This is also a jarringly uneven play that tries too hard to be hip and often ends up undercutting the very meaningful notions it is meant to explore.
Sadly, the whole production wears you down as often as it enchants.
Miller was a realist who tapped into the fractured heroic nature of his characters and the very specific time and place in which they lived.
The all too rarely revived 1990 musical devised by Clarke Peters features the wonderfully antic songs of 1930s saxophonist/bandleader Louis Jordan.
A long-running hit at the Apollo, the tribute to Elvis Presley and his fellow Sun Records artists finds its proper scale on a Broadway-size proscenium
Stage versions of Atwood’s work are still rare, so Rivendell’s riveting world premiere production of her novel “Alias Grace” is reason to celebrate.
James Still’s fascinating fantasia, “The Heavens are Hung in Black,” is now receiving an enthralling Shattered Globe Theatre production.
In the end, the screechy-screaminess of it all, along with the crotch grabbing, simulated humping and dumb humor, have a numbing effect.
Based on the sensational Chicago premiere by Kokandy Productions, it is impossible to understand how the show failed to become a hit on Broadway.
In the hospital room of playwright Halley Feiffer’s world, a parent’s pending demise is brutal, messy and an impetus for sex.
It’s goofy escapist entertainment of the highest order.
The play, directed by Damon Kiely, is now receiving a ferociously acted Chicago premiere by Strawdog Theatre.
TimeLine Theatre’s superb Chicago premiere of “The Audience,” Peter Morgan’s whip-smart portrait of a Queen Elizabeth, is not to be missed.
Mary Robin Roth’s Rose is a tireless force of nature in this production that reinforces the ruthless and bitter aspects of the burlesque star’s story.
The Oscar-winning short film has been expanded into a fervent, surprisingly playful, fully musicalized two-hour show.