History, it’s said, is written by the victors. It’s no surprise, then, that in the gentrification of Chicago neighborhoods, displacement has created (and continues to create) a wealth of lost stories, an erasure of places and people whose lives were shaped by their community. Teatro Vista and Collaboraction’s production of Sandra Delgado’s La Havana Madrid, though, is thankfully here to remind us of a few.
Court Theatre, under the leadership of Charles Newell, Marilyn F. Vitale Artistic Director, and Executive Director Angel Ysaguirre, announces the extension of its critically acclaimed hit The Adventures of Augie March, a play by David Auburn, based on the novel by Saul Bellow, and directed by Charles Newell, due to overwhelming demand. The Adventures of Augie March will run an additional two weeks, with performances through June 23, 2019 at Court Theatre, 5535 S. Ellis Ave.
A Red Orchid Theatre announces the addition of eight new members to the Artistic Ensemble: Karen Aldridge, Myron Elliott-Cisneros, Levi Holloway, Travis A. Knight, Jess McLeod, Sadieh Rifai, Grant Sabin, and Steve Schine. A Red Orchid also welcomes two Resident Stage Managers – Stephanie Heller and Christa van Baale.
The Greenhouse Theater Center and On The Spot Theatre are pleased to announce casting for the U.S. premiere of the full-length drama SONS AND LOVERS, based on the novel by D.H. Lawrence and adapted and directed by On The Spot Artistic Director Mike Brayndick.
Fear is the strongest human emotion. Even a modicum of it can pierce our most base intellectual faculties and lead us to think (or worse, do) truly horrible things. Left unchecked, fear can grow in to a devouring madness that devolves us to base instincts. Despite the sophistication and elegance of modern society, every person always carries with them a simple set of animalistic drives: companionship, protectiveness, lust, aggression. Steve Yockey's Wolves is a deliciously dark contemporary fairy-tale that illustrates what happens when we let these impulses consume us and the damage done in the process. Exit 63 Theatre’s telling of this tale is a fantastic rendition that will leave you devastated and horrified in the best possible way.
Teatro Vista, Chicago’s leading professional Latinx theater company for 30 years, announced today its 2019-20 season line-up.
Emmy and Grammy Award-winning comedian Patton Oswalt brings his stand-up tour to The Den Theatre for three performances only August 15 – 16, 2019, 1331 N. Milwaukee Ave. in Chicago. Tickets ($35 general admission, $55 VIP table seating) are currently available at www.thedentheatre.com, in person at the The Den box office or by calling (773) 697-3830. Ages 18+.
City Lit Theater will celebrate its 40th year of productions with a four-play season that will examine key moments in American history and the sorts of personalities (real and fictional) that have shaped the country. The season, which was announced today by City Lit Artistic Director Terry McCabe, will open in September with the Chicago premiere of ROMANCE LANGUAGE by Peter Parnell. ROMANCE LANGUAGE is a mock epic fantasia set in 1876, the year of the United States Centennial, in which Mark Twain’s Huckleberry Finn enlists the help of Walt Whitman for a cross-country journey to find the missing Tom Sawyer. Along the way, Huck and Walt meet the likes of Louisa May Alcott, Henry David Thoreau, and Emily Dickinson. ROMANCE LANGUAGE will open to the press on October 6, 2019. McCabe will direct.
Broken Nose Theatre and The New Colony are pleased to announce the world premiere of Liam Fitzgerald’s sexually-charged comedy PEG, directed by Broken Nose Artistic Director Elise Marie Davis*, playing November 13 – December 14, 2019 at The Den Theatre (2A), 1331 N Milwaukee Ave. in Chicago. Tickets go on sale this June at www.brokennosetheatre.com and www.thenewcolony.org. All tickets are pay-what-you can.
Heading into Goodman Theatre’s production of The Winter’s Tale, I knew little about the play save for its reputation as one of William Shakespeare’s most confounding works. Written in the Bard’s later years, its drastic tonal shifts refuse neat categorization into “tragedy” or “comedy,” and critics have endlessly pondered both Shakespeare’s intentions and the play’s performance value as a result. Under the artful direction of Robert Falls, though, Goodman’s production takes this Shakespearean challenge head-on, embracing both its intense drama and humor. Falls’ take is stylistically stunning and wonderfully acted, but the adaptations’ own inconsistencies diminish its overall effect.
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