Zac Thriffiley

IT’S BEEN TEN YEARS SINCE EVERYBODY DIED misses the mark on both scares and astute social commentary, but through no fault of its talented and refreshingly diverse cast.

While the play may be meager fare compared to other recent professional offerings, CLUE is undeniably a well-polished evening of hijinks and hilarity—if audiences know what they’re getting themselves into.

Under the direction of artistic director Susan V. Booth and bolstered by actors at the heights of their craft, the Goodman’s BETRAYAL provides audiences with a sincere and sympathetic take on a modern classic.

Lookingglass Theatre’s CIRCUS QUIXOTE provides Chicago audiences with a stunning dramatic adaptation of Don Quixote that is every bit as impactful and imaginative as its source material.

Open Space Arts in Uptown is quickly establishing itself as the go-to “storefront” theater for plays and films that consider the many nuances of queer experiences, and their latest offering—MR. PARKER—is no exception. Elevated by the sophisticated performance of its leading actor, MR. PARKER presents a compelling portrait of grief and middle-age too often missing from gay narratives these days.

The Goodman’s FAT HAM is an intelligent, uproarious adaptation that explores and celebrates Black joy and resilience. The co-production with Definition Theatre has already been extended through March 2.

Despite some moving performances from the supporting cast, seasoned fans of and newcomers to THE OUTSIDERS may be underwhelmed by a production whose various elements leave it struggling to “stay golden.”

Open Space Arts's production of LIGHT SWITCH shines a much-needed spotlight (no pun intended) on the struggles of neurodiverse members of queer communities, thanks in large part to its captivating leading man.

Featuring a strikingly charismatic yet grounded performance from its leading actor, HENRY V presents a compelling study of the excitement and danger inherent in even the best-intended feelings of nationalism.

Now receiving its Chicagoland premiere, Northlight Theatre’s THE FLYING LOVERS OF VITEBSK features brilliant performances and moments of exquisite stagecraft, though the play’s lean script occasionally saps the production of necessary tension and greater thematic depth.

THE HOUSE OF IDEAS provides an entertaining history of Marvel’s precipitous rise to pop cultural supremacy that nicely captures the collaborative spirit of Kirby and Lee’s frequently tumultuous partnership. But more casual fans of the brand may find themselves lost in the play’s more intricate plot points and initially dizzying pace.

Redtwist’s THE NORMAL HEART is frequently an emotionally affecting piece, thanks to the powerfully palpable talents of its principal cast. However, some uneven performances and an occasionally murky directorial vision prevent the production’s themes and message from beating forth as forcefully as one might hope.

Writers Theatre’s latest production is an impressive commitment to craft and community that invites audiences to reflect on questions of masculinity, race, and responsibility that stimulate the brain while tickling the funny bone.

Fans of the novel may be enthralled at seeing the characters and events of THE KITE RUNNER brought to life before their eyes, largely through moving performances and clever stagecraft. But this dramatization feels unsatisfying, an adaptation that ultimately fails to convince audiences that it is necessary much less an improvement on the original.

Blank Theatre’s ON THE 20TH CENTURY makes for a delightful ride through a farcical facsimile of Broadway’s Silver Age, if one can accommodate a few bumps along the way.

Under the meticulous direction of Chuck Smith, the Goodman’s newest revival of JOE TURNER’S COME AND GONE emphasizes the play’s continued relevance through masterful performances that find cause for celebration and laughter even in the face of oppression. The production has already been extended through May 19 due to popular demand.

Under the direction of BJ Jones, John Patrick Shanley's newest play boasts a talented cast gifted with good humor and heartfelt emotion, but the uneven script feels as though it shrank in a dryer fed by clichés rather than coins.

Charles Newell's final project as Court Theatre's artistic director offers audiences a hilarious exploration of what makes us human as well as a stunning reminder of his keen dramaturgical instincts. The production has already been extended through April 28 due to critical acclaim and popular demand.

This newest adaptation of PETER PAN unquestionably corrects injustices that never should have been committed in the first place. But by flying Peter so enthusiastically into 2024, the creative team has stripped him and his story of some of their magic, making the boy who wouldn't grow up more out of touch than out of time.

No matter your preference, your favorite Sondheim shows will be represented in Theo Ubique's latest cabaret revue, which is as much an informative crash course in the composer's oeuvre as it is a heartfelt memorial to his rich life and lasting legacy. The production runs through April 28 at Theo's performance space in Evanston.