WEISS: Dion Johnstone makes a remarkable transition from young and self-confident to old and bitter in handsome Chicago Shakespeare Theater staging.
WEISS: While touring production of the Oz musical stays true to the original staging, the meaning of its story seems to have evolved in emphasis.
There is far more to this show than biography.There is the vibrant sense of a musical era in the making.
The playful yet pungent parody of “Altar Boyz” at the Theo Ubique Cabaret Theatre seems more timely than ever.
Puccini’s melodies are beyond rapturous, with several haunting themes and variations exquisitely laced throughout the opera’s three acts.
Hubbard Street is devoting its entire Winter Series at the Harris Theater for Music and Dance to three of Pite’s dances.
WEISS: Clarion voices and exceptional acting reveal the full beauty of Jeanine Tesori’s work.
His haunting pencil drawings and prints became a prized feature of the Chicago theater scene in the 1980s and ’90s.
WEISS: Since the debut last season of Christopher Wheeldon’s production, the ballet has become clearer and deeper in its storytelling and dancing.
Walter Isaacson will host a talk followed by a book signing at the American Writers Museum on Dec. 4.
WEISS: The exuberantly performed holiday musical can’t overcome its essentially annoying quality.
WEISS: A lively Northlight cast plays out the path taken to get the Bard’s 36 plays on paper.
“White Christmas” is at once a sassy romantic comedy and a patriotic homage to the post-World War II era.
“Lizzie,” the riveting musical about the notorious Lizzie Borden, turns out to be an ideal inaugural production for Firebrand Theatre.