Catey Sullivan - For the Sun-Times
Directed with smarts and sass by Gus Menary, Ike Holter’s “The Light Fantastic” is a mashup of horror and pointed commentary.
Though the show suffers from Black Ensemble Theater’s usual narrative flaws, superstar Patti LaBelle’s music is delivered with maximum impact.
How could the ATF “employ” a man with IQ of 50 to help them in an undercover sting operation?
In director Jason Gerace’s staging, Tennessee Williams’ story of brutal oppression and irrecoverable loss is a fascinating psychological thriller.
“Last Stop on Market Street” is what children’s theater should be. It is burgeoning with wonder.
If it’s music you’re after, you could do far worse than the bittersweet “Once.” The script has troubles. The score is extraordinary.
Teacher: “When we were their age, we couldn’t conceive of world where school shootings happened. They can’t conceive of a world where they don’t.”
This “Superstar” has a lush, glorious sound the likes of which you’ve never heard before.
A lively exploration of “race music” of the 1950s and how these records by African-American artists sparked the rock and roll revolution.
The harmonies are exquisite, the lyrics raw and real. The ensemble could probably make a decent living gigging around Chicago.
Musically, “Oklahoma!” still works. But the Marriott Lincolnshire’s revival sits uneasily in a contemporary context.
Set in Chicago, the Victory Gardens production paints an exhausting picture of just how difficult it is to stay on the straight and narrow.
Running in repertory with “Letters Home,” “Ghosts of War” continues Griffin Theatre’s commitment to telling the story of veterans, in their own words.
Under director Victor Malana Maog’s new staging at Drury Lane Theatre, Rodgers and Hammerstein’s lush score has never sounded more beautiful.