Robert Fall’s production of “Pamplona” seems satisfied with the image of Hemingway, rather than plumbing for something more.
Steven Oxman - For the Sun-Times
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.
Introduction of the oddball creations of playwright Sam Shepard is the best part of this smartly cast production.
Overall this is an engaging and coherent concept: Shakespearean tragedy as horror movie, with a great modern look and feel.
Orlandersmith depicts a set of eight characters who talk just as much about their own history as about the case itself.
Instead of creating an issue drama, playwright profiles well-meaning people involved in the quandary of baking for a gay wedding.
Schemers scam and doors slam in a world premiere farce that seldom lets the “Office” actor and his castmates rest.
Philip Dawkins’ play, now in its world premiere at Raven Theatre, imagines evolving friendship of theater greats Tennessee Williams and William Inge.
We could just say the play can be called brainy, which is both its strength and its weakness.