and empowering portrait of strong women facing unbearably tragic circumstances in THE ABUELAS.

Both profoundly moving and profoundly disturbing, DEAR EVAN HANSEN is one of the most deeply troubling musicals I've seen. I left DEAR EVAN HANSEN with a swirl of mixed emotions. The musical is a meditation on social media and how it makes the social isolation and challenges of high school all the more difficult.

The Midwest premiere of Stew and Heidi Rodewald's THE TOTAL BENT is a meditation on self-expression and the oppressive forces that can stand in the way of that expression.

A DOLL'S HOUSE, PART 2, now in its world premiere at Steppenwolf, explores the gap between society's expectations for the central character Nora and how she perceives herself. Lucas Hnath's sequel to Ibsen's classic, proto-feminist work A DOLL'S HOUSE sees Nora returning through the very door she slammed fifteen years prior. She now must literally face the consequences of her desire to reclaim her identity and her quest to achieve equal rights to the men of 19th century society. In so doing, Hnath reveals that the chasm between Nora's societal/familial obligations and her obligations to herself may never be resolved.

In PIPELINE, playwright Dominique Morisseau reflects on the cracks in the inner-city public-school system, and the ways in which it often functions as a school to prison pipeline for young black men, without vilifying the system's participants. It's a skillfully crafted balance that demonstrates how the brokenness of the system is disheartening for teachers and students alike. And under the direction of Cheryl Lynn Bruce, Victory Gardens Theater's ensemble makes this a very human struggle.

Though the D'Ysquiths may be felled one by one in A GENTLEMAN'S GUIDE, nothing can stop Matt Crowle from stealing the show.