by Tristan Bruns | September 28, 2023When Existence is a Crime: A Review of “Sanctuary City” at Steppenwolf Theatre
by Mary Wisniewski | September 6, 2023A Safe Space: How Martyna Majok Channeled Her Immigrant Struggle Into Playwriting Success
by Hugh Iglarsh | July 26, 2023Pinteresque Perfection: A Review of “No Man’s Land” at Steppenwolf Theatre
by Mary Wisniewski | June 28, 2023Life Goes On: A Review of “Another Marriage” at Steppenwolf Theatre
by Ted C. Fishman | April 19, 2023Against Great Odds: A Review of “Last Night and the Night Before” at Steppenwolf
by Mary Wisniewski | March 17, 2023Lies, All Lies: A Review of “Describe the Night” at Steppenwolf Theatre
by Tristan Bruns | December 14, 2022As American as Buh-Bah Sok-Moin: A Review of “Bald Sisters” at Steppenwolf Theatre
by Brian Hieggelke | September 14, 2022Mother American Dream: A Review of The Most Spectacularly Lamentable Trial of Miz Martha Washington at Steppenwolf
by Dennis Polkow | July 19, 2022Shapiro’s Song: From Steppenwolf to a New Elton John Musical, The Devil Wears Prada
by Ted C. Fishman | May 16, 2022A Crueler Screwball Comedy: A Review of “The Seagull” at Steppenwolf Theatre
by Nathaniel Fishburn | March 25, 2022A Little Lie (For a White Guy): A Review of “WHITE” at Steppenwolf, produced by Definition Theatre
