Playwright Sharyn Rothstein’s new work “Landladies,” was inspired by her reading of Matthew Desmond’s 2016 book “Evicted.”
Kris Vire - For the Sun-Times
“Southern Comfort” manages to be commendable, invigorating, and insufficient all at once.
Playwright Kareen Bandealy is reckoning not with any particular religion but with religion itself — the human impulse to look to a higher power.
“Twilight Bowl” is a closely observed and authentic-feeling slice of life, but the issues it raises get more attention than the story.
Some moving moments emerge as a secret is revealed in follow-up to playwright’s ‘The Madres.’
Stephen Schellhardt’s production maintains the gently subversive, satirical bite of the Broadway version, but feels slightly more grounded.
Playwright Hansol Jung’s overarching themes ask: What does it mean to do good? How do we decide which sins are forgivable? What actually is love?
Rather than trusting his audience to keep up with unadulterated Shakespeare, Dowling interpolates bits of modernized spectacle.
For “Rightlynd,” writer Ike Holter pulls out all of the realistic stops, the better to express his disdain for the city’s entire political system.
The precision and ease with which Shane O’Regan swaps dialects and physicalities to embody a total of 24 characters is a sight to behold.
Period characters speak in modern language in the world premiere play by Jen Silverman.
She’s more interesting as one of the first women on the British stage than as a royal mistress in the Chicago Shakespeare Theater production.
Shorn of context and with no real framing, it’s frustratingly unclear what playwright/performer Valentijn Dhaenens is using his “mouths” to say.
You don’t want to miss this refreshingly different take on the refugee question and a stimulating story of love finding a way.