AT’s new Chicago editors check in on happenings at theatres large and small: openings, closings, notable folks, and assorted chisme.
With her playwriting debut, the Steppenwolf ensemble member explores what happens after most stories end.
Getting audiences to return isn’t the only post-COVID challenge theatres are facing.
A new biography of Sam Shepard focuses on the man as an icon rather than as a writer—though, as with everything in the late dramatist’s work, such delineations are never so neat.
Boundlessly creative, unfailingly astute, he didn’t just make and teach theatre of the mind but of the heart as well.
Shakespeare’s iconic villain has always been disabled, but increasingly the actors playing him—and the productions and adaptations they star in—reflect disability aesthetics and activism.
This month Brian talks to Vichet Chum, writer of ‘Bald Sisters’ at Steppenwolf, about how Texas’s competitive culture shaped him and about how his Cambodian American parents feel about his work.
From a Conan Doyle-inspired inquiry to an Emmett Till trilogy, from a Baroque opera to an Alaskan Tlingit journey, here are some shows I’d put on my hypothetical theatre calendar.
September sees the beginnings of theatre in the U.S., the openings of major theatres on opposite coasts, a starry ‘Godspell’ reunion, and the start of a Chicago festival of Latino theatre.
July features the founding of a few illustrious theatrical organizations, a turn on the burlesque business wheel, a Sam Shepard classic in the remaking, and a powerful advocate for Latino playwrights.