Review: ‘Joseph and the Amazing Technicolor Dreamcoat’ sings to the rafters at the Marriott Theatre
Director Amber Mak's in-the-round production reinvents no wheels in Andrew Lloyd Webber and Tim Rice's musical. Nor does it need to.
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Review: ‘Betrayal’ at the Goodman offers the melancholy of age instead of seduction
Robert Sean Leonard and Helen Hunt play a couple in an extramarital affair in Harold Pinter's play — director Susan Booth is trying something new with casting.
Why is Helen Hunt at the Goodman Theatre? ‘Betrayal,’ she says, is more painful later in life
The play by Harold Pinter is a reverse chronology that begins at the end of the affair and usually has a young cast. There's a lot more depth in casting...
Review: ‘Redwood’ on Broadway holds few surprises as Idina Menzel communes with the trees
You'll see the whole story coming from the first minute you enter the forest in this new musical by Tina Landau and Kate Diaz.
Review: ‘The Cave’ at A Red Orchid Theatre is about an Ohio family at the start of the Gulf War
Playwright Sadieh Rifai's world premiere introduces us to a Palestinian-American family who must upend their lives.
Review: In Lookingglass Theatre’s ‘Circus Quixote,’ the magical parts don’t always make a whole
The creativity alone is reason enough to see this show, a comeback for an essential Chicago theater.
Review: ‘A Raisin in the Sun’ gets an extraordinary, close-to-home production at Court Theatre
Here is clear case for why Lorraine Hansberry's story about a Black Chicago family is one of the best plays of the 20th century.
Review: ‘Fool for Love’ has its moments but stops short of the Steppenwolf of old
Many of the best moments in this new production of Sam Shepard's play are thanks to the gutsy Caroline Neff as May.
In ‘Fool for Love’ at Steppenwolf, Caroline Neff takes on an iconic role
The Steppenwolf ensemble member says she relates to Sam Shepard's characters much differently now than when she was younger.
Review: ‘Lobby Hero’ by Shattered Globe is a reminder of what an off-Loop show can be
Kenneth Lonergan's 2001 drama is set in a Manhattan apartment building in the middle of the night and is staged here with a strong ensemble cast.