Theatre Reviews

When the audience isn’t cheering the endeavors, it’s holding its breath: what lithe performers, what contortionists. Everything that seems impossible suddenly is made to look impossibly easy.

Set in a Lakeview Chicago neighborhood in the backyard of a two-flat (terrific realistic set by Kevin Depinet) on July 4, 2007, we find two 30something married couples and their older landlord couple having a barbecue. They are intelligent, liberal yups engaging in light banter that turns into a heated debate about how are life choices in times of transition shape out entire lives.

No matter what one does, the appeal of Greek tragedy in contemporary theatre is rather narrow. The-hypocrites’ current production of Oedipus, pared down to a 50-minute one-act and directed by whiz-kid artistic director Sean Graney, is no exception…

The scene is set for the framing tale: how Scheherazade (Louise Lamson) prevents her husband, King Shahryar (Ryan Artzburger) from killing her with the dawn of each new day, staying her execution for 1001 days, by telling him compelling stories that pique and continue his interest.

Fairey is a welcomed new voice whose ability to tell a worthy, dramatic story with ample dose of very funny lines engages us from the start. Her humor emerges from her quirky, memorable characters and from their situations. Yet the humor in Graceland never diminishes the dramatic power of her play.

The most interesting part of Love Person was the outstanding acting from Liz Tannebaum who demonstrates how strong a deaf person can convey emotions and truth without words. The use of signing never distracted like all the projected text messaging

Lisa Dillman’s play parallels two stories: one covers a series of three incarcerations of women in mental asylums dating from 1886, 1920’s and the late 1930’s while the other story features Carrie (Lacy Katherine Campbell) who is researching women in asylums.

This well sung show was highlighted by the strong vocals form Eric Lindahl and Tom McGunn. For me the dancers made this show a treat. Kevin Bellie gets the pop/rock score to move with energy

No es fácil imaginar sacar humor de la obra de Arthur Miller, Death of a Salesman, pero milagrosamente y con el espíritu latino indominable, eso es lo que hace la dramaturga Teresa Dovalpage con esta obra muy original. Se trata de una familia Cubana de la clase media-alta de Miami y sus dificultades