by Rob Silverman Ascher | August 31, 2026The Teenagers in “Adolescent Salvation” Are Not Just Kids The Chicago premiere of Tim Venable's play starts as a Zoomer screwball and ends as an indictment of the way adults fail to protect their children.
by Rob Silverman Ascher | June 15, 2026“Brokeback Mountain” Brings Queer Intimacy to a Grand Wyoming Setting Chicago Shakespeare Theater stages the U.S. premiere of Ashley Robinson’s adaptation, presenting Annie Proulx’s love story as a play with music.
by Mary Wisniewski | January 30, 2026“Birds of North America” Takes Flight at A Red Orchid Theatre Anna Ouyang Moench’s father-daughter drama unfolds through birdwatching and climate anxiety.
by Dennis Polkow | November 17, 2025A Dream Begins for Real as Alicia Keys’ “Hell’s Kitchen” Takes Us Back Maya Drake's breakout performance features songs that are masterful fusions of music and poetry.
by Mary Wisniewski | September 25, 2025In Steppenwolf’s “Mr. Wolf,” A Teenager Reluctantly Returns Home From Her Kidnapper The top-shelf production is tightly directed and beautiful, but leaves too much space unexplored.
by Tristan Bruns | April 18, 2025The Price of Wisdom: A Review of “Henry Johnson” at Victory Gardens Theater
by Mary Wisniewski | January 9, 2025What Will Juicy Do: An Interview with Tyrone Phillips, Director of “Fat Ham”
by Hugh Iglarsh | November 8, 2024Understated Mystery: A Review of Gwydion Theatre Company’s “Perfect Pie” at Greenhouse Theater Center
by Hugh Iglarsh | August 27, 2024Still Mad as Hell: A Review of “Network” by Invictus Theatre at Windy City Playhouse
by Hugh Iglarsh | August 13, 2024Two Levels of Illusion: A Review of “Road Signs” at A Red Orchid Theatre
by Dennis Polkow | April 19, 2024Laughter Through Tears: Larissa FastHorse’s “The Thanksgiving Play” at Steppenwolf Bears Ingenious Truths with Humor
by Mary Wisniewski | February 27, 2024Monticello’s Façade: A Review of “The Reclamation of Madison Hemings” at American Blues Theater
by Tristan Bruns | February 1, 2024Here’s To Never Growing Up: A Review of “The Best Damn Thing” at The Understudy
