A one-man noir story? It’s a strange idea, but the British drama Bloodshot has been touring Europe to critical acclaim since 2011, and is now making its American debut at The Greenhouse Theater Center as part of the Solo Celebration series. Unlike the other Solo stories thus far, which were about real people, and often drawn from the performers’ own lives, Bloodshot is entirely fictional. Its twisting story and diabolical atmosphere are reminiscent of the murder mysteries of the mid-twentieth century, such as Ira Levin’s Death Trap, which recently played at Drury Lane. Simon Slater, the actor who takes on the role in this unusually long and demanding production, is a top-level performer, and over the course of the show, he demonstrates not only his strength as an actor, but in several other types of performance, as well.

Nolan and his cast have a firm grasp on Brechtian aesthetics, and have localized the story to fit the economic malaise of Chicago’s struggling neighborhoods. The result is a play which is sure to resonate with its viewers, despite its age having changed its meaning.

The Forks & Hope Ensemble are a relatively new group dedicated to devising and adapting works suitable for all ages. Their latest offering, A Hero’s Journey is a strange, but oddly touching piece, in which each of the six performers combine one of their favorite stories from mythology or folk tales with episodes from their own lives.

Celebrating its third season, Bluebird Arts begins its six-week run this weekend of Jon Robin Baitz’s 1993 off-Broadway hit Three Hotels. With its focus on stories exploring the human condition through the “genuine problems of real people,” Bluebird Arts certainly fulfills its mission with Baitz’s study of a well-meaning, modern American family of liberal idealists turned cynical by the compromising ambiguities of the high-power, executive world. Unfortunately, despite what seems to be a strong script, the two performances, though engaging and energetic, left me emotionally ambivalent toward the production and wanting for more grounded, emotional truth.

Black Ensemble’s fortieth anniversary season continues with a remount of its wildly popular musical revue The Jackie Wilson Story. First produced in 2000 and originally running for two years, this creation of Black Ensemble’s founding artistic director Jackie Taylor can be thought of as an quintessential Black Ensemble show, as it depicts the tumultuous life of a mid-twentieth century titan of African-American music, contrasted with the energy of his songs and a redeeming message.

Dustin Spence’s world premiere play The Promise of a Rose Garden, produced by Babes with Blades, depicts a hypothetical near future, and therefore, fictional events based on commonly held perceptions of soldiers, including its female protagonists.