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Iphigenia in Aulis is the first of three ancient Greek tragedies Court Theatre will perform over the next three years. The others, written by the other two surviving tragedians, will together form a trilogy telling the story of the House of Atreus. It’s an ambitious project that will mainly be of interest to academics and die-hard theatre fans, but it’s off to a strong start.

Hellcab, originally premiering in 1992 as a limited-run late night show, went on to become one of the longest running shows in the history of Chicago theatre, running for over nine years. For the past two seasons, Profiles Theatre has revived the play, this time featuring the original Driver, himself, Richard Cotovsky. The play follows Cotovsky as he collects fares in the city of Chicago throughout Christmas Eve, from morning to night. Like a fever dream, the Driver and audience alike bear witness to an electric group of passengers, from bible thumpers to drug addicts, as the Driver collects measly fares to make a living.

As a Dickens adaptation, the show is long, and I wish the evening performances didn’t start so late. There are a few plays-within-the-play that could have been left out. Still, anyone who isn’t satisfied just seeing A Christmas Carol this winter would do well to give Great Expectations a try. Given the challenges of a smaller theatre, many of Gerace’s solutions are ingenious. The cast seems to make up far more people than they do, and the whole show is a celebration of the imagination