The often stormy and repressive nature of life in the Soviet Union clearly infused the music of Sergei Prokofiev and Dmitri Shostakovich.
Hedy Weiss: Theater Reviews
It is no secret that we live in a world of grotesque extremes. In “Guards at the Taj,” playwright Rajiv Joseph explores this phenomenon by spinning a story that contrasts the radically opposing instincts of a megalomaniacal ruler.
In the one-man show “Broadway & The Bard,” Len Cariou – an actor of exceptional breadth and experience – brings both a youthful enthusiasm and worldly wise sensibility to what is clearly a labor of love.
Suzan-Lori Parks’ fascinating three-hour trilogy, now on stage at the Goodman Theatre, probes the meaning of freedom, and all the complexity and ambivalence that word can carry with it.
Yael Farber’s blistering contemporary South African version of “Miss Julie,” the 1888 August Strindberg classic, is far and away the most brilliant play to arrive on a Chicago stage this season.
It’s one thing to star in your local high school musical. It’s a very different thing to take possession of the internationally renowned stage of Lyric Opera of Chicago. That’s just what these students did.
Looking for the best way to spend a sultry pre-summer evening aside from taste-testing the latest flavor of gelato? Easy. Catch a musical.
It’s a good bet that no one seeing “The Originalist” will undergo a major shift in their opinions, but they certainly will be reminded of how the Supreme Court’s polarization reflects the temper of the current moment in politics.
Within the span of a single week I saw productions of two plays – Samuel Beckett’s “Waiting for Godot” and Sam Shepard’s “Buried Child” – that I wouldn’t necessarily have linked together had I not seen them in such quick succession.
Here is the formula for an astonishing evening of music: Take Bela Bartok’s Piano Concerto No. 3 and put it in the astonishing hands of pianist Mitsuko Uchida, the Chicago Symphony Orchestra and conductor Esa-Pekka Salonen.
If ever there were a way to remind audiences of what it would really take to “make America great again,” the Goodman Theatre’s revival of “Having Our Say” could easily qualify as the show to get the job done.
Although everything they touch turns to gold these days, nothing quite reveals the brilliance of the musicians of the Chicago Symphony Orchestra quite like the challenge of a Mahler masterwork.
An intensely disciplined, fearless, altogether remarkable ensemble of sophisticated young artists brings this singular – and singularly riveting – docu-drama to life.
Among its several honors, Will Snider’s “How to Use a Knife” was named a finalist for a PEN Center USA Literary Award. Based on this exceptional Shattered Globe production alone, it should have won the prize.