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.

After All: A Review of Small World at The New Colony by Hugh Iglarsh

This world premiere is a modern-day vision of hell that outstrips the imaginings of Dante or Hieronymus Bosch. It's also a comedy.

Failure to Launch: A Review of How to Live on Earth at Chimera Ensemble by Hugh Iglarsh

Millennial mores take center stage against the backdrop of intragalactic travel in this local premiere by MJ Kaufman.

Dado Does Dada: A Review of The Ruse of Medusa at Facility Theatre by Hugh Iglarsh

Hardly seen stateside, this tautly silly production of Erik Satie's play is a once-in-a-lifetime opportunity.

What a Bomb: A Review of The Man Who Was Thursday at Lifeline Theatre by Hugh Iglarsh

This quixotic adaptation of G.K. Chesterton's novel is both reverent and ridiculous.

Welt Upon the Soul: A Review of Requiem for a Heavyweight at The Artistic Home by Hugh Iglarsh

By going with the padded Broadway version, rather than the tighter TV or movie screenplay, this production of Rod Serling's noirish melodrama delivers something less than a knockout.

Don’t Let Her Be Misunderstood: A Review of Nina Simone: Four Women at Northlight Theatre by Hugh Iglarsh

Come for the legacy, stay for the songs.