While Felicia Fields commands her scenes as the blues singer of the title, everyone in the ensemble finds meaning in each character’s mundane life.
Steven Oxman - For the Sun-Times
Though the narrative sputters in the playwright’s educational study, the strong work by DePaul grad Matthew Elam demands a look.
Under Sandra Marquez’s impressively specific direction, there really isn’t a false beat in a production filled with intensely emotional scenes.
A more stylistically aggressive approach could perhaps have lifted this piece and given it the aesthetic oomph even the most abstract work requires.
At once visually spare, musically rich, and theatrically joyous, the show has a laser focus.
Pariahs guilty of depraved crimes share a group home in the Bruce Norris play in a world premiere at Steppenwolf.
“Caroline, or Change” remains an unusual, unique musical. If anything, this show feels more current now than it did a decade ago.
In Northlight production of Rachel Bonds’ lyrical play, the 94-year-old actor captures the nuances of dementia.
Robert Fall’s production of “Pamplona” seems satisfied with the image of Hemingway, rather than plumbing for something more.
Like rosé wine, this comedy works well as a summer offering: very light, entertainingly crisp, and a bit more than semi-sweet.
In a stellar Steppenwolf production, two men contemplate beauty and cruelty outside India’s majestic monument to love.
A combination of thematic depth, structural ambition, and lyricism and, importantly, plenty of humor, make for a powerful theatrical experience.
Thrills of Jules Verne’s adventure are ingeniously staged, but Lookingglass’ adaptation gets a little bogged down in whether the captain is a hero.
In addition to being more pensive, the production, designed by Francis O’Connor, is visually beautiful.
Edward Gero skillfully portrays the late, conservative Supreme Court justice in a play that works best as a character study.