This show is a true masterpiece. It’s one of the most honest, emotionally moving and truly contemporary pieces of theatre since Next to Normal.
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.
It wouldn’t just take genius to find new surprises within this material; it would take real chutzpah. Jim Corti and Brenda Didier, as director and choreographer, respectively, deliver on both fronts and all without compromising Brooks’s gleeful anarchy.
Chicago gets shellacked by ice and freezing cold, but at Underscore Theatre, the show goes on. Shows, plural, actually.
What is the role of identity politics among women of color? Who defines who is black? What is the social and political impact of marching versus singing? And why do women always end up doing the hard work that men won’t do?
But son of a gun, It Works. And Porchlight’s production — a regional premiere extended as it opened — proves one can deliver the goods without breaking the bank.