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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.
THE HOUSE OF IDEAS provides an entertaining history of Marvel’s precipitous rise to pop cultural supremacy that nicely captures the collaborative spirit of Kirby and Lee’s frequently tumultuous partnership.
Redtwist’s THE NORMAL HEART is frequently an emotionally affecting piece, thanks to the powerfully palpable talents of its principal cast.
Writers Theatre’s latest production is an impressive commitment to craft and community that invites audiences to reflect on questions of masculinity, race, and responsibility that stimulate the brain while tickling the funny bone.
Fans of the novel may be enthralled at seeing the characters and events of THE KITE RUNNER brought to life before their eyes, largely through moving performances and clever stagecraft.
Blank Theatre’s ON THE 20TH CENTURY makes for a delightful ride through a farcical facsimile of Broadway’s Silver Age, if one can accommodate a few bumps along the way.
Under the meticulous direction of Chuck Smith, the Goodman’s newest revival of JOE TURNER’S COME AND GONE emphasizes the play’s continued relevance through masterful performances that find cause for celebration and laughter even in the face of oppression.
Under the direction of BJ Jones, John Patrick Shanley's newest play boasts a talented cast gifted with good humor and heartfelt emotion, but the uneven script feels as though it shrank in a dryer fed by clichés rather than coins.
Charles Newell's final project as Court Theatre's artistic director offers audiences a hilarious exploration of what makes us human as well as a stunning reminder of his keen dramaturgical instincts.
This newest adaptation of PETER PAN unquestionably corrects injustices that never should have been committed in the first place.
No matter your preference, your favorite Sondheim shows will be represented in Theo Ubique's latest cabaret revue, which is as much an informative crash course in the composer's oeuvre as it is a heartfelt memorial to his rich life and lasting legacy.
Premiering at Rivendell Theatre under the inventive direction of Tara Mallen, WIPEOUT gifts audiences a hilarious exploration of aging, friendship, and womanhood that's as fun as a day at the beach and as bittersweet as a setting sun.
The semi-improvised, fourth-wall-breaking musical now receives a delightful production at Music Theater Works that's heavy on humor if occasionally light on heart.
Invictus Theatre Company's production of the Pulitzer Prize-winner TOPDOG/UNDERDOG has moments of comedic entertainment and dramatic import, but it struggles to live up to the play's substantial reputation.
Director Zi Alikhan has gifted Chicago audiences with a production of THE BAND'S VISIT whose talent and creative execution equal---and may even exceed---those of the Broadway and touring productions.
Alex Edelman's newest solo show JUST FOR US is a riotously hilarious and surprisingly heartfelt meditation on internet culture, Jewish identity, and the limits of radical empathy.
Paul Michael Thomson's newest dramedy BROTHER SISTER CYBORG SPACE, now receiving its world premiere at Raven Theatre, occasionally loses itself in a flood of introspection.
Receiving its world premiere as part of Steppenwolf for Young Adults programming, Matthew Paul Olmos's A HOME WHAT HOWLS features moving performances and a haunting creative vision that make the most of an often frustrating script.
If new Artistic Director Edward Hall's RICHARD III is any indication of what Chicago audiences can come to expect during his tenure, they would do well to cheer, 'Long live the king.
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