Shepsu Aakhu, a founding member of MPAACT (Ma’at Production Association of Afrikan Centered Theatre) has crafted many of the company’s shows over the past 32 years. But I’m not sure […]
Kurt Chiang and Melinda Jean Myers (known to friends as Mindy) have wanted to collaborate for years. But it took a pandemic for the former Neo-Futurist artistic director and the […]
Covering theater in Chicago is sometimes about writing valedictions for companies that have decided it’s time to fold up the tent. In the past couple of weeks, two such announcements […]
I didn’t meet the revered Chicago Tribune theater critic, Richard Christiansen, until 2016 when I started interviewing him for my book Ensemble: An Oral History of Chicago Theater. He was […]
August Wilson’s Century Cycle (also known as the Pittsburgh Cycle, though Ma Rainey’s Black Bottom is set in Chicago) remains one of the monumental achievements in American drama. Chuck Smith’s […]
And together they provide two perspectives on black women’s lives, written by black women.
Bessie and Sadie Delany celebrate more than a century of badassery.
Playwright Branden Jacobs-Jenkins resurrects a wildly popular—and wildly racist—19th-century melodrama.
A revamped version of Leonard Bernstein’s operetta and a taut, intense two-hander are among this week’s best bets.
In Objects in the Mirror, a refugee’s troubles aren’t over when he reaches safety.
American Blues Theater revives Amiri Baraka’s searing one-act alongside a new commission that puts gender identity in the spotlight.
The Goodman’s director of education and community engagement talks about why the theater is spending six weeks celebrating the playwright’s work.
August Wilson’s flawed masterpiece gets a fascinating if bleak revival.
Cheryl L. West’s Pullman Porter Blues spends too much time explaining and not enough time dramatizing.
Promising at first, By the Way, Meet Vera Stark falls apart after intermission.