Items filtered by date: November 2007

An electrifying evening of artistic fusion unfolded at the Auditorium Theatre as Hiplet Ballerinas, the professional company of the Chicago Multi-Cultural Dance Center, dazzled audiences once again with their breathtaking production, Dipped in Versatility. Created by Homer Hans Bryant, Hiplet redefines the boundaries of dance, blending the elegance of classical ballet with the raw energy of hip-hop, the rhythmic pulse of African dance, and the vibrant passion of Latin movement. Bryant, alongside Executive Director Robin Edwards, presented a stunning and deeply moving vision of the company's future. Their latest work offers a glimpse into the artistry and innovation that will continue to define Hiplet Ballerinas, showcasing the brilliance and boundless potential of this extraordinary ensemble.

“We are diversity at its best,” Bryant is quoted as saying in the show's program. “Trained in tradition, and dipped in versatility. Eurocentric is our approach - Afrocentric in our delivery.”

Without a doubt, Bryant’s vision came to life in this remarkable production, delivering a performance that fully embodies his artistic statement.

The production showcased a mesmerizing collection of pieces, highlighted by the highly anticipated world premiere of Garden—a spectacular work exquisitely choreographed by Taylor Edwards and Tre Daniels. With hypnotic projections, dazzling costumes, and an electrifying blend of hip-hop rhythms, the dancers carried the audience through a visionary experience where tradition seamlessly intertwines with innovation from start to finish.

Absolutely magnificent! Hiplet Ballerinas continue to push artistic boundaries, offering a one-of-a-kind, non-traditional dance experience that leaves audiences in awe. The gifted dancers rise to the occasion, effortlessly adapting to any musical backdrop—whether the vibrant sounds of the Spanish Harlem Orchestra, dynamic mixes by Brian Ford, or the electrifying live performances of Marcus Kincy, Lawrence Jones, and Patrick Stanton.

Hiplet Ballerinas at Auditorium Theatre. Photo by Andy Argyrakis.

From the moment the lights fade and the music reverberates, you'll witness dancers of all body shapes and sizes who are absolute forces. Their technique is impeccable, their energy contagious, and their command of the stage undeniable. They flow with ethereal grace before seamlessly transitioning into movements that will astound you. Kendall Brown and Gabrielle Dantzler deliver truly sensational performances, leading standout pieces alongside a remarkable ensemble of talent, including Allison Harsh, Brandon Paraharm, Taylor Edwards, Terri “Berri” Woodall, Dajiah Alexander, Benjamin Marshall, Miranda McGovern, Jaelynn Selph and Captain Nia Towe. The company is also joined by guest performers Sierra Tapia and Alexandria Franklin. Together, they elevate the production to dazzling heights, creating an unforgettable experience from its opening sequence Power to its climactic finale, Outdated Education. 

This isn't your traditional ballet. Hiplet shatters conventions with its bold, innovative, and joyfully inclusive spirit. The diverse artistry of the performers underscores that true talent knows no limits. The imagination and ingenuity of the choreography team that brings Homer Bryant’s vision alive is on full display and it is fantastic. 

The music will pulse through you, the vibrant energy will keep you riveted, and the sheer artistry will leave you breathless. Hiplet is an immersive experience – a dynamic, exhilarating, and unforgettable journey that will leave you feeling inspired and uplifted. If you have the opportunity to see Hiplet, seize it! It's truly a groundbreaking performance. 

For more information on this outstanding dance company, be sure to visit their site at https://www.hipletballerinas.com/. You can also give them a follow on Instagram @hipletballerinas. 

*This review is also featured on https://www.theatreinchicago.com/! 

We are inside the Pompeii Club. From everything Charity has told us, the club is the place to be, and as the scene unfolds, it’s certainly no surprise. Costume Designer Cindy Moon does not hold back. The ensemble is dressed to the nines – full of dresses and jumpsuits that firmly plant us in the 60s. Lighting Designer Ellie Humphrys fills the stage with bright color – helping the costumes pop even more.

Then the song begins. Fans of Sweet Charity may recognize the opening notes of “Rich Man’s Frug” as the ensemble starts to gather and dance the original Bob Fosse choreography. To say Choreographer Lauryn Schmelzer’s work astounds is an understatement. The group of 11 performs the chorography perfectly in sync, eliciting cheers from the audience with every curve of the shoulder, adjustment of the cigarette, or of course, pop of a jazz hand.  

Fans of Sweet Charity will of course recognize the famous score. The talented cast soars with all the favorites including “Big Spender,” “There’s Gotta Be Something Better Than This,” “You Should See Yourself,” and “I Love to Cry at Weddings.” The boppy music is sure to leave you dancing along in your seats. However, that which especially pushes this production over the top is Schmelzer’s choreography that accompanies each of the hits – making each number unique while at the same time giving the proper nod to Fosse’s influence.

Directed by Johanna McKenzie Miller, Sweet Charity follows Charity Hope Valentine (Teah Kiang Mirabelli) – an optimistic dance-hall hostess with dreams of finding true love. The musical kicks off with a comical disaster as the man Charity thinks will be her forever soul mate pushes her into a river, stealing her dowry in the process. However, she does not give up hope, and the story invites us into her world as she commiserates with her friends at the Fandango Ballroom and even meets new potential suitors – such as Vittorio Vidal (Eldon Warner-Soriano) and Oscar Lindquist (Dustin Rothbart).

Miller does not shy away from the camp, making the production full of comedy as Charity runs into obstacle after obstacle on her quest. However, you might just find that the element that truly draws you into the story is the heart at the center. Charity’s never-ending optimism is certainly something to be celebrated and brings light to a story that could go quite dark if she gave into the hardships that keep getting thrown her way.

“If My Friends Could See Me Now” is a prime exampling - taking place mid-way through Act One. Charity has found herself in the bedroom of Vittorio Vidal – a famous movie star. He briefly leaves her alone and she simply cannot help but gush at the turn of her luck. Her friends had told her to give up on her dreams, but here she is proving that if you just keep believing, anything can happen. Mirabelli’s voice astounds, but in addition, she exudes positive energy as she performs the number, creating a stage presence that you just might find is impossible not to love. The end of the song elicited cheers from the audience, making it clear that I was not alone in my sentiments.

Full of camp and with a powerhouse cast, Sweet Charity makes for a night of fun. Whether you are a long-time fan of the show or this is your first time with the material, Blank Theatre’s production carries a little something for everyone.

Sweet Charity runs through June 8 at the Greenhouse Theater Center. See the Blank Theatre Company website for more information on tickets.

RECOMMENDED

*This review is also featured on https://www.theatreinchicago.com/!

With AI and other technological advancements continuing to change the landscape of how we work and interact with one another, what does the future hold for humanity? What does it mean to be human in a world where robots and AI threaten to replace us?

In his daring new work, A Tour of the Permanent Collection in the Museum of Late Human Antiquities, or simply The Antiquities, Pulitzer Prize finalist playwright Jordan Harrison (Marjorie Prime, Maple and Vine) attempts to give the audience his answer these questions though a disquieting view of the present as seen from the future at a time when AI and robots are replacing the human race.

Harrison’s thought-provoking and groundbreaking work is making its world debut at the Goodman Theatre as a co-production between the Goodman, Playwrights Horizons, and Vineyard Theatre, following a critically acclaimed Off-Broadway run. The Antiquities has been hailed as “the finest new play of the season” by the Wall Street Journal and has earned “Best New Play/Production” nominations by the Lucille Lortel, Drama League, and Outer Critics Circle Awards.

Co-directors Caitlin Sullivan and Chicago’s own David Cromer, who also earned a Drama Desk nod for “Outstanding Direction of a Play,” have assembled an exceptional cast of nine actors who together create nearly 50 characters as the audience time travels through the 19^th Century, the Industrial Revolution, the development of the first robot, the advent of the computer and Internet to a chilling future where robots dominate and the human race is fading, but fighting for existence.

The cast features Marchánt Davis, Layan Elwazani, Andrew Garmen, Helen Joo Lee, Thomas Murphy Molony, Aria Shahghasemi, Kristen Sieh, Ryan Spahn, and Amelia Workman. Through this fast-paced production, each cast member masterfully transitions from character to character, scene to scene. It is a tribute to the actors and directors that these transitions are seamless, allowing the story to flow.

The production opens with the curators of the Museum of Late Human Antiquities contemplating the idea of humans – what were they really like? What did they wear? What is it like to be in a body that needs to be refueled? Why did they die out? As the two AI-powered robots gaze into the audience, they invite us to come along and consider the curios they have collected through the decades and the stories that they tell.

We travel back to the 19^th century where Mary Shelley entertains her husband and companions, including Lord Byron, with a ghost story of a monster created from the dead, the premise of her classic novel Frankenstein. We see the devastating effects of the Industrial Age as the workers “bury” their fingers lost to the machines. Fast-forward, we witness the invention of a robot that can “think” its way around obstacles to the Silicon Valley trio who are attempting to settle on the “voice” for the computerized assistant they dubbed “Robin.” The further into the future we travel, the more we observe AI taking over for human creativity, until the last remnant of the human race is fighting to survive.

And while the impact of machines and technology on our daily lives is never far from the storyline, each segment is told with heart and humor, never letting the audience forget the human connection and relationships that make us who we are. In one of the lighter moments, we watch as a mother, father, and son try to connect to the Internet on the old dial-up modem. Just hearing those sounds was enough to cause the audience to break out in laughter.

The Antiquities is an important statement on both the wonders and the threats of the technologies that we are developing today. It was thought-provoking, witty and humorous, and, yes, at times, disturbing, but it also can be seen as a cautionary tale and an opportunity to reflect on where humanity has been and where it may end up if we allow technology to become the end-all and be-all of our lives.

The Antiquities is playing at the Goodman’s Owen Theatre through June 1. For ticket information, visit here. 

*This review is also featured on https://www.theatreinchicago.com/!

Riots of laughter greeted the City Lit Theater world premiere of “R.U.R. [Rossum’s Universal Robots]” Wait. Could this be the same 1920 science fiction play by Czech Karel Čapek? His 1937 science fiction piece at Trap Door Theater “The White Plague” was a serious treatment of public reaction to a very AIDS-like disease seemed to anticipate current history. He was a serious writer, not a comedian.

Yes, this is Čapek’s “R.U.R.,” credited for putting the word “robot” in our lexicon. And this story revolves around that same scientific genius who has figured out how to make advanced automatons, some of which we would call androids. 

But still suspicious, I flipped to Čapek’s original script and found a fast-paced 1930s melodrama that, played straight, would probably have come across as ludicrous. Faced with generating unintended laughter from the original, City Lit Theater opted for a comic version freely adapted by Bo List, one that maintains all the major plot points of the original, but plays them for like a screwball comedy. well directed by Brian Pastor.

Harry Rossum (Bryan Breau) has inherited an island factory where robots are churned out by the millions, and exported around the globe, intended mostly to supplant servants and factory workers. Harry Rossum's late father, a mad inventor, created the robot formulae, but his son has also innovated, creating the first cordless phone - it weighs 80 lbs. - no problem when you have a robot available to carry it for you.

Robot Radius (Sean William Kelly) ferries an 80-lb. portable phone wherever its inventor Harry Rossum (Bryan Breau) needs it.

As robots crowd out humans there is, needless to say, a public reaction. Rossum’s factory receives a visit by two advocates on the societal concerns: Nana (Shawn Tucker) who thinks robots should be removed from the globe; and Helena Glory (Madelyn Loehr) who believes the sentient robots should be given rights.

The playwright Bo List has incorporated AI into the storyline, and we meet more advanced, thinking robots like Sulla (Alex George) and Marius (Brendan Hutt) who learn on the go. Helena also happens to be the daughter of the mythical country’s president, and Harry is smitten with her. Romance ensues, and the comedy kicks in.

Unfortunately for the automatons, they have a limited lifespan and cease operating under this planned obsolescence after two years. Eventually Sulla and Marius lead a robot rebellion, seeking the secret formula that would allow robots to replicate themselves. Humor abounds.

Some of the jokes are inherent to the retro-science fiction premise. Robots operate typewriters, with precision typing at ungodly speeds. Or robots communicating with each other via telegram. In one gag that is flogged to death onstage, humans require a long explanation of why an intercepted robot telegram closes with LOL. The robots demonstrate what it means by laughing mechanically in unison. While I found some of the gags sophomoric, the conceptual humor had me laughing frequently.

Scenic design by Jeremiah Barr is quite successful, as are costumes for robots and humans, by Beth Laske-Miller.

“R.U.R. [Rossum’s Universal Robots]” runs through June 15, 2025 at City Lit Theater in the Edgewater Presbyterian Church, 1020 W. Bryn Mawr in Chicago. 

Brendan Hutt (left) is Marius and Alex George is Sulla in City Lit Theater's "R.U.R. [Rossum’s Universal Robots]” running through June 15, 2025.

*This review is also featured on https://www.theatreinchicago.com/!

I’ll just say it - Cats is going to blow your mind. Now running at the Paramount Theatre, this spectacular production elevates the famous musical to magnificent new heights—both figuratively and literally. While Cats has always been an extravagant, surreal whirlwind of theatrical magic, this version cranks up the spectacle with breathtaking Cirque-inspired gymnastics and aerial acrobatics. Part fever dream, part feline fantasy, and entirely unforgettable, this is Cats like you’ve never seen before.

Inspired by T.S. Eliot’s Old Possum’s Book of Practical Cats, the show transports audiences into the world of the Jellicle cats, a mysterious tribe that gathers once a year for their sacred Jellicle Ball. During this mystical night, their wise leader, Old Deuteronomy, perfectly played by Lorenzo Rush Jr., selects the worthiest feline to ascend to the Heaviside Layer—a realm of renewal and rebirth, where a cat is granted a magical, new life. It’s a premise unlike any other in musical theater.

Anakin Jace White plays Skimbleshanks the Railway Cat, riding astride his Railway Car in Paramount Theatre’s circus-inspired production of Cats.

Cats is an indulgence in music, movement, and character-driven storytelling. Rather than following a traditional narrative, the musical is more of a series of dazzling introductions featuring larger-than-life feline personas like the mischievous Rum Tum Tugger (Donovan Hoffer), the cunning Macavity (Matthew Weidenbener), and the forlorn Grizabella (Emily Rohm). Each cat has its moment in the spotlight, showcasing spectacular choreography and Andrew Lloyd Webber’s infectious melodies. The pinnacle of the show’s emotional depth, of course, is “Memory,” an achingly nostalgic ballad incredibly performed by Rohm as Grizabella, the once glamour cat now outcast, who longs for her lost youth, beauty and forever home. Sung with heart-wrenching intensity it’s no wonder that it has become one of musical theater’s most iconic songs—soaring with raw emotion. This hauntingly nostalgic ballad doesn’t just tug at heartstrings—it resonates far beyond the stage and has cemented itself as an anthem of longing and transformation.

But Cats isn’t just about one song—it’s an entire universe, brimming with movement, mystery, and spectacle. Traditionally, the stage morphs into a sprawling junkyard, but in this production, it transforms into an abandoned circus tent—a hauntingly whimsical playground where feline characters leap, twirl, prowl and perform aerial stunts through mesmerizing choreography. The environment is immersive and fantastic, pulling audiences into a world where the ordinary rules of storytelling dissolve, leaving only the magic of dance, music, and theatrical wonder. What sets Cats apart is its fearless originality—an entirely sung-through musical without a conventional storyline, instead relying on a kaleidoscope of feline personalities brought to life through magnetic direction and expressive movement. It’s a high-energy spectacle packed with soaring melodies, iconic characters, and a trancelike atmosphere that keeps audiences spellbound. Whether you find yourself hypnotized by the haunting strains of “Memory” or captivated by the playful antics of Rum Tum Tugger, one thing is certain: Cats isn’t just a musical, it’s an experience—one that has pounced its way into the hearts of millions for good reason.

Alexandra Palkovic plays Demeter in Paramount Theatre’s circus-inspired production of Cats.

Luminously directed by Trent Stork with wild imagination, Paramount’s hypnotic choreography, shimmering feline costumes, and a stunning atmosphere that teeters between enchanting and dreamlike, Cats is less of a conventional production and more of a theatrical experience that defies expectations. This show is sure to leave audiences awe-struck; it remains a singular, extraordinary phenomenon in the world of musical theater.

But this isn’t just Cats—it’s Cats 2.0, a turbo-charged, high-octane reinvention of the classic musical. Paramount Theatre goes all out, delivering a one-of-a-kind, show-stopping spectacle that takes the experience to exhilarating new heights. From the moment the curtain rises, Cats launches into a dazzling display of jaw-dropping acrobatics and gravity-defying stunts that never let up. Theatergoers are instantly swept into the whirlwind of movement, perching on the edge of their seats as the enchanting performance unfolds. But beyond the sheer athleticism, it’s the clever feline nuances—the subtle catisms—woven seamlessly into each performance that add an extra layer of charm, making this production both thrilling and delightfully amusing.

This production doesn’t just purr—it roars.

Guided by the expertise of Circus Captain Hayley Larson, Dance Captain Christopher Kelley, and Flight Captain Matthew Weidenbener, the performance unfolds as a mesmerizing visual masterpiece, leaving audiences breathless with wonder. Yet, it’s the extraordinary cast that truly ignites this enthralling production, seamlessly weaving every awe-inspiring moment into an unforgettable event. The breathtaking vocal performances perfectly complement the hypnotic dance sequences, high-flying maneuvers, and breathtaking aerial acrobatics, creating a spectacle that is as beautiful to hear as it is to watch.

In addition to the aforementioned ensemble actors, Chicago stage veterans like Gene Weygandt and Allison Sill add their brilliance to this exceptional, multi-talented cast. Alongside them, standout performers such as Tiffany Topol, Alexandra Palkovic, Jake DiMaggio Lopez, Selena Robinson, Christopher Kelley, Sophie Liu David and a host of other gifted artists help bring this production to life with energy, skill, and undeniable stage presence. Unforgettable musical moments like “Magical Mister Mistoffelees,” “Gus: The Theatre Cat,” and “Jellicle Songs for Jellicle Cats” are just a few of the amazing numbers that will stay with you long after the final bow. With their infectious melodies and gripping performances, these songs make Cats an experience that lingers far beyond the theater doors.

Circus artist Ryan Huemmer (Coricopat) flies through the air with the greatest of ease in Paramount Theatre’s circus-inspired production of Cats.

Long before Cats made its grand entrance onto the Paramount stage, this legendary musical had already clawed its way into theater history, leaving a trail of wide-eyed audiences and notable performances in its wake. Since its West End debut in 1981, Cats has dazzled, bewildered, and utterly enchanted theatergoers with its boundary-pushing theatrical appeal.

Despite early skepticism, Cats scratched its way to legendary status, running for 21 years in London and 18 years on Broadway, making it one of the longest-running musicals in history. It helped usher in the era of the "megamusical," paving the way for grand theatrical productions like The Phantom of the Opera and Les Misérables, which would go on to define modern musical theater.

Beyond its record-breaking success, Cats sprang onto pop culture, leaving an impressive legacy. Its intricate choreography inspired generations of performers, its distinctive aesthetic became the subject of countless parodies, and its impact spread into film, television, and even internet culture. Whether adored or furiously debated, Cats remains one of the most influential—and delightfully eccentric—productions in musical theater history.

That being said, it’s truly exhilarating to see Cats return to the Chicagoland area—especially in such a grand, spectacular fashion. This production doesn’t just bring the beloved musical back; it elevates it to dazzling new heights.

Paramount’s production of Cats is an excellent homage to the legendary stage musical, staying true to its spirit while adding its own unique flair. This rendition not only honors the show’s original magic but elevates it with fresh creative choices, making it an even more extraordinary experience.

Cats is being performed at Paramount Theatre in Aurora, IL through June 15th. For tickets and/or more show information, click here.

Highly recommended for audiences of all ages!

*This review is also featured on https://www.theatreinchicago.com/!

“Galileo” written in 1938 by German playwright Bertolt Brecht, tells the straightforward story of the 17th century physicist and astronomer’s run-in with church authorities for asserting that the earth revolved around the sun. For this Galileo, played with Brechtian finesse by Trap Door’s David Lovejoy, was hauled before the Roman Inquisition, and threatened with torture until he recanted.

Brecht’s play centers on how this conflict played out in Galileo’s personal and professional life, and his final years under house arrest under the watchful eyes of the authorities. Galileo was torn between unfettered scientific assessment of the world, and his need to make a living. Even before the play opens, director Max Truax has Lovejoy’s Galileo seated, nearly naked, facing away from the audience posing in contemplation, reminiscent of Rodin’s famous sculpture. Throughout the scenes that follow, Galileo’s nakedness seemed to represent the periods when he was thinking most freely. He seemed to be dressed when he was engaging the public or the authorities.

But the style of Brecht’s script for “Galileo” is not naturalistic - this version of the script was the second, written in English with Charles Laughton who starred in it in 1947 - and the audience is distanced from the characters who dwell with him: Galileo’s daughter Virginia (Genevieve Corkery), his protege Andrea (Shail Modi), his student Ludovico (Caleb Lee Jenkins), and a character, the Inquisitor, who is present throughout. Brecht wanted audiences to be unattached to the emotions of the characters, so they could focus intellectually on the story and the social values he wanted to convey, a style known as Epic.

Lines are repeated multiple times with different emphases. At certain points, the actors address the audience directly, breaking the fourth wall, said to be another technique favored by Brecht. The Inquisitor (Joan Naid) who is blindfolded in early scenes, at times seems more like a spouse to Galileo in the household.

Lovejoy’s performance of Galileo is described by Trap Door as “a humanizing portrait,” and he is in this respect distinct from the other characters on stage. One example: when his daughter Virginia’s betrothal is threatened by Galileo’s branding as a heretic for his work, she registers no emotion. We simply hear the facts of the matter. Lovejoy’s performance is intense, and a remarkable achievement overall: and he is on stage every minute of the two hour show. Also notable is Modi as Andrea, a character with whom I was able to connect. 

I can’t say I am a fan of Brecht, and am always surprised that he continues to be popular among troupes and actors. For me Brecht takes a lot of work to appreciate and enjoy. But “Galileo” has remarkable currency for our times, as the retreat from modernism finds factual science and the age of reason under attack by the authorities. For this concern alone the Trap Door production of “Galileo” is valuable. Kudos to Merje Veski for stage design and Jonathan Quigley for projection design that gives us synopses of historical contexts at key moments.

“Galileo” runs through June 14, 2025 at Trap Door Theatre, 1655 W Cortland St. inChicago. Tickets are now on sale at trapdoortheatre.com

*Extended through June 28th

The adage goes that you can’t choose your family but you can choose your friends. Throughout our lives, we meet people we connect with who see the beauty and potential within us even when we can’t see it ourselves. People who simply get us. Friendship is one of the most magical experiences we can have in life. It’s no wonder this theme is so consistently visited in media, literature, and theatre and stands the test of time. There’s no better representation of the true meaning of friendship than that of Charlotte’s Web, now playing at Greenhouse Theatre Center.

Charlotte’s Web is a story about an unlikely friendship between Wilbur the pig and Charlotte the spider. On a small farm, a young girl is determined to save the life of a diminutive newborn pig. But the young animal’s fate remains uncertain until a courageous and determined spider spins remarkable webs to prove that “Wilbur isn’t just any ordinary pig!”

The Young People’s Theatre of Chicago brings this beloved children’s classic to the Greenhouse Theatre Center for a limited run this May. Based on E.B. White’s Newberry Honor Award-winning story, Charlotte’s Web explores bravery, selfless love, and the true meaning of friendship. Artistic director Randy White says it best, “E.B. White’s beloved story demonstrates above all that friendship is immeasurably valuable.” With Renzo Vicente as Wilbur and Mary Margaret McCormack as Charlotte leading the cast, the Young People’s Theatre ensemble embodies the story’s themes of compassion, kindness, and perseverance, bringing humor and heart to a simple and timeless story. 

Friendship is not only a theme of the play but also radiates throughout the cast and crew. Behind the scenes, the staff’s long-standing friendship and partnerships weave design magic that can be felt in every scene and one that Randy White acknowledges, “Staging a beloved family favorite with so many friends is a perfect way to bring to a close the YPT’s most successful and exhilarating season yet!” With a humble yet radiant set and spirited cast put on a simple, charming, and endearing production that young audiences can follow and mature audiences can appreciate. The Young People’s Theatre reminds us that sometimes all we need is a friend to believe in us, to fight for us, to remind us that we are remarkable just the way we are. Charlotte’s Web And sometimes, if we're very lucky, we get to sit right next to that person to take in a wonderful show.

Charlotte’s Web is now playing on a limited run from May 10- June 1 at Lincoln Park’s historic Greenhouse Theater Center (2257 N. Lincoln Avenue). Run time is 1 hr and is best enjoyed by everyone 5+. For tickets and additional information, visit yptchi.org or call the box office at 773-404-7336.

If our day-to-day lives were a collective color, it would probably be the color blue. Whether you are feeling blue, have the blues, or are just Blue (Da Ba Dee), it’s the color most closely associated to feelings of sadness, of cold, depression, or loneliness. Not every day is going to be sunshine and rainbows filled with vibrant hues. Some days are just…blue. Personally when I feel blue, sad songs are more poignant, rain is more comforting, and I gravitate towards shows, plays, and movies that make me feel something deeper. Because when I’m blue, I want and need to feel everything. If you want to feel something deeper too, then Time Is A Color And The Color Is Blue now playing at Bramble Arts Loft is just the play for you.

Alice Wu in Time is a Color and the Color is Blue.

Set in an ice cave, Time is a Color and the Color is Blue follows a glaciologist, Whittaker, who becomes trapped in the cave while searching for the oldest known cave paintings. As her team waits out the storm in their lab, her mind begins to spiral, memories and guilt melding and folding in on each other just like pressurized ice thousands of feet below the surface. Trapped and losing oxygen fast, Whittaker must confront how she can ask forgiveness—from the Earth, from the ice cave, from loved ones she's hurt, and from herself.

 From the moment you enter the small black box theatre within Bramble Arts Loft, you are completely immersed in the cold cave with Whittaker. Surrounded by blue ice, cut off from the outside world, you immediately feel the sense of unease and brace yourself for what is to come. Will she make it out? What drove her to be there in the first place? What must she confront in herself and in the cave? What unfolds throughout the 75-minute play is an expertly crafted story by playwright Melanie Coffey. The pressure, isolation, and loneliness Whittaker experiences within the cave is a shared experience with the audience. Like the ancient ice that surrounds her, Whittaker feels the pressure to confront her reality while reconciling with her past. Alice Wu’s portrayal of Whittaker brings humor and depth to her character, pulling you into the blue. “Time is a Color and the Color is Blue weaves a story of guilt and love and ice that breaks the surface and snaps as it comes up for air,” says Coffey. The play is neither boastful nor damning though it easily could be. Rather than shaming the audience or the characters, Coffey connects us through connection; to loved ones, time, history, and the natural world. It’s connection that will save us, in more ways than one.

Harper McCoy, Alice Wu, Stephanie Fongheiser, Sabine Wan and Mary Mikva in Time is a Color and the Color is Blue.

Did you know that blue ice is created under pressure.? When snow falls and becomes compressed to glaciers it squeezes air bubbles and enlarges ice crystals, the effect resulting in its signature blue hue. A beautiful thing created under pressure. Blue isn’t just the color of sadness and loneliness, it’s calming, soothing, and tranquil. When our days become overwhelming and we feel the weight and pressures of the world we retreat into our own caves. But in those caves of our own making we can channel the calming, reflective nature of blue. Like Whittaker, we can allow ourselves to pause, reflect, and release. To find connection to our world and ourselves. If and when you are feeling blue, be sad and take the time to pause and reflect. If you choose to venture out of that cave, consider taking a stroll in Andersonville to see a play that will make you feel all the feels and maybe, just maybe, not so blue.

Time is a Color and the Color is Blue is now playing through May 24th at the Bramble Arts Loft, 5545 N. Clark Street. For more information and to purchase tickets, visit avalanchetheatre.com/time-is-a-color.

*This review is also featured on https://www.theatreinchicago.com/!

A fool and their money are soon parted as the old expression goes, but what do you do when that fool is your best friend? Yasmina Reza’s 1996 Tony Award winning play ‘Art’ explores the balance of opinion, influence and friendship. Under Marti Lyons’ direction, Remy Bumppo’s revival is a madcap drawing room comedy that might even make you question your own sense of taste.

Parisians Marc, Serge and Yvan are close friends until Serge (Chad Bay) purchases an absurdly expensive, but terrible piece of art. While Serge beams over his new acquisition, Marc (Justin Albinder) is shocked at how bad the piece is and struggles to comprehend how his friend could possibly like it. Meanwhile people-pleasing Yvan (Eduardo Curley), is stuck in the middle trying to play both sides.

Similar to Reza’s most acclaimed play ‘God of Carnage’, ‘Art’ is confined to one chic set, but finds theatricality in richly dense dialog and the over-the-top slapstick humor. Though, none of that would work without the strong chemistry on stage.

There’s a certain sitcom style humor to ‘Art’ that harkens back to the best episodes of ‘Seinfeld’. This 80 minute play is about a splintered friendship that’s been chipped away through petty, unspoken grievances. The three-way friendship dynamic is having a moment right now on the heels of this past season of ‘The White Lotus’. Though, perhaps unlike ‘White Lotus’ Yasmina Reza was wise to set her friendship triad in circumstances that don’t rely on gender stereotypes to explore the uncomfortable truths about triangular relationships.

‘Art’ is also a statement on the very idea of opinion: when to have one, when to express one and ultimately how to process someone else's. In the social media era, there’s a kind of pressure to have a strong opinion about everything, even topics on which you’re not informed. Reza suggests that those with the strongest opinions, may not always be the most confident about them. Hence, Marc’s intense desire to convert Yvan to his point of view.

In a three character play, it’s hard to say who the main character is but really either character could be seen as the character on which the play hinges. Eduardo Curley brings Yvan to life in neurotic perfection. Maybe the reason he doesn’t have a strong opinion about the work is that he’s mostly concerned with the anxiety of living. Yvan’s long, animated and silly monologues help cut the tension between Marc and Serge, but both friends are trying to prove themselves right based on whether Yvan agrees.

Yasmina Reza’s play remains timeless in its contemporary allegory. While it may be named ‘Art’ this play is about more than just a silly painting. Lyons’ production at Remy Bumppo is stylish and funny thanks to the intimate cast and Liz Gomez’s gorgeous set. The short play packs a gag-a-minute but leaves you wondering what is the best way to politely disagree with someone you respect?

Through June 1 at Remy Bumppo at Theatre Wit. 1229 W Belmont Ave. 773-975-8150

*This review is also featured on https://www.theatreinchicago.com/!

Stories that explore the emotional lives of men—especially Black men—are still far too rare on the American stage. Outside the monumental works of August Wilson, narratives that center male vulnerability, intimacy, and connection remain the exception. Lolita Chakrabarti’s Hymn, now playing at Chicago Shakespeare Theater, is a welcome and moving addition to that limited canon.

Originally written for a London audience, Hymn has been thoughtfully reworked by Chakrabarti for an American setting, shifting the story from Bristol, England to Chicago. The transition is seamless—perhaps even revelatory. Under the deft direction of Ron O.J. Parson, the play feels deeply rooted in the cultural and emotional rhythms of its new home.

At the heart of Hymn is the evolving relationship between two middle-aged Black men: Benny, played with warmth and quiet power by Chiké Johnson, and Gil, brought to life with nuance and restraint by James Vincent Meredith. The story begins with a funeral and slowly unfolds into something akin to a spiritual duet. Benny introduces the idea of “sympathetic resonance,” a musical concept describing how sound vibrations can cause another object to vibrate in harmony. It becomes a poetic metaphor for the emotional bond that grows between the two half-brothers as they become a whole.

Though the story is driven by dialogue, it's punctuated by music and movement—moments that feel less like breaks in the action and more like expressions of unspoken truths. As Benny and Gil dance, sing, and joke their way through scenes from their shared and separate pasts, their connection strengthens in ways that are more felt than seen. It’s only as the final notes settle that we fully understand what we’ve witnessed.

The production design roots the story firmly in the present while pulsing with the energy of the hip-hop era that shaped the characters. Rasean Davonte Johnson’s scenic and projection design is sleek, versatile, and evocative, transforming the minimalist set from a church to a boxing ring, a spare bedroom, and even a local eatery effortlessly. Yvonne Miranda’s costume design subtly tracks the characters’ emotional evolution, using clothing as quiet storytelling. Willow James’ sound and composition design doesn’t just support the action—it lives within it, amplifying the emotional beats with a soundscape drawn from the golden age of hip-hop and rap, pulling the audience into the same rhythm that moves the characters.

Hymn is a quiet triumph. It doesn’t shout its themes or offer easy catharsis. Instead, it hums, vibrates, and resonates—an invitation to witness male vulnerability not as spectacle, but as something sacred and human.

Highly Recommended

When: Through May 25
Where: Chicago Shakespeare Theatre 800 East Grand Avenue in Chicago.
Tickets: $52 - $95
Info:  www.chicagoshakespeare.com

*This review is also featured on https://www.theatreinchicago.com/!