Reluctant Romance: A Review of Outside Mullingar at Citadel Theatre by Hugh Iglarsh

The play focuses on Anthony and Rosemary, forty-ish neighbors whose farms and personal histories are deeply enmeshed.

A Jewel of a Show: A Review of Gem of the Ocean at the Goodman Theatre by Hugh Iglarsh

As with the epic tales of the ancient world, the characters’ stories blend together into one complex, interrelated narrative that gives insight into the past and offers moral and practical…

Sheer Wonderment: A Review of The Joffrey Ballet’s The Nutcracker at The Lyric Opera House by Hugh Iglarsh

Joffrey Ballet performs a miracle, turning this holiday chestnut into something not just fresh and new, but also relevant and provocative.

All Hat and No Dickens: A Review of Mr. Dickens’ Hat at Northlight Theatre by Hugh Iglarsh

The story revolves around Kit, a loyal young daughter struggling to pay off the debts of her father, who as the play opens is languishing in a debtors prison.

Bodily Grace, Spiritual Fire: A Review of Joffrey Ballet’s “Home: A Celebration” at the Lyric Opera House by Hugh Iglarsh

The Joffrey Ballet's triumphal return to live performance is a multi-sensory delight that serves as a joyful homecoming for a crown jewel of Chicago’s cultural scene.

Drama of Survival: A Preview of Teatron 2021, A Festival of Jewish Theatre by Hugh Iglarsh

The festival is a testament to the resourcefulness and survival skills of the theater community at a tough moment.

Against the Silencing: New Medina Theater Collective Tells the Stories of Muslim and SWANASA Communities by Hugh Iglarsh

Radical Wonder: ShPIeL-Performing Identity and Bunbury Theatre Co-Present “Imagining Heschel” by Hugh Iglarsh

A new production reflects on the life of the twentieth-century Jewish scholar and activist who was moved by faith to confront injustice.

Doomed to Live: A Review of The Two Character Play at Theatre L’Acadie by Hugh Iglarsh

The great test facing the fearful protagonists of this rarely produced Tennessee Williams play—simply going outside—is disturbingly pertinent at this moment.

Toxic: A Review of Poison at The Plagiarists by Hugh Iglarsh

The real poison at work here isn’t strychnine or hemlock, it’s a dreary self-seriousness that leaches the play of any hint of wit, humor and humanity.

Adapt and Perish: A Review of Adaptation at Theatre Above the Law by Hugh Iglarsh

Hardly seen in the past fifty years, the enterprising thespians at TATL offer a timely revival of this biting one-act satire by comic genius Elaine May.

With a Thud: A Review of How a Boy Falls at Northlight Theatre by Hugh Iglarsh

Underneath the well-wrought exterior of this gratuitously convoluted, neo-noir drama is a conspicuous absence of heart, soul and meaning.

Something to Chew On: A Review of The Tasters at Rivendell Theatre Ensemble by Hugh Iglarsh

The world premiere of Meghan Brown's play seems less a futurist fantasy than a parable of life in a failed state turned patriarchal prison-house.

Commedia Delight: The Conspirators’ Wm. Bullion and Sid Feldman on Their Stylized Approach to Theatricality by Hugh Iglarsh

"Theater should be an intimate experience. It's supposed to feel dirty and rough."

Dog Eat Dog: A Review of The Dog, the Night, and the Knife at Silencio by Hugh Iglarsh

This play reveals the power of theater when pared down to its rawest, most primal elements.

Still Waiting: A Review of Waiting for Godot at Victory Gardens Theater by Hugh Iglarsh

Those hoping for a memorable production of Beckett's existential classic will have to do what his infamous protagonists have done for decades: keep waiting.

Sweet Smell of Succession: A Review of Rutherford and Son at TimeLine Theatre Company by Hugh Iglarsh

Featuring Francis Guinan in his TimeLine debut, Githa Sowerby's unjustly neglected 1912 play is a bracing tonic against the notion of "the good old days."

No Accident: A Review of Accidental Death of a Black Motorist at The Conspirators by Hugh Iglarsh

The Conspirators update Dario Fo's 1970 farce "Accidental Death of an Anarchist" for the times we live in to excellent, albeit overstretched, ends.

The Passion of Lenny Bruce: A Review of I’m Not a Comedian… I’m Lenny Bruce at the Royal George by Hugh Iglarsh

This one-man show is Lenny Bruce in his truest form, his provocations from beyond the grave like pleas for decency in an increasingly indecent world.

A Winter’s Worth of Discontent: A Review of Richard III at Eclectic Full Contact Theatre by Hugh Iglarsh

While there’s no more cautionary character for our day in the Shakespearean canon, gimmicky anachronism is no substitute for theatrical vision and professionalism.

Life and Liberty: A Review of Be Here Now at Shattered Globe Theatre by Hugh Iglarsh

A poignant and pertinent exploration of the pursuit of happiness.

Teapot Tempest: A Review of Howards End at Remy Bumppo Theatre Company by Hugh Iglarsh

Intelligently scripted, deftly directed, capably acted, this production is less than the sum of its well-crafted parts.

All Quiet, No Front: A Review of All Quiet on the Western Front at Red Tape Theatre by Hugh Iglarsh

In an effort to bring its subject into the 21st century, this stylized adaptation of Erich Maria Remarque's 1928 novel loses much of the original's austere power.

Leeway for Risk-Taking: Finding Family in the Chicago Theater with Mark Larson by Hugh Iglarsh

"In my heart of hearts, I’ve never left. I never will leave.”

Burnt and Raw: A Review of Roast at The Comrades by Hugh Iglarsh

This morbid tragicomedy is unable to land its punchlines.

The Little Engine That Couldn’t: A Review of Ada and the Engine at The Artistic Home by Hugh Iglarsh

Lauren Gunderson's 2015 play comes off as the awkward love child of Jane Austen and Bill Nye the Science Guy.

Giveth and Taketh: A Review of Prophet$ at The Factory Theater by Hugh Iglarsh

Too affectionate to be satire and too broad to be drama, this world premiere can’t decide what it is or what, if anything, it believes.

Love Blooms Eternal: A Review of Bloomsday at Remy Bumppo Theatre Company by Hugh Iglarsh

Inspired by James Joyce's "Ulysses," Steven Dietz's play is structured as a chord of simultaneity rather than a sequence of events.

Less Dead, More Pan: A Review of Killing Game at A Red Orchid Theatre by Hugh Iglarsh

As the corpses pile up, the question arises of what exactly is irritating Ionesco: human folly or human existence itself?

Set Your Heart at Ease: A Review of Sentimental Journey at Citadel Theatre by Hugh Iglarsh

While clearly aimed at an older demographic, this world premiere will appeal to people of all ages interested in the still-relevant question of how to live life with poise, class and style.

History Repeating: A Review of Hannah and Martin at Shattered Globe Theatre by Hugh Iglarsh

This revival of Kate Fodor's 2003 play demonstrates the evil of banality at a time when fascism is once again on the rise.