by Dennis Polkow | November 20, 2023Witch Way: Chicagoan Melody Betts Eases Down the Roads of “The Wiz”
by Tristan Bruns | September 8, 2023A Cult Classic: Kokandy Productions Brings Back the Storefront Musical with “American Psycho”
by Sharon Hoyer | September 7, 2023Jerry and Mr. Joffrey: A Centennial Celebration of Gerald Arpino, Co-Founder and “Architect of the Dancers” of One of America’s Premier Ballet Companies
by Mary Wisniewski | September 6, 2023A Safe Space: How Martyna Majok Channeled Her Immigrant Struggle Into Playwriting Success
by Mary Wisniewski | July 12, 2023Changing the Stakes: At Twenty-Five Years, Congo Square Theatre Charts a Radically Expansive Future
by Mary Wisniewski | March 29, 2023Changes and Endings: An Interview with Director Robert Falls on “The Cherry Orchard”
by Dennis Polkow | January 20, 2023A Second Company’s Saga: The Spirited Story of Fifty Years of Chicago Opera Theater
by Amanda Finn | January 3, 2023Chicago Theater Is Home: An Interview with Marissa Lynn Ford About Her Plans for the League of Chicago Theatres
by Dennis Polkow | December 13, 2022Just Like the Ones We Used to Know: Music Theater Works Stages “White Christmas”
by Mary Wisniewski | October 26, 2022The Audio Describer: Bringing Live Theater to Those with Vision Problems
by Brian Hieggelke | September 27, 2022One Sick Family: Playwright Brett Neveu Channels Orson Welles, Sort of, with “The Malignant Ampersands” at A Red Orchid
by Mary Wisniewski | September 9, 2022A Real Shtetl: Barrie Kosky Discusses the North American Debut of his “Fiddler on the Roof” at Lyric
by Ted C. Fishman | August 30, 2022What Is Chicago Talking About? A Conversation with Susan Booth, Incoming Artistic Director of the Goodman Theatre
