Raven Theater has a penchant for aptly timed revivals, and their production of Henrik Ibsen's A Doll's House is no exception. Published and set circa 1879 in Norway, the play offers a snapshot of domestic life at the time, reminding us how much progress has been made since then -- and warning us not repeat history.

Nora is a happy wife with a loving husband, three children, and a comfortable home. Everything seems grand, until the cracks start to show in the veneer of their supposed domestic happiness.

Husband Torvald, smiling, makes passive-aggressive comments to his wife about her spending habits, even though she's merely purchased some Christmas gifts for the children. Nora, of course, is not allowed to work to earn her own money either. In other words, money is a catch-22 for Nora, and for Torvald's it's a way to assert dominance. He spends most of his time holed up in his study, occasionally checking in on his wife and making sure she knows her place, calling her gentle pet names like "songbird" and his "doll."

Little does Torvald know or even deign to imagine that Nora has hopes, fears, opinions, and secrets of her own that she works to hide from him. In this house, she knows it is not her place to be her own person; that is the husband's job. She is meant to decorate, care for the children alongside the nanny they already hire to care for the children, tend to her husband, and dance well at parties.

Nora is not even allowed to open the household mailbox, to which only Torvald has a key, yet another way for him to keep her under his thumb. The locked mailbox serves as a tangible symbol of the world, life, and opportunities that Nora can't access due to her position and gender. For all intents and purposes, she's a prisoner in her own domestic life, requiring permission from the warden, her husband, for anything she may need or want.

There's satisfaction in watching Nora realize over the course of the play what kind of man her husband really is, and actress Amira Danan deftly conveyed this transformation from bright and cheery to wise and wary. Whether or not she escapes her prison I'll leave a mystery. But I will leave you with the fun fact that this play caused significant controversy when it went into production in 1879.

According to playwright Ibsen at the time A Doll's House was written, "a woman isn't allowed to be herself in modern society." While that, thankfully, has changed, it should be pointed out that it was not so long ago Ibsen said this -- less than 150 years -- and to see this dynamic of the controlling husband and stifled wife play out onstage serves as a stark reminder of how far we've come, and where not to go again.

A Doll's House is playing through March 22 at Raven Theatre at 6157 N Clark St. Tickets and schedule here. 

In a little floral shop on a New York City skid row, something strange is happening. A never-before-seen plant is attracting customers, all the while certain people in acquaintance with its owner are mysteriously disappearing. The horror of it all is as potent as the comedy. Mercury Theater Chicago’s production of 1982’s Little Shop of Horrors breathes new life into a musical theatre cult classic with a high energy ensemble and standout voices. 

Directed by L. Walter Stearns and with puppets designed by Martin P. Robinson, this production is a tribute to the original stage production and the 1986 film adaptation. The 1960s-style rock, doo-wop and Motown-style music by Alan Menken is showcased beautifully by the strong singers onstage. Christopher Kale Jones as Seymour along with Dana Tretta as Audrey belted and held notes to cheers and applause mid-song, and the three female chorus girls stunned with their on-point harmonies and powerful vocals.

The killer plant, Audrey II, is seamlessly puppeteered by Sam Woods from infant budding through full-on, Super Mario-style piranha plant. And Audrey II’s cheekiness and deep voice come through fantastically from Jonah Winston. It’s a lot of fun, darkly funny, and quality on all levels.

Because of some adult themes — murderous alien plant notwithstanding — this production is recommended for those 10 and older. 

Little Shop of Horrors is playing at Mercury Theater Chicago through April 28th. Tickets here.

*Extended through Sunday, June 30th

Thanksgiving is over, which means It’s time to get into the Christmas spirit full-throttle. And nothing says “Christmas” like the 1946 Frank Capra classic It’s a Wonderful Life. But this Chicago production isn’t like any play you’ve seen before, because it’s not a play — it’s a radio broadcast.

This December, Stage 773 is transformed into a 1940s radio studio, complete with a live pianist and vocalists, a sound effect station full of click-clacky knick-knacks, and Andrews Sisters-type jingles (charmingly, for local businesses) sung live on set in between acts. With a cast of seven impeccably dressed actors, live music, and a manned sound effect booth, the town of Bedford Falls is brought to life through a kaleidoscope of sounds and voices.

Every actor voices multiple characters, giving each a distinct sound and tone. Whether child or adult, in love or in rage, at peace or in disbelief, at least twenty characters are conveyed and given color by a mere eight people. True to the spirit of original radio broadcasts, quality over quantity is the name of the game. Radio is the only medium (along with the modern equivalent of podcasting) that removes the visual aspect and allows the curmudgeony Mr. Potter and the soft-spoken Clarence the angel to be voiced by the same person.

But with this production, we get to see it as well as hear it. Which is really cool.

And with the warm lights, familiar music, milk and cookies served by the cast after the show, and cozy vibe in the theater, American Blues Ensemble’s It’s a Wonderful Life is a Christmas night out that feels like a Christmas night in.

It’s a Wonderful Life is playing through January 5 at Stage 773. Tickets can be ordered here.

The Wizard of Oz is fun for all ages — this is as true today as it was in 1939. While there is a special kind of magic exclusive to the film due to the phenomenal cast as well as the strong nostalgia surrounding it, there is another kind of magic exclusive to seeing the musical live onstage.

A cherished family musical, this is the perfect show to bring kids to; with the upbeat musical numbers, colorful cast and sets, and lovable characters, they’re sure to be entertained. The classic songs by Harold Arlen and E.Y. Harburg include "Somewhere Over the Rainbow," "If I Only Had a Brain," "Ding Dong the Witch is Dead," and more, almost all featuring peppy dance numbers with lively choreography by Amy McCleary.

With direction by Dean Sabon, who previously created the national tours of Fiddler on the Roof and Seven Brides for Seven Brothers, this version of The Wizard of Oz brings new elements to a beloved classic.

One of the coolest things about this production is the use of a giant screen to serve as the various backgrounds, as opposed to elaborate set pieces for backdrop. This was utilized impressively during the twister scene when Dorothy and Toto seek shelter in Aunt Em and Uncle Henry’s house, among other scenes, having a 3-D effect that was exciting to watch. Throughout, the production uses a fun combination of traditional theatre sets and tech-y special effects.

The Wizard of Oz is playing at the Chicago Theatre through May 20th. Tickets on Ticketmaster.

Women Laughing Alone with Salad from Theater Wit is a funny mess. Based on the popular meme of stock photos of women who always seem to be having the time of their lives while eating a bowl of tasteless raw vegetables, the play tries to satirize this concept. The concept being that only stringently healthy and active women can be happy, and the only happy women are stringently healthy and active. As if the hysterical laughing accompanying the salad in the photo will trick us into loving the most boring meal known to humankind.

The best scene might have been when the four person cast did exactly what it says on the tin: they smiled and laughed and eventually full-out boogied while eating salad. The satire here was on point, and I loved the straight-up mocking of ridiculous advertisements aimed toward women. Look at how much FUN we're having depriving ourselves of any carbohydrates - a thing our bodies *need*, by the way!

As far as the actual storyline goes, it was, like the lettuce confetti that rained down onstage at one point, all over the place. Many things were trying to be said, I think, but the play never makes a clear point. Nobody learns anything, characters or audience. The audience is led to believe that all skinny women are annoying and bulimic and "real" women are confident in their voluptuousness, until the rug is pulled out from under us and we learn that, surprise, the "real" woman is a slave to salad, too.

There were a lot of elements that, on the surface, give this play an edge: nudity, a threesome scene, an Oedipal complex, some gender-swapped roles, which were entertaining, but to me seemed like folderol distracting from the fact that the story was haphazard.

I appreciated the bravery of the actors and playwright Sheila Callaghan for taking the leap -- the acting was well-done and the script did shine through occasionally with some great, funny lines -- but this play was anything but salad: Big, flashy empty calories. Fun to eat, but with little nutritional value.

Women Laughing Alone With Salad is playing at Theater Wit through April 29th. Tickets at TheaterWit.org.

*Extended through May 2nd!

On a beautiful plantation in the modern day South, a mother asks her three daughters what they would change in the world, if they could. After rattling off some Miss America-esque answers – including "giving a croissant to a homeless person" – the girls go back to their own self-interests, i.e. taking recreational painkillers and prepping for a reality show audition.

Their world gets turned upside down when their mother announces that they will be hosting, and gifting the deed of the family plantation to, three black women, women who are descendants of a slave who worked on the plantation and had relations with the family's great-great-grandfather. Although with very different backgrounds, upbringings, and access to privilege due to skin color, these seven women are family.

Not to get all "Webster's Dictionary defines..." but I have to say it a little louder for the All Lives Matter folks in the back: A privilege is a special advantage or benefit available only to a particular person or group of people. A benefit, for instance, like a big, beautiful plot of land that your family forced slaves to maintain. Or, for instance, a thriving business that has clothed, fed, and housed generations of white descendants for centuries while providing nothing to the black descendants of the people without whom there wouldn't be a business. The slaves did the work, yet it's the family of the slaveowners who reap the benefits.

This 21st century answer to reparations is inspiring and brilliantly funny, with a fast-paced and clever script by Kevin Douglas and superb directing by David Schwimmer. Plantation! is both a conversation starter and high quality entertainment. Chaos and comedy ensue while the six girls try to make nice and get to know each other, all while griping beyond each others' backs about who really deserves the plantation. The play is a hilarious send-up of well-meaning white people; who sincerely want to help, yet do nothing when presented with the chance to do so; who swear up and down they aren't racist, yet date a member of the KKK because he doesn't go to "all" of the meetings.

In one scene, the girls are all Southern-Belle'd out in big, old-fashioned dresses for a fancy dinner on the estate. When the black girls turn on some music and start dancing, one of the white girls yells that it's like they have Beyonce in the house. Her sister admonishes her, "That's racist."

"No, it's not. That's a compliment," one of the black girls replies, high-fiving her sisters. The white sister who thought she was rightly calling out racism shakes her head, "You people are confusing." The black sisters share a glance. "That's racist," they say. Case in point, maybe listen to what people who experience racism have to say about it before defining racism for them. (Also, rule of thumb, don't make black people explain Black Lives Matter to you – which, naturally, plays out onstage here. Google is your friend.)

Finally, the cast of eight women knocked it out of the park with their chemistry and comedic timing. Besides the fabulous poofy dresses, it seemed to me that this play could've been cast with either men or women and the story would be the same. Props to Lookingglass and Douglas for not setting the default to "male." And for not being afraid to have a mixed race cast discuss race and make everyone in the audience, to use the playwright's own word, a little "funcomfortable".

Plantation is playing at Lookingglass Theatre Company through April 22nd. Tickets on LookingglassTheatre.org.

Unlike the preamble to the constitution, you – the people – won't find any established justice or domestic tranquility in Trump's America. Enter the Anti-Trump Musical.

Last Saturday, Flying Elephant Productions premiered We the People, a new musical featuring a cast of six singing original songs with music and lyrics by Leo Schwartz and book by Sean Chandler. In a little over an hour, the show revisits the Democratic and Republication national conventions, election night 2016, the immediate morning after, and the dawning chaos of what it means to live under a President Trump.

The musical serves as a warning of sorts, but it is too little too late. If anything, it would likely inspire people to vote in the midterm elections, and just VOTE in general so we don't wind up in this "unpresidented" (to use a term from our current president) situation again.

Part of me wanted the show to be harsher on Trump, but I can see where too abrasive of an approach would potentially turn people off. Another part of me wanted it to be funnier, because what's more of a joke than a highly unqualified reality television star becoming one of the most powerful politicians on the planet? But the reality of that is truly frightening far more than funny. The songs convey anger, and yes, some humor, but what the show does best is present the facts and give intelligent, level-headed commentary – something our country is in vast shortage of these days.

We the People is playing at Stage 773 at 1225 W Belmont Ave through February 10th.

With six women onstage pulling no punches and taking no shit – like The Vagina Monologues, if it were freaking hilarious – She the People is the show we need right now. Written, designed, and performed by the women of The Second City, these funny and talented actresses use their wits and comedy chops to send up sexism in advertising, politics, and pop culture.

With sketches ranging from 10 seconds to 10 minutes, She the People parodies all kinds of situations in which women regularly find themselves. A lady in a parking lot is cat-called and, hit with a sudden burst of pink light and romantic music, turns around to face her verbal assaulter, instantly in love. A group of single female wedding-goers slow-motion fight for the thrown bouquet to Mozart's Lacrimosa. A businesswoman gives a boardroom presentation in a dinosaur costume, irritated that her colleagues are focusing on what she's wearing instead of her ideas: "If Bob came up here dressed as a coelurosaurian theropod from the Cretaceous Period, nobody would bat an eye!" I bet if Bob grabbed people by the pussy, too, he would be let off the hook. 

This is a refreshingly feminist show, giving women the space to share their experiences without a devil's advocate constantly undermining them. On the other side of the coin, the show doesn't shy away from critiquing postmodern feminism as well. A scene comes to mind of a group of twenty-somethings out to brunch discussing social issues only to constantly get distracted by, "Mimooooosaaaaas!" 

Beyond that, She the People fearlessly takes on male-dominated politics – a roomful of all-male politicians sanction laws on female healthcare while giggling at the mention of "boobs" – the sugarcoating of women in media – "I'm a woman in a maxi pad commercial, and I'm going to the emergency room because there's some blue Windex stuff coming out of me," – and systematic racism – a group of friends play a board game called "Privilege"; guess which girl gets five tokens for getting into the same Ivy League school as her parents and which gets zero tokens for getting detained at the airport for no reason.

So, grab your friends, male and female alike, grab a drink, and enjoy two hours of woke comedy. If you're a man and bring your girlfriend or wife to this show, she will appreciate you, not only because of the sweet date idea, but because she identifies with those women onstage, and if you hear them and understand them, you've heard and understood her.

She the People is playing at Second City's Up Comedy Club Thursdays through Sundays until April 1st. Tickets can be purchased at the box office at North & Wells or on the Second City website.

It’s fitting that the opening tune of Gobsmacked! declares, “Turn up the radio, blast your stereo right,” because the show is essentially a live jukebox. The seven performers sing and beat-box their way through songs that span the decades, from The Beatles to David Bowie to Duffy to The Black-Eyed Peas.

Hailing from the UK on its first American tour, Gobsmacked! both is and isn’t your typical a cappella show. The range of song choices is certainly wider than, say, a high school or even college a cappella show. I, for one, did not expect to hear a soulful rendition of “It’s a Man’s Man’s Man’s World” and a boppy “Let’s Get It Started” in the same night, much less the same hour. But, the wide range of songs notwithstanding, what the show tried and failed to do was go deeper.

The hour and forty-five minute performance attempted have some sort of linking theme, but ultimately missed the mark at being something more than just a musical showcase. Which would be fine with me, I am honestly just there for the music. I would rather see that than performers awkwardly trying to act during these non-musical transitions between songs.

The cast are all incredibly talented, to be sure. The beatboxer, Ball Zee, was amazing at single-handedly holding down the backbeat of every single song as well as providing transitional sound effects. The guy can do anything, noise-wise. While all six singers sounded fantastic and on-point, I was most impressed by the redheaded Joanne Evans. The most emotive of the vocalists, I found my eye - and ear - drawn to her frequently. Everyone onstage had the chops, but Evans was the only one I actually believed. She owned her “…Man’s World” solo, and I was shook.

All in all, if you like live music, pop tunes, and a some healthy cheesiness, like moi, Gobsmacked! will fit the bill just right.

Gobsmacked is playing at the Broadway Playhouse at 175 E. Chestnut St. through Sunday. Tickets at 800-775-2000 and broadwayinchicago.com.

With two decades in its home at Lakeview’s Briar Street Theater under its belt, Blue Man Group is still going strong. The show can best be described as a bizarre, performance-arty take on STOMP, with both running about 90 minutes without an intermission, both featuring silent performers, both utilizing homemade percussion instruments, and both inciting audiences to go, “What the hell did I just see?”

Blue Man Group was founded in New York in 1991 by three friends: Chris Wink, an artist and drummer, Phil Stanton, a DIY designer and builder, and Matt Goldman, an entrepreneur and software developer. All three have been nominated for Grammys for their musical work on Blue Man Group.

Even after twenty years, Blue Man Group’s uniqueness keeps people coming back. For a show that has become such a staple, it is still unlike any of its theatrical peers, i.e. musicals, plays, operas. And for good reason. What other mainstream theatrical production features paintings created live onstage, quirky feats like seeing a performer catch dozens of marshmallows in his mouth, surprisingly funny, albeit silent, sketches with deer-in-the-headlights audience participants, and tons of cool, otherwordly, Pink Floyd-esque music being played live right in front of you?

A rundown of the materials used for each show should give some idea (or not) as to what a BMG audience is in for. Each week the three Blue Men go through the following materials: 32 pounds of Jell-O, 8 boxes of Cap'n Crunch, 385 marshmallows, 40 pieces of white chocolate Toblerone, 44 boxes of Twinkie Lights, 60 drum heads, 64 drumsticks, and 28 cakes of blue makeup made specially for BMG -- they even have their own proprietary color called "Blue Man Blue."

The 20th birthday performance featured some minor add-ons from the regular BMG show. One of the pieces of art created live onstage during the show via paint being spit out of one of the Blue Men’s mouths revealed “20!” in big white text, while there were lots of treats for the audience like tote-bags, various SWAG, and custom Sprinkles cupcakes.

It's clear why the indefinable show has continued to dazzle audiences across the country for twenty years, and as long as this city remains a vibrant hub for entertainment, Blue Man Group will have a welcome home in Chicago.

You can catch Blue Man Group at Briar Street Theater at 3133 N Halsted St on Thursdays through Sundays. Tickets on Ticketmaster.