Latest from Chicago Critic

Another Bone

by

The play starts with a two person speech wherein Rhonda (Jan Ellen Graves) and Marie finish each other’s sentences as they expound about their husband’s deaths as firefighters in NYC. Marie’s man was a 911 hero while Rhonda’s man died in a house fire a year after 911. Both firefighters were heroes but the 911 fallen firefighters were given major hero status by government and by the public. Marie got several million and Rhonda received the normal adequate death benefits. Marie and Rhonda stay friends as each helps the other adjust to life after losing their husbands.

All My Sons

by

The actors have all found ways to incorporate Miller’s wordiness into their characters. Spencer and Montemurro spit syllables like machine-guns, but I always understood them, and accepted this behavior as a tic of people constantly anxious over their self-delusions. Spencer captures the defiant cheeriness of a man who knows he’s controversial for things he’d rather move past. You can see how Joe Keller charms people despite their better judgment. Montemurro’s Kate scares people into humoring her as much as she demands pity. Despite living in denial, she shares her husband’s ability to alternatively brow-beat and seduce people for her pragmatic purposes.

The Night Alive

by

The Night Alive is a brilliantly constructed drama that unfolds as finely directed and beautifully acted work that leaves audiences moved and satisfied that their lives and their aspirations are in a better place than Tommy, Doc and Aimee. We are glad we shared their experiences of these very human souls as only a master playwright can present them. The Night Alive is one of the finest players seen on a Chicago stage this year! Don’t miss it.

The World of Extreme Happiness

by

The main character is surprisingly underwritten for how much Cowhig wanted a strong female lead; I have a hard time describing Sunny other than saying she is a Ke$ha fan and bursts into action when the plot requires it. Lim does her best with what she has to work with. I vastly preferred Long in her other role, the mid-wife Wang Hua, in which she was vibrantly funny, and played well off of Iskandar. His and Jue’s physical comedy supplied my favorite moments of the show.

Evil Dead: The Musical – The National Tour

by

I had the joyous opportunity to sit in the splatter zone, where I as well as the next 4 rows behind me got covered in fake blood. Cherry flavored fake blood! If you don’t want to be covered in fake blood, I highly advise that you don’t sit in the Splatter Zone. Now on the other hand, if you like that sort of thing and want to experience the blood almost like he’s chopping YOU up with a chainsaw, then I highly advise that you pay the extra few bucks to become part of the show and sit in the Splatter Zone. I highly recommend this production to my fellow fans of camp and carnage who just so happen to also love singing and shotguns. It’s quite an experience!

The Magic Flute (Impempe Yomlingo)

by

As part of their World’s Stage series, Chicago Shakespeare has smartly brought the magnificent South African troupe, Isango Ensemble to Chicago on their International tour of one of the most charming, energetic and innovative productions of Mozart’s beloved vaudevillian opera – The Magic Flute. Dressed in vivid African attire, the 30 person cast, with the exception of only a few roles, move swiftly from playing marimbas, drums and various percussion instruments to singing and dancing as well as producing marvelous male and female harmonies. I can’t remember seeing a more talented and versatile cast.

At Home at the Zoo at City Lit Theater

by

For some strange reason, Edward Albee felt he had to write a first act in 2004 to his 1959 one-act, The Zoo Story. Maybe he felt that more theatres would produce the work if it was a full play? So now, if you want the rights to do ‘Zoo,’ you must do it as At Home at the Zoo. The result is to make patrons sit through a slowly unfolding yet serviceable prequel.

A Kurt Weill Cabaret

by

Entering Theo Ubique’s space in the No Exit Café feels like going back in time, an illusion aided by Bill Morey’s Act I costumes. Kellie Cundiff (soprano), Christopher Logan (baritone), Jordan Phelps (tenor), Michael Reyes (bass), and Jill Sesso (mezzo) appear as gritty early twentieth century tramps. The men’s angular facial hair and makeup put a skeletal accent on their cheekbones. I felt drawn into the dissolute Berlin cabaret of the 1920’s world before the music had even started.

Native Son

by

His home, his family, and his trappings hold him as a prisoner in life. As he struggles to find a place for himself in a world whose prejudice and racism has shut him out, Bigger suffers from such low self-esteem that when he looks in the mirror, he sees not himself, but what society wants him to be – their “native son.”

The Monster in the Hall

by

Filament Theatre’s latest production is the manic, uproarious, forth wall-destroying story of Scottish teenager Duck Macatarsney’s (Lindsey Dorcus) struggle to care for her multiple sclerosis-stricken father. The Ducati Monster motorcycle Duck is named after has been lying in the hallway ever since her mother was killed while riding it, although as the doo-wop chorus helpfully explains, it is really a metaphor for our refusal to face our problems. Duck and her father, Duke (Andrew Marchetti), live in filth; he self-medicates with marijuana while she cleans up after him and writes a novel based on Harry Potter and Twilight with herself as the protagonist

Explore

Discover

About

© 2026 ChicagoCritic.com · Independent Chicago theater coverage since 2001.