Rachel Weinberg

Monty Python’s Spamalot is a jubilant and genuinely hilarious touring rendition of the 2023 Broadway revival. If you’re looking for hearty laughs and a winning combo of slapstick humor,witty pop culture, and musical theater references, Spamalot’s got it in spades.

What happens when you make a deal with the devil? Covenant asks its characters to find out. Drawing inspiration from both horror films and classic blues music, York Walker’s Chicago premiere play follows a group of characters as they explore their faith — in both Christianity and the supernatural.

Though it’s a musical about a support group for internet addicts, Dave Molloy’s Octet is delightfully analog. And that’s precisely the point — Molloy’s musical invites audiences to look away from their screens and lean into this intimate, inventive, and fully a cappella show. Molloy (perhaps best known for Natasha, Pierre, and the Great Comet of 1812) has written the kind of show that gives me hope for the future of new musicals. Octet is timely, creative, often funny — and truly, wholly original. And based on the recent news about the forthcoming movie musical directed by Lin-Manuel Miranda, it has commercial legs.

The blame game’s the thing in this world premiere play from Scooter Pietsch. FAULT is playing at the Chicago Shakespeare Theater.

While THE GREAT GATSBY has glimpses of effective songs and character development, the musical doesn’t ultimately live up to the glitz, glamor, and legacy of its source material.

Tarrell Alvin McCraney’s world-premiere play WINDFALL is part somber, part whimsy — which is true to his unique playwriting style. It’s a poignantly topical play, yet sometimes too on the nose. I enjoyed how McCraney blends the hyperreal and the surreal in a play that asks the question: Should we reject the system altogether (in this case, law enforcement), or should we take what it offers us as a form of fighting from within? While WINDFALL certainly sways audiences towards one side, it genuinely ponders both.

MA RAINEY’S BLACK BOTTOM is a well-acted, slow-burn character study. August Wilson’s 1982 play centers on a fictitious 1927 Chicago album recording, as the musicians gather and wait for the notorious Ma Rainey (or Madam Rainey, as she demands they call her) to record her latest album. Ma Rainey has some dramatic tendencies — she’s an hour late to her own recording session and then comes in with a whirl of demands and suggestions for the session. 

THEATER OF THE MIND is an engaging, interactive, and fun tour through the senses.

THE BRIEF WONDROUS LIFE OF OSCAR WAO is a lopsided stage adaptation of Junot Díaz’s 2007 Pulitzer Prize-winning novel. While the first act is tight and focuses squarely on the budding relationship between ultra-nerd Oscar Wao and his freshman year college roommate Yunior, the second act incorporates almost all the other key plot points from Díaz’s text. As a result, the first half is a charming and sweet “bromance,” but the second half of this English language premiere (the production was originally produced in Spanish at Repertorio NYC) is sprawling, overlong, and not that engaging. There’s simply no reason this adaptation needed to be almost three hours.

When I think of Steppenwolf, I often think of family members crying, screaming at one another, or some combination of the two. So the sparring between spouses Alice and Captain Edgar in August Strindberg’s 1900 play THE DANCE OF DEATH feels right at home. In a surprisingly funny and sharp version from accomplished Irish playwright Conor McPherson and direction from Steppenwolf ensemble member Yasen Peyankov, Kathryn Erbe and Jeff Perry go toe-to-toe as a troubled married couple about to celebrate their silver anniversary. 

Royal Shakespeare Company’s HAMNET is a dramatic and languid stage adaptation of Maggie O’Farrell’s 2020 buzzy novel of the same name.

THE OUTSIDERS presents an original and vibrant stage adaptation of S.E. Hinton’s classic 1967 novel about the conflict between Tulsa teen gangs the Greasers and the Socs (short for socialites). The musical — and particularly director Danya Taymor’s inventive and visually dynamic staging — pulses with youthful energy, but the material doesn’t feel juvenile.

Goodman Theatre continues its centennial season with the endearing and lively romantic comedy HOLIDAY.

David Adjmi’s STEREOPHONIC pulls back the curtain on making a rock album — with all of the minute details, inane band member conversations, and painstaking, spirited artistic conversations that come with it. It centers on an unnamed Fleetwood Mac-esque band in the late 1970s as they record (and deliberate over) their newest album at a studio in California. If diving deep into the minutiae of the recording process excites you, STEREOPHONIC is your ticket. Fans of DAISY JONES AND THE SIX — both the Taylor Jenkins Reid novel and the Amazon miniseries based on it — will love this.

Thanks to Buddy the Elf, ELF THE MUSICAL has plenty of holiday cheer. Jack Ducat has large shoes to fill as the beloved film character Buddy, a now adult man raised on the North Pole by Santa (Andrew Hendrick) and his elves— who must then venture into the wilds of New York City to meet his human father. Will Ferrell’s performance in the original 2003 film is embedded in the holiday movie zeitgeist — so it’s a big ask.

AMADEUS at Steppenwolf Theatre Company is a lively and sprawling production of Peter Shaffer’s play. Director Robert Falls, the recently retired former Goodman Theatre Artistic Director, makes his Steppenwolf directorial debut with one of the best uses of Steppenwolf’s Ensemble Theater I’ve seen.

HELL’S KITCHEN, the Alicia Keys jukebox musical now making its Chicago premiere as part of the first national tour, has a messy storyline wrapped in slick packaging. While the show is loosely based on Keys’s childhood in Manhattan, the storytelling is generic, and the songs are often awkwardly incorporated into the book. Admittedly, Kristoffer Diaz’s book is weak. It’s a flimsy vehicle for Keys’s song catalog. Huge Alicia Keys fans might enjoy hearing her biggest hits performed by musical theater actors, but the plot around them doesn’t hang together.

This new PARANORMAL ACTIVITY play (based on Paramount Pictures’ PARANORMAL ACTIVITY horror films) has terrific stage effects and absolutely creeped me out. Based on the merits of the script alone, there’s not much to recommend in the material. But it leaves plenty of room for creepy effects and terrifying stage surprises — and the inventive and frightful production is definitely the selling point!

HUNDREDS AND HUNDREDS OF STARS comes at an eerily relevant time. While I didn’t think all elements of the material worked, this play is a good reminder that navigating the immigrant experience without making any mistakes is an impossible feat.

REVOLUTION(S) is truly unlike any other show I’ve seen at the Goodman. While I think the material still has some rough edges, that’s fitting of the subject matter. The themes introduced here aren’t neat and tidy, so the material shouldn’t be, either. This musical has a pulsing, urgent energy that is extremely well-matched by Tom Morello’s music and lyrics.