By Quinn Rigg The world is in a rampant state of flux and unrest as this country struggles to reopen in a safe and equitable manner. The globe warms by degrees; leaders bicker over maintaining a broken status quo; and a pandemic still looms large over promises of stability and normalcy. With decades worth of
Reviews
The musical theatre reviews featured here are written by reviewers, not critics. These impressions and opinions are from individuals passionate about musical theatre and represent, in most cases, one observation of one performance. The primary purpose in publishing reviews is to help patrons decide whether a production is a good use of their time and entertainment budget. Our reviewers are also encouraged to creatively shine a light on particularly good work done onstage and backstage, understanding that successful productions happen because of the work of many. Finally, ChicagolandMusicalTheatre's reviewers are asked to walk into a show expecting enjoyable entertainment—because that's the mindset of patrons who buy tickets to professional theatre.
‘Legends of the 50s and 60s’ is a triumph for Music Theater Works
By Colin Douglas The joint is jumpin’ and rockin’ and rollin’ up in Skokie because a new era is about to begin. Maybe it’s because, after well over a year, this was (to my knowledge) the first live production in the Chicago area. Maybe it’s the fact that this entertaining pop musical revue features so
Suddenly Metropolis is standing before us, open for in-person ‘Little Shop of Horrors’
By Barry Reszel On about the twenty-third day of the month of February early in the year just before our own, the human race suddenly encountered a deadly threat to its very existence. And this terrifying enemy surfaced, as such enemies often do, in the seemingly most innocent and unlikely of places. Cue the doo-woppers.
Chicago Opera Theater’s ‘Hija de Rappaccini’: an intoxicating promise for site-specific opera?
By Patrick O’Brien Call it making the best of a last-minute change of program; call it community outreach in the midst of a pandemic; call it testing the waters for future site-specific productions. At least call it what it is: a dang good showing. Chicago Opera Theater intended to mount a production of the late Daniel
Reimagining Remote Theatre in 4 Chairs Theatre’s Island Song
By Quinn Rigg The human need to connect is pervasive and intrinsic. We are social animals that require meaningful contact as a means of maintaining wellbeing. As such, it needs no repeating that reality seems to dissolve day by day as we observe the tangible consequences of prolonged isolation. A desire to run back to
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