Hedy Weiss has been Theater and Dance Critic of the Chicago Sun-Times since 1984, reporting on local, national and international productions, as well as a …Read More
With its soaring score, and a story built on the ever thorny issue of race in this country, you need only listen to the initial anthemic chorale in “Dessa Rose,” to know that this is a musical by Lynn Ahrens and Stephen Flaherty, the team behind “Ragtime.”
HEDY WEISS: Four highly skilled actors bring the world premiere to life at Victory Gardens.
While “Riverdance” incorporated percussive forms beyond Irish step dance, including flamenco and American tap, “Heartbeat of Home” further embraces the contemporary global beat with the addition of Latin and Afro-Cuban music and dance, creating sequences inspired by the tango, salsa, hip-hop and the cross-pollination of all these forms.
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Raj Kapoor, the actor, director and film producer who died in 1988, is often referred to as “the Charlie Chaplin of India.” On March 7 and 8 at 7:30 p.m., Kalapriya Dance, Chicago’s 20-year-old company — which is devoted to supporting India’s performing arts traditions …
Theater critics do a great deal of sitting. For the most part they are either watching a play or are chained to a computer writing about it. But in his new book, “Life Is a Wheel” (Scribner, $26), New York Times writer Bruce Weber — …Read More
When Robert Battle assumed the artistic leadership of the Alvin Ailey American Dance Theater in 2011, he stepped into the formidable footsteps of Ailey himself, who created his unique company of African-American dancers in 1958, and dancer Judith Jamison, who helped keep the company alive …
There is an embarrassment of riches on Chicago stages these days, so this week’s segment is a theater equivalent of speed-dating.
HEDY WEISS: Three cheers for all the champions in the ring — and there are many of them — in this knockout revival of Clifford Odets’ 1937 classic.
HEDY WEISS: “Changes of Phase,” a collaboration with Studio Gang Architects, feels unfinished, but “Tsuru” arrives fully polished.
If you enter Profiles Theatre these days, where British playwright Michael Bartlett’s provocatively titled “Cock,” is receiving a blistering Midwest premiere, you will find yourself in a classic cockpit arena that instantly turns you into a spectator. But there are no birds here.
HEDY WEISS: The title of British playwright Peter Shaffer’s ever-fascinating meditation on genius and envy, now in an astonishingly fine revival by BoHo Theatre, captures the very essence of the story.
The Metropolitan Opera recently presented its Live from the Met production of the Dvorak opera, “Rusalka,” in movie theaters. (A different production of “Rusalka” will open Feb. 22 at the Lyric Opera of Chicago.) So what are the pros and cons of seeing grand-scale opera, …
The company’s highlights will include the Chicago premieres of James Kudelka’s ballet set to the music of Johnny Cash and a newly envisioned “Swan Lake” choreographed by Christopher Wheeldon.
HEDY WEISS: The immigrant’s yearning for more drives Erika Sheffer’s fierce and fevered play “Russian Transport,” now receiving a scorchingly acted production at Steppenwolf Theatre.
The label “genius” is applied far too easily these days, but it is unquestionably applicable when talking about William Kentridge, the South African artist of Lithuanian Jewish descent who is known for his remarkable charcoal drawings, his complex, multi-media stop-motion animated films, and his work as both a designer and director of grand-scale puppet theater pieces and opera.
Hamburg Ballet and Abraham.In.Motion dance companies make a stop in Chicago.
Forget the Winter Olympics in Sochi. Instead, head to the Auditorium Theatre where, without the aid of snowboards, skis, or skates, the dancers of the Joffrey Ballet are demonstrating the amazing power of the human body and the crazy reach of the artistic imagination in …
What happens when a stranger stumbles into a small, isolated, inbred town full of thwarted, suffocating souls?
While there are many delightful moments in the Hypocrites’ production of “Into the Woods,” which has been directed with high-pitched energy by Geoff Button, the “big kids at play” approach so often employed by the troupe (most notably in its zany, pared down takes on Gilbert and Sullivan operettas), grows exhausting here.