Sock it to You: A Review of The Queen of Sock Pairing at Red Tape Theatre by Jay Van Ort

While it strongly suggests mess, Sophie Weisskoff's play nevertheless becomes an oddly clean portrayal of abuse and capitalist power dynamics.

Let “X” Equal… : A Review of X at Sideshow Theatre Company by Jay Van Ort

In space, no one knows what time it is.

West Adjacent: A Review of True West at Steppenwolf Theatre Company by Jay Van Ort

Steppenwolf's revival of Sam Shepard's classic play is only as potent as the sum of its parts.

Theater Is Not Documentation, Mr. Jones: A Review of Ms. Blakk For President at Steppenwolf Theatre Company by Jay Van Ort

Co-written by ensemble members Tarell Alvin McCraney and Tina Landau, this world premiere is generous, idealistic, and irresistibly queer.

Is It? I Think So: A Review of It Is Magic at Theater Oobleck by Jay Van Ort

Mickle Maher's new play investigates the balance between the alchemical and nihilistic forces alive in the theatrical arts.

Paradox, Pain, Paradise: A Review of ETHIOPIANAMERICA at Definition Theatre Company by Jay Van Ort

Beauty and terror live side by side in this memorable world premiere.

Ready Player None: A Review of Non-Player Character at Red Theater Chicago by Jay Van Ort

A charming show that stumbles when you look past the material and into more substantial questions about purpose.

Speaking in Tongues: A Review of Language Rooms at Broken Nose Theatre by Jay Van Ort

Independent components come together to enlighten a darkened corner of our universe in this Midwest premiere from Yussef El Guindi.

White Blight: A Review of Admissions at Theater Wit by Jay Van Ort

Is Joshua Harmon's new play a deliberate provocation to progressives or a hypocritical use of his platform? Yes.

Bring in the Clones: A Review of A Number at Writers Theatre by Jay Van Ort

How to learn to stop worrying and love the lettuce.

For the Record: A Review of Ma Rainey’s Black Bottom at Writers Theatre by Jay Van Ort

One of the premier directors of August Wilson's work, Ron OJ Parson guides this ensemble of large personalities through the narrow gate of the sublime.

Rings False: A Review of Dead Man’s Cell Phone at The Comrades by Jay Van Ort

The Comrades step into the dark with this noir-ish thriller from Sarah Ruhl.

Boxed In: A Review of Girl in the Red Corner at Broken Nose Theatre by Jay Van Ort

While not quite a knockout, this Midwest premiere puts femme rage at the center of a cathartic story.

Stranger Things: A Review of The Stranger And The Shadow at Adventure Stage Chicago and Rough House Theater by Jay Van Ort

Imagination contends with plot in this co-production from Adventure Stage Chicago and Rough House Theater.

Scars and Letters: A Review of In The Blood at Red Tape Theatre by Jay Van Ort

Wrenched guts and broken hearts abound in this production of Suzan Lori-Parks' play.

Breaking the Code Switch: A Review of I Call My Brothers at Interrobang Theatre Project by Jay Van Ort

The local premiere of Jonas Hassen Khemiri play is a meditation on identity and community in crisis.

Flower in the Dark: A Review of Twelfth Night at Midsommer Flight by Jay Van Ort

Midsommer Flight continues its holiday tradition of staging this Shakespeare classic amidst the flora of the Lincoln Park Conservatory.

Angles and Perspectives: A Review of Mansfield Park at Northlight Theatre by Jay Van Ort

Northlight Theatre adapts Jane Austen's novel though the real question is: why?

One More Time With Meaning: A Review of The Last Session at Refuge Theatre Project by Jay Van Ort

Written during the height and subsequent wane of the AIDS crisis, this remount at Refuge Theatre Project shows its age.

If These Walls Could Scream: A Review of The Walls of Harrow House at Rough House Theater by Jay Van Ort

Rough House Theater is bringing spooky back to the basement of the Chopin Theatre.

No Weekend, Just Work: A Review of Radio Culture at TUTA Theatre Chicago by Jay Van Ort

Imported from Belarus, this slow and steady local premiere at TUTA Theatre Chicago is equal parts function and rigor.

Inert Energy: A Review of There is No Power for the Electric Chair at Trap Door Theatre by Jay Van Ort

Imported from the Balkans, this new play at Trap Door Theatre reflects the limitations of the company's Euro-centric model, both in terms of politics and stage craft.

Close to the Bone: A Review of Naked at Trap Door Theatre by Jay Van Ort

Trap Door Theatre’s staging of “Naked” by Luigi Pirandello is a little bit too close to reality to warrant production.

A Less-Than-Radical Truth: A Review Nick & Zoe at the side project by Jay Van Ort

Whether or not audiences are "ill-equipped to deal with nuance" as director Adam Webster claims is a moot point as little nuance exists in this philosophically empty production from the side…

Tilly and the Whale: A Review of Tilikum at Sideshow Theatre Company by Jay Van Ort

Drawn in clear and cutting language, Kristiana Rae Colón's latest receives its must-see world premiere at Sideshow Theatre Company.

Private Lives In Public: A Review of Stories of the Body at Theatre Y by Jay Van Ort

These four stories of women and their bodies at Theatre Y make the public private and vice versa.

Engendered Intrique: A Review of Monsieur d’Eon is a Woman at Trap Door Theatre by Jay Van Ort

Trap Door Theatre's latest trades the company's hallmark expressionism for political farce.

Separate and Surrounded: A Review of A Blue Island in the Red Sea at Collaboraction by Jay Van Ort

Much like the real museums it is based on, the fictional setting for Collaboraction's newest show isolates its contents from their context.

Wolves and Wasps: A Review of Cornerstone at Nothing Without a Company by Jay Van Ort

This immersive and site-specific work from Nothing Without a Company explores the persuasive, cultish appeal of corporate branding.

No Such Luck: A Review of The Luckiest People at Stage Left Theatre by Jay Van Ort

This NNPN Rolling World Premiere from Stage Left Theatre does not offer a satisfying justification for its own existence.

Substance Is Spectacle: A Review of The Elaborate Entrance of Chad Deity at Red Theater Chicago by Jay Van Ort