Louis Contey’s dutiful revival turns Hannah Arendt into a docent, helpfully guiding us through the story of her life.
Alex Huntsberger - For the Sun-Times
Just like its Italian-American hero, “A Bronx Tale” the musical moves between worlds and worldviews.
“The Choir of Man” may be set in a pub, but its sound hails more from the coffee shop.
The Mercury Theatre’s intimate environs prioritize genuine, emotional heft over cheap laughs or easy razzmatazz.
Director Stephen Daldry uses all the elements at his disposal to explore the fiery tract at the heart of J.B. Priestley’s 1945 drama.
Despite a couple engrossing songs and a few winning performances, “Friends! The Musical Parody” is little more than a house of knowing references.
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.
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.