John Leguizamo is bringing his critically acclaimed, one-man autobiographical show “Ghetto Klown” back to where it all began — Chicago.
For starters, let me list some of the things I did during the course of “Since I Suppose,” the unique, one-person-at-a-time urban “walkabout,” inspired by Shakespeare’s “Measure for Measure.”
There is something about those great white whales — those emperors of the oceans — that continue to grab hold of our imaginations and refuse to let go, even now, as we no longer hunt and murder them for the oil that will keep our machines humming.
“Chicago Fire” stars Taylor Kinney and Jesse Spencer have been named grand marshals for the inaugural Great Chicago Fire Festival, the free spectacle of fire that takes place Oct. 4 on the Chicago River.
“Asher Lev,” Aaron Posner’s exquisite 90-minute stage adaptation of the bestselling 1972 novel by Chaim Potok, is a portrait of a natural-born artist as he struggles to come to terms with a gift that makes him at once “demonic and divine,” and that endows him with the power to inflict profound emotional harm on those who love him, and who he most loves.
Chicago-bred actress Jessie Mueller, who received the 2014 Tony Award for best leading actress in a musical for “Beautiful — The Carole King Musical,” but she has not lost touch with her roots.
“Clememte: The Legend of 21” paints a portrait of a man and an era.
Reading the list of Jeff Award nominations for a season’s worth of productions by both large and midsize Equity contract companies is invariably a potent reminder of the breadth and depth of talent in this city.
Here is an annotated look at four of the many pieces to be performed on various nights of the free festival.
HEDY WEISS: The Marriott Theatre revival moves with the style and the frantic pace of its setting.
HEDY WEISS: Though fictional, the musical starring Beyonce and Jennifer Hudson in many ways trumps “Motown the Musical.”
The 1944 musical “On The Town” follows the zany adventures of three sailors on a 24-hour shore leave in New York City during World War II.
A Herculean labor for those on stage as well as for the audience, “All Our Tragic” turns out to be a mind-boggling flight of the imagination, with many sequences of immense passion, intense physicality and wit.
The Stage Left Theatre contest asks writers “to intentionally write awful plays so that we may laugh at them.”
HEDY WEISS: Lusia Strus’ talents back on view at Steppenwolf in the best of the trio, Martyna Majok’s “Ironbound.”
“All Our Tragic,” The Hypocrites’ newest project, meshes 32 Greek tragedies into an 11-hour marathon.