CHICAGO – Like the awesome Engine Who Could, the mighty Nothing Without a Company stage crafters have constructed another triumph at their new home in Berger Mansion on Chicago’s north side. “The Kid Thing” – written by Sarah Gubbins – is a terse, convincing and emotional play about fear, identity and breeding, and it is performed by its cast of five with utter authenticity. The show has a Thursday-Sunday run at the Berger North Mansion through April 15th, 2017. Click here for more details, including ticket information.
HollywoodChicago.com Theater Reviews & Interviews
CHICAGO – One of the jewels of Chicago is right on Lake Michigan. The Chicago Shakepeare Theater within Navy Pier continues to illuminate the immortal Bard resplendently for contemporary audiences. “Macbeth,” playing through March 5th, is part of their ‘Short Shakespeare!’ series.
Theater Review: Steppenwolf’s ‘Who’s Afraid of Virginia Woolf?’ With Tracy Letts Redefines Edge-of-Your-Seat CaptivationSubmitted by HollywoodChicago.com on December 21, 2010 - 4:07pm
CHICAGO – Amy Morton says she’s afraid of Virginia Woolf, but she’s actually terrorized violently – and masterfully – by her stage husband, Tracy Letts.
HollywoodChicago.com Hookup: 45 Pairs of Bailiwick Theatre Tickets to Chicago Musical ‘Departure Lounge’Submitted by HollywoodChicago.com on November 23, 2010 - 12:26am
CHICAGO – In our inaugural Chicago theatre edition of HollywoodChicago.com Hookup: Theatre, we have 45 admit-two Chicago theatre tickets up for grabs to the new musical “Departure Lounge” at the Royal George Cabaret Theater from Bailiwick Chicago!
CHICAGO – “I wanted to explore deep, thoughtful theatre,” deadpans a giddily vitriolic narrator, played here in a last minute swap-out by Mitchell Jarvis, during the eleventh hour of “Rock of Ages”. Although referring to any aspect of this rollicking, trenchantly self-aware jukebox ride in classical terms may either be mawkishly generous or downright offensive to its recalcitrant intent.
CHICAGO – “Fairytales should really be updated,” muses the puckish Shrek during a final plea for the affections of a reluctant princess. It is one of those startlingly honest and quietly irreverent insights that “Shrek the Musical” is all too wary to boast, but is a welcome dagger into the cavalcade of childhood morality tales that, year after year, infiltrate the bulk of shooting star wishes and Barbie dream-houses.
CHICAGO – When the initial production of Elton John and Tim Rice’s “Aida” made its foray to the Broadway stage, following what was surely a tempestuous artistic adolescence, the public hurrah with which it was met signaled the birth of two eminent stage relations. First, that of John’s with both Broadway and West End investors, a collaboration that has far outstretched the boundaries set forth by “The Lion King”.
CHICAGO – Lauded as the first great poet of Latin America, Sor Juana Inés de la Cruz served as both an artistic and philosophical trailblazer in the most consequential of orders. A self-instructed scholar of Baroque thought, Sor Juana piloted a course of unprecedented intellect as well as feminist ideology during her brief years. What has rightfully garnered the scribe a nonpareil reverence was her audacity to posit such work in a time of a most restrictive piety.
CHICAGO – “It really doesn’t matter which direction you go,” counsels one of Wonderland’s mischievous denizens at the onset of Alice’s most transmogrifying of journeys. For David Catlin, the cunningly innovative adaptor and director of Lookingglass Theatre’s take on Lewis Carroll’s treasured canon, it matters not whether the real Alice Liddell traveled upward, downward, backward or sideways on the famed rowing boat trip that would later bear her whimsical stories. At Lookingglass, adventure is the only direction worth taking.
CHICAGO – The eponymous subject matter of Andrew Hinderaker’s enthralling new work “Suicide, Incorporated” is hardly a newfangled muse to dramatists. The concept of one’s self-sanctioned execution has inspired the minds of media architects from Poe to the executives at Lifetime Television Network (the latter of which tends to default to the exertion habitually). The question of an individual opting to terminate his life, especially when the meaning of which plagues the majority of us, is nary an easy one. Hinderaker’s take on the matter, both in stylized approach and explication, proves to be one of the most cerebrally exigent of the lot.
CHICAGO – There are moments of true clarity in John Patrick Shanley’s “The Big Funk,” presented by Rodez Productions at the Red Tape Theater in Chicago. Characters who find themselves trapped in a metaphoric morass work through the issues that bind them, and expose themselves to a bigger sense of life’s intention.
CHICAGO – Most adolescent boys do away with their freshly-acquired Bar Mitzvah money before you can say “Haftorah”. But not David Schwimmer. Instead, the Lookingglass Theatre Company co-founder and “Friends” superstar mounted what was to become his theatre company’s most illustrious and withstanding production, “Lookingglass Alice”, based on the cherished novels of Lewis Carroll. The company’s Artistic Director David Catlin recently caught up with HollywoodChicago.com to discuss the adaptation and production process for Alice’s latest journey (now playing through August 1, 2010 at the Water Tower), and why this fourth trip down the rabbit hole just may be the best yet.
CHICAGO – Charles Grippo doesn’t have much sympathy for politicians who put themselves in hot, scandal-infused water. In fact, he has taken to a platform he knows well, the Chicago theatre scene, to share his satirical insight into the recent trend of sexual enmeshment that has plagued many of the nation’s top pundits and officeholders. Grippo recently caught up with HollywoodChicago.com to discuss how personal disastisifaction with government can beget the most acidic of farce.