Set in Pennsylvania, and alternating between 2000 and 2008, Ron OJ Parson’s staging of “Sweat” is as familiar as a decade’s worth of headlines.
Catey Sullivan - For the Sun-Times
Running March 14 – 16, Femme Fest spotlights the creations of five female choreographers of Black/African or Diaspora/African descent.
The onstage chemistry of the cast adds palpable depth to a first-rate production at Theo Ubique.
In the music of “Mahalia,” we get a glimmer of the joy she brought to countless others, but the script offers little sense of the woman herself.
The double-edged sword of social media propels “Dear Evan Hansen,” a six-time Tony Award-winner in 2017.
What we have here is a stupendous production of a show that by all rights should not be as funny as it was when it premiered in Chicago in 2001.
Not even this mighty group of actors can overcome a script that is riddled with anachronisms.
In this thrilled from American Blues Theater, terror builds like a tornado, sucking everyone in to its escalating violence and confusion.
You could sum up “Four Women” in single line: “When words falter, music doesn’t.”
Polished to a sheen of warmth and wit by director Niegel Smith, it’s a drama packed with recognizable people grappling with the Big Issues.
Court Theatre tells the Rosalind Franklin story with design and dynamics sure to hold interest — even for non-chemists.
Set in the fictitious 51st ward of Chicago, “Red Rex” gives us a fly-on-the-wall view of the myopic hypocrisies of a tiny Off-Loop storefront.
The jukebox musical speaks volumes about the four men and their music, which helped shape rock and roll, country, pop and so much more.
There’s endless profundity (and marvelous wit) embedded in the 100-minute drama. The more you listen, the more obvious that becomes.
“Downton Abbey” star Brendan Coyle does his best in a rather uninspired one-man show by Conor McPherson.