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2,260 stories from Chicago Theater Beat

Review: Punk (The New Colony) by Catey Sullivan

Between the distracting set design, the plot holes and the ultimately ineffective performances by the rest of the cast, The New Colony's world-premiere Punk is a weak endeavor. (review by Ca…

SOURCE: Chicago Theater Beat at 12:12am on October 20, 2017

Review: Million Dollar Quartet (Paramount Theatre) by Catey Sullivan

Million Dollar Quartet is irresistible. Set in 1956 during the only recording session when Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins were all in the same room, the juke-bo…

SOURCE: Chicago Theater Beat at 9:04pm on October 17, 2017

Review: The Heavens Are Hung in Black (Shattered Globe Theatre) by Duane Barnes

Heavens is a powerful play, wonderfully cast, brilliantly directed, beautifully played by an outstanding ensemble of talented actors. It centers around a pivotal period of the Civil War in 1…

SOURCE: Chicago Theater Beat at 6:18pm on October 14, 2017

Review: The Legend of Georgia McBride (Northlight Theatre) by Catey Sullivan

For most of Northlight Theatre's The Legend of Georgia McBride, audiences are treated to a whacky, audience-pleasing comedy. The plot goes for guffaws by showing the whacky plight of a stra…

SOURCE: Chicago Theater Beat at 6:06pm on October 4, 2017

Review: The Rembrandt (Steppenwolf Theatre) by Catey Sullivan

It doesn't matter if you don't know Rembrandt from Renoir, Manet from Monet. In its exploration of why art moves us " and moves us to take extraordinary measures to preserve it through eons …

SOURCE: Chicago Theater Beat at 7:36pm on October 1, 2017

Review: Five Guys Named Moe (Court Theatre) by Catey Sullivan

Court Theatre's Five Guys Named Moe looks and sounds terrific. Set designer Courtney O'Neill has ingeniously turned the stage into the inside of a old time radio, and sound designer Victoria…

SOURCE: Chicago Theater Beat at 10:18pm on September 29, 2017

Review: Alias Grace (Rivendell Theatre) by Catey Sullivan

Despite some shortcomings, world-premiere Alias Grace is well worth seeing. The story of Grace Mark is powerful both as history and as a commentary on history. Rivendell Theatre hasn't captu…

SOURCE: Chicago Theater Beat at 7:48pm on September 28, 2017

Rev‪iew: Bullets Over Broadway (NightBlue Performing Arts) by Catey Sullivan

Under Kevin Bellie's direction, Bullets Over Broadway does have moments of charm. But between these bright spots, the acting aesthetic is cartoons on hyperdrive " loud and garish enough to o…

SOURCE: Chicago Theater Beat at 7:24pm on September 27, 2017

Review: A View from the Bridge (Goodman Theatre) by Catey Sullivan

There's a pall of suffocating dread woven through director Ivo Van Hove's galvanizing take on Arthur Miller's 1955 classic A View From the Bridge. Set in the 1950s, the story about immigrati…

SOURCE: Chicago Theater Beat at 7:24pm on September 24, 2017

Review: Honeymoon in Vegas (Marriott Theatre) by John Olson

You sorta have to love the rare musical like Marriott Theatre's Honeymoon in Vegas that sets a world we know to music. Sure, it's based on a 25-year-old film comedy, but the targets of this …

SOURCE: Chicago Theater Beat at 7:48pm on September 22, 2017

Review: Rock of Ages (Drury Lane Theatre) by Catey Sullivan

Rock of Ages just might be the most shamelessly pandering musical since, oh, the late 1980s. It revels in boobie and poop jokes and stratospherically over-the-top characters. And it's that v…

SOURCE: Chicago Theater Beat at 7:06pm on September 21, 2017

Review: The Toad Knew (Compagnie du Hanneton) by Catey Sullivan

The story of The Toad Knew " if there is one " is left to the audience to create within their own minds. The performers " a quintet starring creator James Thierrée " are a group of dancers/…

SOURCE: Chicago Theater Beat at 4:36pm on September 21, 2017

Review: Muthaland (16th Street Theater) by Catey Sullivan

An engaging performer, Minita Gandhi plays over a dozen characters in what initially feels like a fairly predictable story of generational and cultural differences. But roughly two-thirds of…

SOURCE: Chicago Theater Beat at 5:12pm on September 19, 2017

Review: Trevor the Musical (Writers Theatre) by John Olson

In expanding the story of the short film to a full length (two-hour, including intermission) stage musical, writer Dan Collins and composer Julianne Wick Davis have kept the warmly comic ton…

SOURCE: Chicago Theater Beat at 6:12pm on September 18, 2017

Review: Deirdre of the Sorrows (City Lit Theater) by Lauren Whalen

Forbidden love, war and deception are all present in the story of playwright John Millington Synge's Deiredre of the Sorrows (which hasn't been professionally produced in Chicago in a centur…

SOURCE: Chicago Theater Beat at 1:06am on September 17, 2017

Review: Bonnie & Clyde (Kokandy Productions) by Lauren Whalen

Known for their innovative, quality work, Kokandy Productions knocks Bonnie & Clyde out of the park, as director Spencer Neiman and team overcome some of the source material's flaws wit…

SOURCE: Chicago Theater Beat at 9:42pm on September 16, 2017

Review: One Thousand Words (Theater Faction) by John Olson

Theater Faction's One Thousand Words is a musical drama that began life under the title Maybe, Someday at Louisiana State University in 2014, where the young writers Michael Braud and Curran…

SOURCE: Chicago Theater Beat at 11:04pm on September 15, 2017

Review: Ubu II"Electric Boog-Ubu, or Free Ubu (The Plagiarists) by Johanna Dalton

For Gregory Peters adaptation from the 1896 French play by Alfred Jarry, a satirical exploration of power, greed and evil practices, The Plagiarists bring King Ubu to America, where power, g…

SOURCE: Chicago Theater Beat at 1:36am on September 15, 2017

Review: Shockheaded Peter (Black Button Eyes Productions) by Patrick O'Brien

Armed with a ton of greasepaint and rouge, and rolls upon rolls of crimson ribbon, Black Button Eyes' production of Shockheaded Peter at the Athenaeum is a marvelous homespun outing, and not…

SOURCE: Chicago Theater Beat at 10:48pm on September 13, 2017

Review: The CiviliTy of Albert Cashier (Permoveo Productions) by Lauren Whalen

The CiviliTy of Albert Cashier has the bones of a solid production: a sad but compelling true story, dynamic lead performers and a beautiful score. However, it still feels like a work-in-pro…

SOURCE: Chicago Theater Beat at 6:18pm on September 12, 2017

Review: Cicada Summer (Rough House Theater) by Lauren Whalen

Rough House Theater Company specializes in physical theater and puppetry, and their world premiere of Cicada Summer seamlessly fuses both with a sweet coming-of-age tale involving thirteen-y…

SOURCE: Chicago Theater Beat at 8:18pm on September 2, 2017

Review: A Funny Thing Happened on the Way to the Gynecological Oncology Unit at Memorial Sloan-Kettering Cancer Center of New York City (Route 66 Thea by Lauren Whalen

Route 66 Theatre's A Funny Thing Happened... has an excellent cast that almost (but not quite) make up for the script's flaws. One wishes playwright Halley Feiffer had a better critique part…

SOURCE: Chicago Theater Beat at 8:06pm on August 30, 2017

Review: Barbecue (Strawdog Theatre) by Lauren Whalen

Although there are excellent performances throughout, Barbecue still, overall, feels false - and not in a deep, thought-provoking way. One can sense Playwright Robert O'Hara's desperation to…

SOURCE: Chicago Theater Beat at 2:18am on August 30, 2017

Review: The Audience (TimeLine Theatre) by Lauren Whalen

The Audience is a must-see for fans of the British monarchy, the Windsor family and strong women in leadership roles. The production's acting is overall excellent, with TimeLine and Chicago …

SOURCE: Chicago Theater Beat at 3:42pm on August 29, 2017

Review: Gypsy (Music Theater Works) by John Olson

Always a demanding musical to produce, this Gypsy is a huge production by any standards. Rudy Hogenmiller, Clayton Cross and Roger Bingaman lead an accomplished cast of 31 performers (that i…

SOURCE: Chicago Theater Beat at 1:06am on August 22, 2017
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