Don’t let the “extra” part of “extrasensory” fool you, the touching, smelling and tasting bits aren’t superfluous add-ons; they’re absolutely key.
Alex Huntsberger - For the Sun-Times
Percy Jackson being the son of Poseidon is fine; Percy Jackson singing about being the son of Poseidon is hilarious.
There’s a fuzziness, a lack of focus to this production from Theo Ubique founder and artistic director Fred Anzevino.
The play feels of these times not for any reasons of style, but because it’s scary as hell.
This regional premiere of “Holiday Inn” demonstrates how old-fashioned stories can benefit from more modern sensibilities.
Limiting the words in Bess Wohl’s critique of millennials makes for a unique, energetic theater experience.
Without giving too much away, “Fight Night” interrogates why exactly we vote (and choose candidates) the way we do.
“Gypsy” is a show that exists so that great actresses can stop it, like a Red Sea custom-built to be parted. E. Faye Butler is proof positive.
Set in 1950, the memory play echoes the melodrama of that era in uneven Raven Theatre production.
Life according to David Cale may not be a cabaret, old chum, but it does resemble a one-person show.
A vibrant revival at Court Theatre maintains the anger, love and humor of August Wilson’s final play.
Narrative doesn’t string together the expressions of outrage from a slain girl’s mother and an uncaring man’s son.
A 33-song set list boasts blues standards made famous by B.B. King, Muddy Waters, Howlin’ Wolf, Bobby Blue Bland and Buddy Guy.
“The Color Purple” blends blues, gospel, and jazz together with classical musical theater stylings to produce a rousing songbook.
The 1886 bombing in Chicago is revisited in an imperfect show of skilled performing and lyrics that inspire without anger.