Lots of behind-the-scenes news in Chicago theater, and some well-deserved plaudits to note as well this week! At the Tony Awards this past Sunday, longtime Chicago sound designer and composer Mikhail Fiksel took home the top prize for his work on Lucas Hnath’s drama Dana H., which ran locally at the Goodman in fall of […]
Last August, I caught up with Jacob Harvey just as he was taking over as the new (and first-ever) managing artistic director of theaters for the Fine Arts Building. At the time, he noted that with the loss of the Royal George as a midsize rental house, the soon-to-be-remodeled Studebaker Theater in the Fine Arts […]
Othello is usually viewed as “Shakespeare’s Race Play” and somewhat rightfully so—after all, the Bard almost never wrote Black characters. In our society race overshadows everything, so much so that much discourse around Othello tends to obstinately revolve around whether or not the play is “racist”—as if an inanimate object were able to take offense […]
A year and a half after the stage went dark, Court Theatre presents its first live performance since the world was plagued with pandemic and the country with civil unrest. The chosen play is Shakespeare’s The Tragedy of Othello, The Moor of Venice, which places racial discrimination, misogyny, toxic masculinity, and all the ills not […]
Court Theatre’s revival puts us in the center of ancient artifacts and contemporary conundrums.
Sophocles’s tragedy could use some emotional veils in Court Theatre’s staging.
The men may kick and scream, but it’s the women who lead.
It’s time to place Arthur Miller at the forefront of American drama.
Tom Stoppard’s latest draws blood with a timely portrayal of for-profit scientific research.
Sandra Marquez and Kate Fry are darkly fascinating as Sophocles’s murderous queen and her obsessed daughter.
Man in the Ring takes a swing at the saga of gay boxer Emile Griffith.
Louis Armstrong takes a complex solo in Court Theatre’s Satchmo at the Waldorf
A musical with good advice
Euripides’s tragedy shows us both the necessity and the uselessness of action.
Court Theatre’s M. Butterfly gives us even more reason to dislike this Tony-winning play.