Hedy Weiss has been Theater and Dance Critic of the Chicago Sun-Times since 1984, reporting on local, national and international productions, as well as a …Read More
HEDY WEISS: For better and for worse, the House Theatre of Chicago’s modern adaptation of Oscar Wilde’s Faust-meets-gothic classic takes full advantage of our far more sexually open society.
Some companies are playing it safer with warnings about nudity and language, and the Paramount Theater has taken to applying ratings, from the G for “Cats” to a PG-13 for “The Who’s Tommy.”
HEDY WEISS: Stage Left and Theatre Seven present the world premiere of Joe Zarrow’s “Principal Principle,” a story set in a Chicago public school that nails the issues with an ideal mix of stinging satire and abiding sadness.
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As an indirect homage to this year’s Merritt Awards, I’ve chosen to highlight the sets for four shows currently running on Chicago stages.
Chicago playwright Marisa Wegrzyn’s “Mud Blue Sky,” and a terrific cast at A Red Orchid Theatre, combine for a story that is at once very funny, heartbreaking and full of unexpectedly profound surprises and insights into the importance of work.
HEDY WEISS: As the bard turns 450, celebrate with theater, dance and even TV.
Is it a boy or a girl? That is a perfectly natural, yet altogether bedeviling question explored in Aditi Brennan Kapil’s flourish-filled, identity-swirling play, “Brahman/i” (subtitled “A One-Hijira Stand Up Comedy Show”).
HEDY WEISS: Mona Mansour’s play about financial disarray in California, accurate but far from subtle, has its world premiere at Steppenwolf.
“Gypsy jazz just begs to be danced to,” said choreographer Gordon Peirce Schmidt, whose RPM Productions will present “La Journee des Tziganes” (“The Day of the Gypsies”) for two performances at the Athenaeum Theatre. “The impulse to move to that music is overwhelming.”
HEDY WEISS: Production of the challenging musical is notable for its overall vocal lushness, and for the altogether ravishing sound that emerges from the pit.
The 16th Street Theater is a principal cultural anchor of Chicago’s neighbor, Berwyn. But its reach extends far further than either city, or the intimate performance space at 6420 16th St. (operated by the North Berwyn Park District) that it calls home. Consider, for example, …
HEDY WEISS: This is a work of genuine chutzpah, with director Nick Sandys and his expert cast doing truly impressive work, and playwright Tadeusz Slobodzianek sparing no one.
Every second of the Writers Theatre production of “The Dance of Death” is worth the price of admission. But you should take a seat in the company’s intensely intimate bookstore space for one very specific reason alone: Larry Yando.
HEDY WEISS: Harrowing is the essential word when describing “God’s Work,” the emotionally scorching story of child abuse and religious fanaticism now in the Goodman’s Owen Theatre.
Larry Yando is back on a Chicago-area stage this week, co-starring with Shannon Cochran in the Writers Theatre production of “The Dance of Death,” August Strindberg’s drama of a marriage from hell.
No doubt about it. Zoe Perry is an actress born into a dramatic dynasty.
A play is a whole lot more than a script. And “Peter and the Starcatcher,” the Broadway play-with-music that arrived Wednesday at the Bank of America Theatre in a sparkling national touring edition, serves as a reminder that “play” itself is of the essence. READ MORE HERE.
The dancers of River North Dance Chicago are power movers. Whether finessing a complex solo or duet, or hard-driving through an aerobically challenging group work, the members of this ensemble generate a sense of propulsion that keeps you watching and breathing along with them. The …
HEDY WEISS: Kneehigh ensemble pulls out all the stops in recounting the story of love and betrayal.
HEDY WEISS: The title of Melissa Ross’ tragicomedy, “Thinner Than Water,” now in a ferociously acted Chicago premiere by The Gift Theatre, riffs on the old adage that “blood is thicker than water.” But just how powerful are family ties?