Zac Thriffiley

Returning to the Windy City for a second term after a critically acclaimed run last August, 44 ('The Obama Musical') already feels like an artifact from a different, more optimistic time.

While this iteration leans heavily into Finn's chaotic sense of fun, it occasionally rushes through the emotional beats and connections that make the show such a powerful study of illness, hope, and community.

This hilarious show should entertain nerds and newcomers alike, though its rules may occasionally test the patience of less familiar viewers.

Led by two powerful performers and a stunning directorial vision, PARADE marches us into the past to better understand our present.

Blank Theatre Company shines a light on this underappreciated work in a pleasant production with stirring performances that are only occasionally blunted by the limitations of a claustrophobic venue.

The anarchic world premiere of Tyler Anthony Smith’s QUEEN FOR A DAY is as delightfully wild as it is deeply heartfelt.

IRAQ, BUT FUNNY serves not only as a masterful satire of British and American colonialism in the Middle East but also as a moving, multigenerational family drama.

Despite a few growing pains and a rushed finale, SWEET CHARITY is a great vehicle for the cast’s charming female lead and further evidence that Blank attracts some of the best young musical talent in the city while pushing the envelope of what Chicago storefront theater can accomplish.

Chicago Shakespeare Theater’s all-Chicago production of Lolita Chakrabarti’s HYMN is beautifully performed, but the script never quite delivers on the thematic complexity promised by the play’s premise.

IT’S BEEN TEN YEARS SINCE EVERYBODY DIED misses the mark on both scares and astute social commentary, but through no fault of its talented and refreshingly diverse cast.

While the play may be meager fare compared to other recent professional offerings, CLUE is undeniably a well-polished evening of hijinks and hilarity—if audiences know what they’re getting themselves into.

Under the direction of artistic director Susan V. Booth and bolstered by actors at the heights of their craft, the Goodman’s BETRAYAL provides audiences with a sincere and sympathetic take on a modern classic.

Lookingglass Theatre’s CIRCUS QUIXOTE provides Chicago audiences with a stunning dramatic adaptation of Don Quixote that is every bit as impactful and imaginative as its source material.

Open Space Arts in Uptown is quickly establishing itself as the go-to “storefront” theater for plays and films that consider the many nuances of queer experiences, and their latest offering—MR. PARKER—is no exception. Elevated by the sophisticated performance of its leading actor, MR. PARKER presents a compelling portrait of grief and middle-age too often missing from gay narratives these days.

The Goodman’s FAT HAM is an intelligent, uproarious adaptation that explores and celebrates Black joy and resilience. The co-production with Definition Theatre has already been extended through March 2.

Despite some moving performances from the supporting cast, seasoned fans of and newcomers to THE OUTSIDERS may be underwhelmed by a production whose various elements leave it struggling to “stay golden.”

Open Space Arts's production of LIGHT SWITCH shines a much-needed spotlight (no pun intended) on the struggles of neurodiverse members of queer communities, thanks in large part to its captivating leading man.

Featuring a strikingly charismatic yet grounded performance from its leading actor, HENRY V presents a compelling study of the excitement and danger inherent in even the best-intended feelings of nationalism.

Now receiving its Chicagoland premiere, Northlight Theatre’s THE FLYING LOVERS OF VITEBSK features brilliant performances and moments of exquisite stagecraft, though the play’s lean script occasionally saps the production of necessary tension and greater thematic depth.