By Patrick O’Brien Grief is anything but orderly—the Kübler-Ross model belongs more to pop culture than actual psychology. In attempting to impose order anyway, in Life After, a newish musical now at the Goodman, librettist-composer Britta Johnson spins an arioso detective story. Hidden within the empty chatter of neighbors dropping off umpteen casseroles, the endless
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 Barry Reszel When wilt thou save the people Oh, God of Mercy, when? The people, Lord, the people Not thrones and crowns but men! God save the people, for thine they are Thy children, as thy angels, fair Oh, save the people from despair God save the people! Everybody sing! Because if we ever
By Patrick O’Brien Admittedly, even when it was announced two years ago, Skates screamed “vanity project”: Ace Young and Diana DeGarmo–American Idol finalists, partners in both music and life–in a Grease/Xanadu hybrid. They belt high Js and make kissy-faces for two hours while everyone else is left to fall on their asses—in every sense of
By Grace Ferolo To celebrate their twentieth anniversary and return to live performance, Water People Theater, in league with the Instituto Cervantes, brings LORCA, Living the Experience to Chicago. As advertised, it’s an immersive dive into the world of Andalusian poet and composer Federico García Lorca, featuring music, flamenco dance, larger-than-life video. to Instituto Cervantes.
By Cori Lang Having moved to Chicago nine short months ago, I was eager to immerse myself in the new works bubbling up around the city. Being able to view Underscore Theatre Company’s post-pandemic return to the stage, Notes & Letters, has rejuvenated this excitement in me. Through vibrant melodies and dynamic cast performances, Underscore