In the Goodman Theatre’s stirring new production of The Color Purple, director Lili-Anne Brown delivers a version of Alice Walker’s landmark novel that feels both stripped down and soulfully expansive. Forgoing spectacle in favor of raw emotional clarity, Brown places the story’s heart—female resilience and love—center stage, and the result is a deeply moving, musically rich, and spiritually resonant experience.

Performed on a minimalist wooden set, this production doesn’t rely on lush visuals or elaborate scenery. Instead, it trusts in the power of storytelling, character, and song to carry the audience through Celie’s journey. And Brittney Mack, as Celie, is a revelation. Her performance is layered and honest, tracing Celie’s transformation from a silenced, abused girl to a self-possessed, radiant woman with astonishing depth and grace. Mack’s voice, vulnerable and strong in equal measure, anchors the production emotionally and thematically.

What sets this Color Purple apart is Brown’s unflinching loyalty to the spirit of Walker’s novel. Where some adaptations have diluted or sidelined the central theme of same-sex love, this one centers it. Celie and Shug’s relationship is not a footnote—it’s the story’s spiritual awakening. Aerie Williams as Shug Avery brings magnetic charm and fierce tenderness to the role, particularly in the aching duet “What About Love,” which becomes a quiet act of liberation for Celie. In this production, purple is not just a color—it’s a symbol of the love between women, of beauty that exists even in suffering, and of a life finally chosen on one's own terms.

Nicole Michelle Haskins brings fierce humor and unbreakable will to Sofia, commanding the stage with her booming presence and crystal-clear purpose. Her scenes with Gilbert Domally’s affable and conflicted Harpo pulse with humor and tension. Evan Tyrone Martin as Mister and Sean Blake as Ol’ Mister embody the failure of patriarchy to extinguish women’s light. The men here, barely even named, are forces to resist rather than understand—an intentional move that mirrors Walker’s narrative framing.

Musically, the show is a triumph. Jermaine Hill’s musical direction allows the score—by Brenda Russell, Allee Willis, and Stephen Bray—to soar. From the quiet yearning of “Somebody’s Gonna Love You” to the exuberant defiance of “Push the Button” and “Big Dog,” every number drives the story forward with emotional precision. Breon Arzell’s choreography adds joy to even the darkest moments, reminding us that Black joy, even amidst oppression, is a radical act.

By centering the relationships between women—mothers, sisters, lovers—and embracing the spiritual and sexual awakenings that shape Celie’s story, this Color Purple finds new life and renewed purpose. Brown doesn’t simply direct this musical; she honors it, restores it, and reminds us why this story still matters. It’s not just about surviving trauma—it’s about reclaiming beauty, pleasure, and love on your own terms.

In a world that often asks Black women to be strong for others, this Color Purple says: be soft, be bold, be free. And be seen—in all your brilliance.

Top of Form

Highly Recommended

When: Through Aug. 3
Where: Goodman Theatre, 170 N. Dearborn St.
Tickets: $33-$143
Run time: 2 hours, 50 minutes
Info: goodmantheatre.org

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

New York City in the 1980s—marked by Reagan-era conservatism and the devastating effects of the AIDS epidemic—was in decline. This is the backdrop for Tony Kushner’s Angels in America, a sweeping two-part epic that earned the Pulitzer Prize, multiple Tony Awards, and a lasting place as one of the most influential works in modern theatre. Invictus Theatre Company, known for fearless storytelling and bold, intimate productions, meets the challenge with conviction. Their staging not only honors Kushner’s towering vision but also transforms it into something urgent and immediate. The result: an experience that speaks powerfully to our present moment.

Directed with striking clarity by Charles Askenaizer and assisted by Kevin Rolfs—who also designed the production’s remarkable set—this version of Angels doesn’t merely revisit America’s past; it interrogates it. Rolfs’ design, echoing the collapse of once-sacred institutions, transforms hospitals, apartments, courtrooms, and Central Park into ghostly battlegrounds for justice, truth, and redemption. Brandon Wardell’s extraordinary lighting heightens the effect—especially one cue so immersive and thunderous, you might think the ceiling is about to cave in. (Seriously—OMG.)

The cast of eight delivers fearless, multidimensional performances, with each actor covering several of the play’s 28-plus roles. Joe Bushell (Joseph Pitt), Grant Carriker (Louis Ironson), Michael D. Graham (Roy Cohn), Ryan Hake (Prior Walter), Miguel Long (Belize), Nicki Rossi (The Angel), Renae Stone (Hannah Pitt), and Anne Trodden (Harper Pitt) all impress. Ryan Hake brings heartbreaking vulnerability and wit to Prior Walter—a bold, beautiful performance—while Miguel Long’s Belize is grounded, magnetic, and gloriously biting. Michael D. Graham’s Roy Cohn is monstrous and mesmerizing, a chilling embodiment of American power and denial. Nicki Rossi’s Angel is both ethereal and commanding—an apocalyptic herald with real presence.

That presence feels especially relevant in 2025. In many ways, we are living Roy Cohn’s dream—a world where power is prized above truth, image eclipses integrity, and accountability is reserved for the powerless. In Angels in America, Cohn embodies a ruthless, transactional politics that weaponizes fear, denies reality, and elevates self-interest at all costs. Today, those tactics are no longer confined to courtrooms—they dominate headlines, social media feeds, and entire political ideologies. The erosion of public trust, the glamorization of cruelty, and the refusal to reckon with systemic failure all echo the legacy he helped forge. Roy Cohn may be long dead, but his playbook is alive and thriving.

Jessie Gowens’ costume design dazzles—otherworldly when needed, sharply evocative when grounded—capturing the period while fully embracing the show’s surreal, metaphysical edge. Every design element contributes to a visual world that is both haunting and theatrical, elevated by bold creative choices and performances that are deeply cohesive.

From PART ONE: MILLENNIUM APPROACHES. Michael D. Graham (left) as Roy Cohn, Joe Bushell (right) as Joe Pitt.

Invictus Theatre remains one of the true treasures of Chicago’s storefront theatre scene. Known for consistently punching above their weight, they once again surpass expectations. With Angels in America, they reach an artistic pinnacle—ambitious, fearless, and heartfelt. This production is a testament to what’s possible when daring meets discipline and vision is matched by talent.

There’s something truly transcendent about experiencing both parts of Angels in America—Millennium Approaches and Perestroika—on the same day. The emotional arc deepens, the themes resonate more fully, and the epic sweep of Kushner’s vision unfolds without interruption. It becomes not just a play, but a full-day journey through love, loss, politics, and prophecy. Invictus Theatre offers this rare opportunity only on Saturdays during the run, and it’s absolutely worth carving out the time. That said, each part stands powerfully on its own. Whether you see them together or separately, the momentum and emotional impact remain firmly intact.

A final word of thanks to the front-of-house team. The warm, welcoming experience begins the moment you walk through the door. Theatre doesn’t start onstage—it starts in the lobby. And Invictus gets it absolutely right.

A triumph.

Highly Recommended
When: Through September 6
Where:  Invictus Theatre @ Windy City Playhouse, 3014 W Irving Park Rd, Chicago
Tickets: $25 - $38
Info: Invictustheatreco.com

PART ONE: MILLENNIUM APPROACHES will play Fridays at 7 p.m., Saturdays at 12 p.m., and alternate Mondays at 7 p.m., starting Monday June 30.
Additional performances of PART ONE will be presented Sunday, July 6 at 12 p.m., and Thursday August 28 and September 4 at 7 p.m.
Final performance Saturday, September 6 at 12 p.m.

PART TWO: PERESTROIKA will play Saturdays at 7 p.m., Sundays at 12 p.m., alternate Mondays at 7 p.m. starting Monday, July 7.
Additional performances of PART TWO will be presented Thursday, July 3 and Friday, August 29 at 7 p.m.; and Friday, September 5 at 7 p.m. Final performance Sunday, September 7 at 12 p.m.

Each part has two intermissions.

There are no performances on June 29, July 4 or 5, or on August 30, 31 or September 1.

*Extended through September 21st

*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/!

Something extraordinary happens on a street in Huntsville, Alabama. Mr. Woods (Keith Randolph Smith), a hard-working Black man in the community, is involved in a traffic stop with two cops (Mark Bedard and Jorge Luna) - a scene witnessed far too many times in America. But this time something strange occurs. As his neighbors, Retta (Caroline Stefanie Clay), Reggie (Ray Anthony Thomas), and their grandson, Trent (Cecil Blutcher), watch from their balcony perch, Mr. Woods's anger transforms into something... unexpected. Something that changes everything.

That's where Zora Howard's "BUST: AN AFROCURRENTIST PLAY" begins, and to say more would spoil its interesting revelations. "Bust," written by Zora Howard and directed by Lileana Blain-Cruz, is produced by Goodman Theatre in association with Alliance Theatre.

What makes this play remarkable is how it reimagines Black rage not as a liability, but as a source of protection - a force that might finally shield from, instead of exposing to, danger. Howard asks us to consider: What if the very emotion that so often puts Black lives at risk could become their shield?

Zora Howard's dialogue—especially in its most naturalistic scenes—crackles with authentic humor. Retta and Reggie's interactions sparkle, their shared past adding layers of meaning to every exchange. Their long history together makes even the smallest moments between them feel like inside jokes waiting to be told. The classroom sequences, where students push back against repressive authority, each other, and the invisible weight of a broken system, are electric. But as the narrative slips into more surreal terrain, cracks begin to show.

Unlike the magical realism of Gabriel García Márquez—where supernatural moments are seamlessly embedded in the everyday, unquestioned and mythic—"Bust" dwells too long in the confusion of its own metaphors. The characters' prolonged reactions to the inexplicable events ("What just happened?", "Where is…?", "How can…?") pull us out of the flow and render the surreal sequences more like detours than revelations. The unnamed, non-descript space—perhaps intended as a psychic or spiritual refuge from racial trauma—feels underdeveloped and too divorced from the world around it. Rather than expanding the emotional scope of the play, this abstraction creates a frustrating disconnect.

There's a clear metaphor at work: rage forces retreat; grief bends reality. But in "Bust," that retreat never fully reconciles with the lived world of the characters. The liminal realm they enter—be it dream, myth, or madness—never roots itself in the logic of the story. It becomes less a mystical integration and more an escape hatch, leaving the audience unsure how to interpret it, or why the play is split in two.

A seasoned dramaturg might have helped stitch the play's dual impulses—realism and abstraction—into a more cohesive fabric. As it stands, "Bust" is a piece with two distinct voices: one that speaks in the language of humor, pain, and communal survival, and another that whispers through metaphor, without always being heard.

Still, even in its fragmentation, "Bust" pulses with urgency and vision. Blain-Cruz's direction keeps the energy taut and the stakes high. The ensemble, including Bernard Gilbert as Zeke, Victoria Omoregie as Paige, Ivan Cecil Walks as Boobie, Renika Williams-Blutcher as Krystal, and Caitlin Hargraves as Ms. Pinto, bring unvarnished honesty to their performances.

In the end, "Bust" isn't a bust—it's an eruption. It's bold, funny, and full of potential. But in aiming for the transcendent, it sometimes loses sight of the real—and the real, here, is already more than enough.

SOMEWHAT RECOMMENDED
When: Through March 18
Where: Goodman Theatre, 170 N. Dearborn St.
Tickets: $25-$85
Info: www.goodmantheatre.org

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

Court Theatre’s world premiere of Berlin, adapted by Mickle Maher from Jason Lutes’ monumental graphic novel, is a breathtaking achievement. Directed with precision and deep sensitivity by Charles Newell, Berlin brings the chaos and beauty of Weimar-era Germany to stunning life on stage, rendered in an unforgettable 1930s noir style.

Lutes spent two decades crafting his sprawling graphic epic, and it’s clear Maher and Newell approached this adaptation with profound respect. The production’s black, white, and grey palette—designed by scenic designer John Culbert, lighting designer Keith Parham, and costume designer Jacqueline Firkins—immerses the audience in a city teetering on the edge of catastrophe. Every shadow and seam speak volumes, creating a world that feels both immediate and mythic.

Raven Whitley leads the ensemble as Marthe Muller, capturing a young woman’s vulnerability and fierce independence with magnetic grace. Tim Decker’s Kurt Severing carries the weary idealism of a journalist witnessing democracy’s slow death, while Ellie Duffey delivers a moving performance as the idealistic Silvia Braun. Elizabeth Laidlaw is harrowing as both Gudrun Braun and Adolf Hitler, offering a brutal glimpse into rising fascism.

Special mention must be made of Julia Rhoads’ fluid, expressive movement direction, which underscores the sense of a city swirling with ideas, danger, and desire. Sammi Grant’s expert vocal and dialect coaching ensures every character’s voice feels authentic—from Joseph Goebbels’ oily charisma (a chilling performance by Terry Bell) to the many Berliners struggling to survive an unraveling world.

Kate Collins, Mo Shipley, Jack Doherty, Guy Van Swearingen, Christopher Meister, Molly Hernandez, and Brandon Ruiter round out the exceptional ensemble, each carving out vivid portraits of citizens caught in history’s gears.

Watching Berlin today mirrors America’s turbulent political landscape with haunting clarity. From surging extremism to collapsing civil discourse, from journalism under siege to widening economic divides—these echoes ring too close to home. Berlin is more than historical; it is an urgent warning, a desperate plea, and a piercing call for vigilance.

Newell’s production reminds us that civilizations don’t collapse with a bang—they decay slowly, invisibly. Each small compromise, each overlooked lie, each quiet injustice piles up until the ground gives way beneath us. By then, we’ve sealed our fate, having watched our undoing unfold in slow motion.

Court Theatre hasn’t merely adapted a graphic novel—they’ve unleashed a theatrical thunderbolt. Under Newell’s visionary direction, Berlin transforms into something rare and electric: a defining moment of Chicago theatre that will be talked about for years to come. In a time when we desperately need art that matters, Berlin delivers with a punch that leaves you breathless.

HIGHLY RECOMMENDED                                                                                                                                                              

When: Extended through MAY 18TH

Where: Court Theatre, 5535 S. Ellis Ave.

Running time: 2 hours, 30 minutes 15-minute intermission

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

In a masterful stroke of programming, Steppenwolf Theatre Company presents the Chicago premiere of "The Book of Grace," Suzan-Lori Parks' incendiary companion piece to her Pulitzer Prize-winning "Topdog/Underdog." Director Steve H. Broadnax III has crafted a searing production that peels back the layers of American family dysfunction with surgical precision.

Set in a small Texas border town, the play centers on an explosive triangle: Grace, played with luminous warmth by Zainab Jah, a waitress who fills her notebook with life's quiet moments of beauty, collecting them like precious stones to ward off darker thoughts.; her husband Vet (Brian Marable), a soon-to-be-honored border patrol agent, maintains order with an iron grip that hints at something more dangerous beneath the surface, and Vet's estranged son Buddy (ensemble member Namir Smallwood), whose arrival ignites a powder keg of long-suppressed trauma.

Parks, who won a Pulitzer for "Topdog/Underdog," has crafted something remarkable here - a play that feels both intimately personal and sweepingly political. She uses this family's dysfunction as a lens to examine larger American wounds: the violence we inherit, the borders we create, the ways we fail to protect what we claim to love.

Zainab Jah, bearing an uncanny resemblance to a young Cicely Tyson, delivers a tour de force performance as Grace. Her portrayal is pure magic embodied, infusing the character with an effervescent optimism that makes her eventual disillusionment all the more devastating. As the rigid patriarch Vet, Brian Marable brings a chilling authority to the role, while Namir Smallwood's Buddy simmers with contained rage, his every gesture a loaded gun waiting to go off.

Parks' script continues her exploration of fractured American identity and familial bonds. Where "Topdog" examined the relationship between brothers through the lens of historical reenactment, "Grace" turns its gaze to the combustible dynamics between fathers and sons, set against the backdrop of America's ongoing border crisis.

The circular stage becomes a cage in Broadnax III's hands. With audience members boxing in the action from all sides, the performers have nowhere to hide – much like the fractured family they portray. It's claustrophobic and intense, exactly as it should be. As the drama unfolds in Steppenwolf's intimate arena, you can feel the tension building like a pot about to boil over. The production strips away theatrical artifice to expose the raw nerves of a family—and by extension, a nation—at war with itself.

What emerges is a gothic horror story dressed in kitchen-sink realism, where the monsters aren't supernatural beings but the ghosts of American history itself: racism, violence, and the cyclical nature of trauma. Parks continues to prove herself one of American theater's most vital voices, crafting work that refuses easy answers while demanding we confront our most uncomfortable truths.

"The Book of Grace" may be a companion to "Topdog/Underdog," but it stands as its own testament to Parks' genius—a play that grabs you by the throat and doesn't let go until its devastating final moments. In the hands of this exceptional ensemble, it's not just theater; it's an exorcism of American demons that feels more relevant now than ever.

Some plays entertain. Others leave scars. Suzan-Lori Parks' "The Book of Grace" belongs firmly in the second category, delivering a gut-punch of a production that lingers long after the house lights come up.

Highly Recommended

When: Through May 18

Where: Steppenwolf Theatre 1650 N. Halsted

Running time: 1 hour, 35 minutes

Tickets: $20 - $110 ($15.00 student tickets)

www.steppenwolf.org/tickets--events/

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

In Definition Theatre's production of "Splash Hatch on the E Going Down," Kia Corthron's 1997 work feels unnervingly relevant in 2025. Under Cheryl Lynn Bruce's incisive direction, this story of environmental racism and maternal health transforms from a Clinton-era critique into a mirror reflecting our ongoing, unresolved struggles with environmental justice—struggles that have only become more pronounced in the wake of the Flint water crisis, Hurricane Katrina, and the toxic train derailment in East Palestine, Ohio.

The play revolves around Thyme (Jada Jackson), a pregnant teenager whose self-taught passion for environmental science serves as both her armor and her cross to bear. Jackson infuses raw authenticity into Thyme's arc, as we watch her transform from an idealistic eco-warrior into a young woman confronting harsh realities. Her scenes with Jabari Khaliq, who embodies the role of her 18-year-old husband Erry, are particularly memorable. Khaliq brings a delicate balance of youth and forced maturity to his performance. His natural, unaffected style meshes perfectly with Jackson's intensity, creating moments that pulse with teenage vitality while tackling grown-up challenges. When they share the stage, their connection feels genuine rather than performed – two kids trying to navigate an adult world with nothing but determination and each other. This chemistry transforms what could have been preachy material into something deeply human and affecting.

Bruce, known for her work in Chicago theater, skillfully balances intellectual and emotional elements in Corthron's complex play. Rather than getting lost in scientific data about lead poisoning and environmental racism, she reveals the human story underneath. Through subtle directing choices—a mother's nervous touch, children's fading laughter, Thyme's increasingly desperate monologues, Bruce transforms statistics into lived experiences. This approach feels especially relevant in our post-Flint era, where lead poisoning's effects are no longer theoretical but real tragedies affecting American communities. The production reminds us that every statistic represents actual people, children, mothers, and communities—whose stories demand our response.

The supporting cast transforms this environmental drama into a richly layered exploration of community and health disparities. As Ollie, Stetson Pierre brings nuance to the role of Thyme's truck-driving father, portraying a man caught between providing for his family and confronting the environmental hazards he's learned to accept. Quenna Lené Barrett, a seasoned Chicago performer and educator, infuses Marjorie with quiet strength, while Rita Wicks delivers an outstanding performance as Shaneequa, Thyme's equally pregnant best friend with an usual condition. Together, these characters weave a powerful narrative about Black maternal health that extends far beyond one family's story, reflecting stark realities about healthcare access in America. Their interwoven experiences echo through recent headlines about water crises and pandemic outcomes, making the play's message devastatingly timely.

Brian Sidney Bembridge's set design, though technically impressive, failed to capture the cramped intimacy of a Harlem apartment. The oversized space worked unexpectedly well as a neutral backdrop, allowing Willow James's sound design to truly shine. James created an immersive urban atmosphere through layered audio: subway rumbles, hospital monitors, and children's distant laughter. These sounds, more than the set itself, anchored the production in its Harlem setting.

The play’s educational aspects, which could feel like public service announcements in less skilled hands, become integral to character development here. Thyme’s knowledge isn’t just information dumping; it’s her way of trying to control an increasingly uncontrollable situation. Her scientific facts become a form of incantation, as if understanding the problem thoroughly enough might somehow solve it. But as history has shown—from Flint to East Palestine—knowledge alone is not enough.

"Splash Hatch on the E Going Down" at Definition Theatre is a reckoning. It challenges us to consider how many of the environmental and healthcare issues Corthron identified in the ‘90s remain unresolved. Under Bruce’s direction, this production transforms a historically significant play into an urgent contemporary conversation, proving that sometimes the most powerful way to look forward is to look back with clear eyes. It’s about TIME!

Recommended

When: Through April 13

Where: Definition @ 55th, 1160 E. 55th St.

Running time: 1 hour, 45 minutes

Tickets: $25 - $35

definitiontheatre.org

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

Like the dream deferred in Langston Hughes' poem that inspired its title, Court Theatre's latest production of "A Raisin in the Sun" simmers, sags, and occasionally explodes with raw intensity. Director Gabrielle Randel-Bent's contemporary vision crackles with urgency, even as it wrestles with the delicate balance between modern resonance and historical authenticity.

Andrew Boyce's masterful set design emerges as the production's crowning achievement. His deconstructed Chicago kitchenette apartment becomes a character itself – a cramped urban cage where privacy is as scarce as hope. The shared bathroom, visible just beyond the family's domain, serves as a constant reminder of the Youngers' station in life. Outside the city of Chicago pushing its way in threatening to devour the inhabitants in grit and grime.

The stellar ensemble breathes fierce life into Hansberry's beloved characters. Shanesia Davis anchors the production as family matriarch Lena Younger, while Brian Keys brings explosive energy to Walter Lee – though his visible tattoos create an unfortunate distraction that pulls us from the 1950s setting. Martasia Jones commands the stage as Beneatha, imbuing the aspiring doctor with a perfect blend of youthful idealism and sharp intellect. Her scenes of intellectual sparring sizzle with wit and passion, though the choice to smoke cigarettes in Mama's apartment strikes an implausible note in an otherwise masterful performance.

Kierra Bunch brings a quiet strength to Ruth Younger, crafting a deeply nuanced portrait of a woman stretched to her breaking point. Her scenes with Walter Lee pulse with complicated history – love and resentment, hope and exhaustion all tangled together. When she finally breaks down over her pregnancy, the moment is devastating in its restraint. Her joy is unbridled when she learns of the family's plan to buy a home.

Charles Andrew Gardner brings the perfect presence to George Murchison, making the most of his limited stage time. His polished demeanor and cutting wit provide the perfect foil for Beneatha's revolutionary spirit, while hints of vulnerability beneath his assured exterior add welcome complexity to what could have been a one-note character.

J. Nicole Brooks steals her scene as the nosy neighbor Mrs. Johnson, delivering gossip and judgment with such gleeful spite that you can't help but love to hate her. Her brief appearance provides crucial comic relief while underlining the community's complicated relationship with social mobility.

Julian Parker's Bobo's locs hairstyle is out of place for the time. It's distracting and makes it hard to believe Walter Lee would trust him with his dream of business ownership.

While the performances ground the production in emotional truth, Randel-Bent's modernizing choices create an intriguing tension between past and present, sometimes to the detriment of Hansberry's carefully crafted world.

Raquel Adorna's costume choices prove particularly puzzling: Joseph Asagai (Eliott Johnson) appears more Wall Street than West Africa when we first meet him in his Brooks Brothers-esque suit. At the same time, Karl Lindner (Vincent Teninty) inexplicably dons plumber's attire instead of the more historically and dramatically appropriate business suit of a "welcoming committee" representative. Young Travis (Jeremias Darville) sports an out-of-place cowboy ensemble, making him seem too old for both the outfit and the role as well as being an unlikely splurge for a family counting pennies.

Willow James' sound design walks a delicate tightrope between past and present, largely succeeding until a jarringly anachronistic moment when Walter Lee and Ruth dance to Chaka Khan's "Sweet Thing" – a choice that catapults us decades ahead of the play's setting.

“A Raisin in the Sun" hits different today than it did in 1959, but its truths cut just as deep. Sure, the Younger family's dream of owning a home in a white neighborhood might look different in 2025, but their story - fighting against systemic barriers, sacrificing for family, and refusing to let hope die - that's as real now as ever. The play nails something timeless about the American Dream: how it promises everything but keeps moving the goalposts for some folks. When Mama tends to that struggling plant, she's not just growing a flower. She's showing us how Black families keep pushing forward, generation after generation, despite the odds. Whether it's redlining in the '50s or today's housing discrimination Hansberry's message rings true: dreams don't come easy, but they're worth fighting for. That's why this play still packs theaters - it's not just history, it's tomorrow's headlines.

RECOMMENDED

When: Through March 9   *Extended through March 23rd

Where: Court Theatre, 5535 S. Ellis Ave.

Running time: 2 hours, 50 minutes

Tickets: $58 - $100.00 Student, Group and military discounts available

773-753-4472

www.Courttheatre.org

James Ijames' Pulitzer Prize-winning play, Fat Ham, bursts onto the Goodman Theatre stage in a vibrant, deeply resonant co-production with Definition Theatre. Directed with an expert hand by Definition Theatre's Artistic Director Tyrone Phillips, this contemporary reinvention of Hamlet dazzles with humor, heart, and a profound exploration of identity, toxic masculinity, and generational burdens.

Set in a Southern backyard during a family barbecue, Fat Ham transforms Shakespeare's dark tragedy into a poignant yet hilarious meditation on living one's truth. At the center of this narrative is Juicy, played with remarkable nuance and emotional depth by Trumane Alston. Juicy's journey of self-discovery unfolds amid the ghosts—both literal and figurative—of his family's past, grappling with expectations of masculinity and the weight of inherited trauma.

Alston's performance is layered and compelling; his Juicy is introspective and tender yet brimming with an undercurrent of resilience, given time he will lean more into the character arc. His comedic timing is impeccable, delivering Ijames' sharp and incisive dialogue with a natural ease that invites the audience into his emotional world. Juicy's interactions with his spirited best friend Tio, brought to life by the dynamic Victor Musoni, provide some of the play's most humorous and thought-provoking moments. Musoni's portrayal of Tio is electric, offering a counterpoint to Juicy's introspection with boundless energy and unfiltered wisdom.

Ronald Connor impresses in the dual role of Rev and Pap, seamlessly shifting between the domineering ghost of Juicy's father and the charismatic over-sexed preacher presiding over family affairs. His presence looms large, embodying the toxic masculinity that haunts Juicy's world with an intensity that is both chilling and oddly comedic. Opposite him, Anji White as Tedra, Juicy's vivacious mother, delivers a powerhouse performance—balancing maternal warmth with an underlying desperation to escape her own past.

Ireon Roach’s Opal is a revelation, with her confidence simmering to the surface, while Sheldon Brown’s Larry, a stoic Marine grappling with his own identity, offers a poignant reflection of the play’s central themes. And no production would be complete without the powerhouse that is E. Faye Butler, whose presence on stage is nothing short of magical.

The technical elements of the production elevate the storytelling to new heights. Arnel Sancianco’s set design captures the essence of a Southern backyard with rich, lived-in detail, creating a tangible sense of place that enhances the play’s themes of home and heritage. Jos N. Banks’ costume designs are vibrant and character-driven, reflecting each individual's inner conflicts and outward personas. Jason Lynch’s lighting design cleverly shifts from naturalistic warmth to eerie supernatural hues, underscoring the play’s tonal shifts. Meanwhile, Willow James’ sound design punctuates the emotional beats with a careful blend of music and ambient sounds that ground the play’s heightened moments.

Phillips’ direction is both deft and sensitive. He embraces the play's comedic elements without undercutting its emotional weight. He crafts a production that honors Ijames’ bold vision while allowing the cast to fully explore the complexities of their characters.

Fat Ham is a triumph—an innovative, riotously funny, and ultimately moving exploration of what it means to break free from the ghosts of the past and forge an authentic future. Whether you're a Shakespeare purist or someone looking for a fresh, contemporary take on a classic story, this production offers something truly special.

With an outstanding ensemble, sharp direction, and a creative team firing on all cylinders, Fat Ham at Goodman Theatre is a must-see theatrical event that redefines what it means to inherit, to resist, and to thine own self be true.

Highly Recommended
When:    Through March 2
Where:  Goodman Theatre, 170 N. Dearborn St.
Tickets:  $25 - $85
Info:     Goodmantheatre.org/Ham

JaJa’s African Hair Braiding, written by first-generation Ghanaian American playwright Jocelyn Bioh and directed by Obie Award-winning Whitney White, is a vibrant celebration of the resilience, community, and complexity of West African immigrant women striving to establish their place in New York City. Currently receiving an acclaimed production at Chicago Shakespeare Theater, the play offers a poignant, colorful, and often humorous exploration of identity, survival, and aspiration in the face of challenges such as undocumented status, systemic inequities, and cultural displacement.

Set in a bustling Harlem hair braiding salon, the production immerses the audience in a world where conversations flow as freely as the braiding hands of skilled stylists. David Zinn’s set design meticulously recreates a Harlem salon, complete with brightly painted walls and posters of intricate braid designs. A steady stream of music fills the space, creating an environment that pulsates with life. Whitney White’s direction ensures every corner of this intimate setting remains vibrant with activity, embodying the controlled chaos where clients, stylists, and commerce intersect.

Bioh’s talent for crafting razor-sharp dialogue between women is fully realized here—no surprise from the playwright behind School Girls; or, the African Mean Girls Play. She skillfully weaves together a rich tapestry of personalities and cultural backgrounds, resulting in an ensemble that crackles with authenticity and charm.

At the heart of the story is JaJa, portrayed with commanding presence by Victoire Charles, and her daughter Marie, played with youthful vigor by Jordan Rice. Both Senegalese women have aspirations that stretch beyond their circumstances. Aisha Sougou’s Ndidi, a Nigerian with an encyclopedic knowledge of the soap operas playing in the salon, serves as a comedic anchor. Meanwhile, Awa Sal Secka’s Bea, a proud Ghanaian and longtime employee, offers a compelling foil to Ndidi’s antics, resisting with simmering resentment but asserting herself as the true Queen Bee when necessary. Tiffany Renee Johnson, last seen in Blues for An Alabama Sky, delivers a standout performance as Aminata, Bea’s devoted gossip partner, now preoccupied with her own troubles.

Bisserat Tseggai infuses Miriam, a Sierra Leonean longing for lost love, with a tender wistfulness, while Mia Ellis’s Jennifer spends the entire day getting her hair done and dispensing advice. Special mention must be made of the chameleon-like talents of Melanie Brezill, a standout in Stokley: The Unfinished Revolution, and Leovina Charles, who nimbly juggles six different customer roles between them, injecting each with distinct personality. Yao Dogbe, whom I last saw in Intimate Apparel, is the lone male in the cast and effortlessly steps into various roles with charm and versatility.

Illegal immigration is a central theme in JaJa’s African Hair Braiding, and Bioh handles it with nuance and compassion. The fear of deportation and the pressures of living in the shadows are palpable, yet these issues are presented with sensitivity, avoiding one-dimensional portrayals. Instead, the play highlights the characters' individuality, dreams, and relationships, reminding the audience of the humanity behind the headlines.

The artistry of Hair and Wig Designer Nikiya Mathis truly steals the spotlight in this production. As the first wig designer to receive a special Tony Award for her groundbreaking work on the Broadway production, Mathis brings her award-winning expertise to Chicago Shakespeare Theater with stunning results. Each intricate braid and carefully styled wig not only enhance the authenticity of the characters but also serves as a visual testament to the cultural richness at the heart of the story. Complementing Mathis’s work is Costume Designer Dede Ayite, whose keen eye for detail and vibrant selections beautifully capture the essence of each character, reflecting their personalities and cultural heritage with remarkable precision. Together, Mathis and Ayite create a visually immersive experience that elevates the production to new heights.

JaJa’s African Hair Braiding is a testament to the power of storytelling in illuminating the lives of those often overlooked. Through its richly drawn characters, sharp writing, and dynamic direction, the play captures the essence of a community striving against the odds, celebrating their culture while forging paths toward a better future. It’s a timely, heartfelt production that leaves audiences not only entertained but also more empathetic and informed about the realities faced by so many immigrants in America and today, don’t we need more empathy

Highly Recommended
When: Through Feb. 2
Where:  Chicago Shakespeare Theatre 800 East Grand Avenue in Chicago.
Tickets: $30 - $90
Info:  www.chicagoshakespeare.com