The Chicago Nerd Comedy Festival is back at Stage 773 on W. Belmont for a second year, and its featured acts — which include “A Nerdy Cabaret,” “Improvised Jane Austin” — are nerdy indeed.
With its soaring score, and a story built on the ever thorny issue of race in this country, you need only listen to the initial anthemic chorale in “Dessa Rose,” to know that this is a musical by Lynn Ahrens and Stephen Flaherty, the team behind “Ragtime.”
HEDY WEISS: Four highly skilled actors bring the world premiere to life at Victory Gardens.
Theater critics do a great deal of sitting. For the most part they are either watching a play or are chained to a computer writing about it. But in his new book, “Life Is a Wheel” (Scribner, $26), New York Times writer Bruce Weber — …
It will always be “an odd opera out” among the late Mozart masterpieces that precede and surround it, but “La clemenza di Tito” (The Clemency of Titus) is also much more than a checklist title for musical completists. Mozart wrote “Clemenza” hastily — and for …
While “Riverdance” incorporated percussive forms beyond Irish step dance, including flamenco and American tap, “Heartbeat of Home” further embraces the contemporary global beat with the addition of Latin and Afro-Cuban music and dance, creating sequences inspired by the tango, salsa, hip-hop and the cross-pollination of all these forms.
Let’s have a little fun and consider just where you can find the Seven Deadly Sins on display in productions either on (or soon headed to) Chicago stages.
When Robert Battle assumed the artistic leadership of the Alvin Ailey American Dance Theater in 2011, he stepped into the formidable footsteps of Ailey himself, who created his unique company of African-American dancers in 1958, and dancer Judith Jamison, who helped keep the company alive …
The Dunham Fund has pledged a $250,000 challenge grant to the Aurora Civic Center Authority.
Usually by about the 10th or so year of a stage musical’s tour, the seams start showing. Corners are cut. Actors of minimal experience and comparable salary demands are brought in. The orchestra gets smaller. Happily (a cynic might say quite surprisingly) that’s not the case with “Chicago.”
HEDY WEISS: Three cheers for all the champions in the ring — and there are many of them — in this knockout revival of Clifford Odets’ 1937 classic.
HEDY WEISS: “Changes of Phase,” a collaboration with Studio Gang Architects, feels unfinished, but “Tsuru” arrives fully polished.
Revue at Theater at the Center sounds terrific but falters whenever the music stops and the attempts at dialogue begin.
If you enter Profiles Theatre these days, where British playwright Michael Bartlett’s provocatively titled “Cock,” is receiving a blistering Midwest premiere, you will find yourself in a classic cockpit arena that instantly turns you into a spectator. But there are no birds here.
The director takes a serious, stylish approach to Dvorak’s opera of a prince and his doomed love affair with a water nymph.
HEDY WEISS: The title of British playwright Peter Shaffer’s ever-fascinating meditation on genius and envy, now in an astonishingly fine revival by BoHo Theatre, captures the very essence of the story.