by Hugh Iglarsh | August 7, 2026Gift Theatre’s “Marble” Starts Strong Before Going Cold and Hard Endings are never easy, but rarely does a play that begins so well move so decisively in the wrong direction as does Marina Carr’s 2009 work, an Irish dramedy that’s almost salvaged by a quartet of powerful performances.
by Hugh Iglarsh | July 29, 2026“The American Project” Translates Hard-Won Truth into Heartfelt Beauty Presented by the youth and community-focused Albany Park Theater Project, the production is completely sold out for good reason: this is drama that glows red hot with passion and authenticity.
by Hugh Iglarsh | July 17, 2026Gwydion Reclaims the Risk-Taking Heritage of Chicago Storefront Theater These recent transplants represent a new generation of theater artists who have chosen this city based on its reputation as a place open to brash, bright young thespians willing to do their own thing on their own terms.
by Hugh Iglarsh | July 15, 2026Too Much Farce, Not Enough Force in This Version of “The Importance of Being Earnest” Sight gags go Wilde in No Dogs in the Kitchen Theatre Company’s revival of the classic comedy, overwhelming the play’s trenchant commentary on Victorian social mores.
by Hugh Iglarsh | June 25, 2026Couch Penny Ensemble’s Solid “An Oak Tree” Plays With Our Mind While Stirring Our Feelings Tim Crouch’s 2006 melancholic memory play about loss and healing features two outstanding performances, one of them unrehearsed.
by Hugh Iglarsh | June 11, 2026An “Antigone” That Doesn’t Reach Its Tragic Potential Tonal inconsistencies in Promethean Theatre Ensemble’s production of Jean Anouilh’s adaptation weaken the play’s powerful and relevant message.
by Hugh Iglarsh | June 3, 2026In a Dog-Eat-Dog World, It’s Not Easy Being Human Ego Death Theatre Collective’s sure-handed production of “A Dog’s House” shows the impact of a pet’s violent death on the owners’ relationships.
by Hugh Iglarsh | May 14, 2026The Music Is Memorable in “Always … Patsy Cline,” the Framing Story Not So Much Liz Chidester gives a terrific star turn as the country music legend, but the American Blues Theater production of this warhorse jukebox musical keeps us at arm’s length from Patsy as a person.
by Hugh Iglarsh | April 23, 2026Ghostlight Ensemble’s “The Dover Road,” Staged at the Glessner House, Is a Bittersweet Trip to the Past A.A. Milne’s 1921 comedy of romantic disillusionment has its moments but doesn’t quite jell.
by Hugh Iglarsh | March 23, 2026“The Official Biography” Tells a Story About Storytelling A pure product of Chicago’s collaborative theater culture, this new play from Her Story Theater digs deep into the nature of art and truth.
by Hugh Iglarsh | March 20, 2026“White Rooster” Is a Spectacle Without Poetic Flight Lookingglass Theatre’s play is nice to look at, but offers viewers too little to chew on.
by Hugh Iglarsh | March 6, 2026“The Shape of the Bones” Has Promise but Needs To Be Fleshed Out Playwright Spencer Huffman’s religious drama—and New Theatre Project’s first production in a conventional theater space—boasts some excellent performances in a story that doesn’t quite satisfy.
by Hugh Iglarsh | February 27, 2026“Kubrickian” Teeters Between Cosmic Drama and Spacey Oddity Factory Theater’s overlong production has its moments, but it struggles to pull us into its sci-fi scenario.
by Hugh Iglarsh | February 19, 2026“Come Back, Little Sheba” Merits a Return Engagement American Blues Theater’s intensely intimate revival shows that William Inge’s 1950 family drama still packs a wallop.
by Hugh Iglarsh | January 21, 2026“Magic Is People” Is Just Short of Enchanting Justin Purcell’s sleight-of-hand act at the Chicago Magic Lounge rates higher on skill than charm.
