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Hugh Iglarsh

Three people sit on a white floor in front of a textured white backdrop. The person closest to the camera poses with one hand on the floor, while the other two sit cross-legged in the background, appearing contemplative.

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.

A performer in a suit stands on stage holding a metal ring, interacting with an applauding audience seated at tables in a dimly lit club. People are smiling and engaged, watching the act closely.

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.

Three people sit at an elegant dining table under a chandelier. One man points while two women smile and clasp hands. A fourth person stands in the background, partially in shadow. The mood appears celebratory or festive.

by Hugh Iglarsh | December 12, 2025

TUTA Theatre Packs Life’s Pains and Pleasures into One “Long Christmas Dinner” Here’s hoping that Thornton Wilder’s quietly powerful one-acter from 1931 develops into a Chicago holiday tradition.

by Hugh Iglarsh | December 1, 2025

What Should Modern Theaters Do with Shakespeare’s Nasty Shrew? Court Theatre’s production of “The Taming of the Shrew” lacks good answers to this bothersome question.

by Hugh Iglarsh | November 12, 2025

The Devil Doesn’t Get His Due in Trap Door Theatre’s Satanic Literary Satire “A Devil Comes to Town” is a bold but ultimately undramatic experiment in storytelling strategy.

by Hugh Iglarsh | October 31, 2025

New Theatre Project’s “Blackbird” Is a Harrowing Flight Into Darkness The company's latest factory-set show explores the long-term effects of sexual trauma.

by Hugh Iglarsh | October 15, 2025

Is “Dutchman” a Play Worth Reviving? Some good acting and interesting directorial choices can’t save Amiri Baraka’s misogynistic one-acter.

by Hugh Iglarsh | October 8, 2025

This Willy Loman Is More a Scary Symptom Than a Tragic Hero Gwydion Theatre’s “Death of a Salesman” may not be perfect, but it speaks loudly and clearly to our time.

by Hugh Iglarsh | September 17, 2025

Nerds Go Absurd in No Dogs in the Kitchen’s “Below the Belt” Jared Goudsmit skillfully directs Richard Dresser’s 1995 satirical take on organizational existence.

Friends gather around a living room at a dinner party.

by Hugh Iglarsh | September 12, 2025

“Things with Friends” Serves up a Dinner Party from Hell American Blues Theater's new production is a bravely experimental dark comedy with a less-than-coherent plot.

Pam Dickler photo portrait

by Hugh Iglarsh | August 27, 2025

Caught in the Crosshairs: An Interview with Playwright Pam Dickler

by Hugh Iglarsh | August 8, 2025

A Harrowing Journey: A Review of “Jesus Hopped the ‘A’ Train” at City Lit Theater

by Hugh Iglarsh | July 23, 2025

They Stole Einstein’s Brain: A Review of Tin Drum Theatre Company’s “Incognito” at Theater Wit

by Hugh Iglarsh | July 21, 2025

A Passion for the Stage: An Interview with Playwright Amy Crider

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October Issue
Realism

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