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.
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.
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
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
By Patrick O’Brien I wasn’t quite sure what to make of TAKING UP SERPENTS, Chicago Opera Theater’s latest streaming offering, a potent creation where the barrier separating religious ecstasy and deadly poison is so fluid. Literal, even, considering it’s about the fallout of a Pentecostal snake handler’s ministry. So I did something I hadn’t really
By Bryson David Hoff There’s no way around it: Zoom theatre is not a substitute for the real thing. It is an art form of necessity, allowing companies to put out something to keep its audience engaged during this challenging period of time where live theatre is forced to take a break. It is hard