Broken souls grasp for meaning and connection in Samuel D. Hunter’s intense play that unfolds in a dreary church basement in the small town of Idaho Falls, Idaho.
Hedy Weiss: Theater Reviews
A roundup of recent concerts from the Ravinia Festival
As visitors to the Ravinia Festival well know, the picnics on the grass staged there tend to be legendary feasts. But it is the musical feasts that are the real food for thought.
In her deftly crafted new show, “Rick Stone the Blues Man,” writer/director Jackie Taylor has devised a wonderfully engaging way to explore the full spectrum of blues classics.
In spinning the tale of Knute Rockne and his prize athlete, the creators of this terrific show have tapped into much grander themes than the nature of intensely competitive college football.
Theater critic Hedy Weiss gives us her take on a Tennessee Williams classic, an Elvis musical full of glitz and hits and more on Chicago-area stages.
A little more than a year after he suffered “a mild heart attack” midway through his opening night performance in “Pamplona,” Stacy Keach is in top form.
Too often this Elvis Presley-focused prequel to “Million Dollar Quartet” homes in on material that might have been cut from that earlier show. But on the plus side, it infuses the story with much that was omitted from “Quartet.”
The real question at the heart of this 95-minute, music-infused marathon of a farce – which features two actors playing 13 characters and frequently sharing time at a piano – is whether the performers themselves will make it out alive.
In the feverish intensity of its emotions alone, this Tennessee Williams revival directed by Marcia Milgrom Dodge is grand opera from start to finish.
What is most impressive about this romantic comedy, the first work to be produced in Folks Operetta’s “Reclaimed Voices” series, is the exceptional beauty of the voices in the show’s large cast, and the performers’ comic swagger.
Director Diane Paulus taps into the pain and high comedy of the story, but Chicago’s Cadillac Palace Theatre is far too big a venue for this essentially intimate show.
The elaborately produced 75-minute show has all the energy and magic necessary to keep young audiences engaged. At the same time, the adult aspects of the story emerge with particular force and clarity.
While both “Support Group for Men” and “The Roommate” rely on predictable clichés, each serves as a prime example of how absolutely first-rate actors invariably bring total devotion to mediocre scripts.
The surprising thing about “Avenue Q” is just how wise, witty, open-minded and openly devoid of by-the-book political correctness it manages to be.
The most winning aspect of this flashy new musical at the Oriental Theatre is how three different actresses with powerful voices so deftly capture Cher at various stages of her life.
Just as many Italian Renaissance paintings of the crucifixion possess a breathtaking beauty that defies the brutality of the event, this music continually captures a vivid sense of transcendence.