I’ve always been ambivalent about the use of land acknowledgements in the arts sector, but as I am not of Indigenous descent, I can’t speak for Indigenous opinions on the matter. At the world premiere of King James at Steppenwolf, the audience was treated to not only a land acknowledgement, but also to what I […]
Court Theatre’s revival puts us in the center of ancient artifacts and contemporary conundrums.
Christina Anderson’s play is a triumph for director Niegel Smith and his cast.
It looks great, but it’s about as substantial as fairy dust.
If the narrated sections are so important, why don’t we get see them?
Chekhov’s masterwork gets a master staging.
Zeljko Djukic adapts and directs a bleak story by Dostoevsky.
But Leonard Bernstein’s score and lead Bri Sudia soar in a revival of the 1953 musical directed by Mary Zimmerman.
Conor McPherson’s play The Night Alive may not be great, but it’s superb in its goodness.
Court Theatre’s M. Butterfly gives us even more reason to dislike this Tony-winning play.
Steppenwolf Theatre stages Stephen Adly Guirgis’s The Motherfucker With the Hat
A new adaptation of Three Sisters, written by Tracy Letts and directed by Anna Shapiro
Steppenwolf Theatre’s fundraiser takes supporters “Behind the Curtain.”