The hour-long circus from Bogotá runs as part of the Chicago International Latino Theater Festival.
The Belgian troupe Ontroerend Goed interactive performance is perfectly timed.
Instead this Greenhouse production invents its central dramatic incident to make its point.
The rest of Porchlight’s raucous revival shines around her.
And together they provide two perspectives on black women’s lives, written by black women.
All that’s left of the angry satire is punishment.
There’s also something weirdly liberating about the sight of Oompa Loompas toting knives.
And director Pam MacKinnon and her Steppenwolf cast give us a masterwork.
But this Goodman production should best be understood as a reliving than a true memoir.
Trap Door Theatre’s revival of the Pirandello play is farcical, soapy, and profound.
It fails to pay tribute to the big questions raised by the classic novel celebrating its bicentennial this year.
Frankenfest brings four stage adaptations of Mary Shelley’s gothic masterpiece.
A local debut and a world premiere that just might merit the hype.
Valentijn Dhaenens’s one-man show is designed to start a conversation.
Bennett Fisher’s play has all the amenities except a well-explored point.