In theater community as diverse and talented as Chicago’s, every aspect and genre of stage productions can be found throughout the city on a given week. 2015 was no exception to this fact, as one can see from our reviewers’ picks of the year’s greatest and most memorable works.
See our picks below the fold
Chicago’s best theater of 2015
Listed in alphabetical order. All summaries by Lauren Whalen
Bel Canto
Lyric Opera of Chicago (Dec 7 – Jan 17, 2017)
Lyric’s world premiere adaptation of Ann Patchett’s classic novel was years in the making, heavily involving both Patchett and Lyric curator and opera superstar Renée Fleming. Like any classic opera, Bel Canto involved the highest of stakes – a hostage situation inspired by a real-life incident in 1996 – and tragedy in spades – most principal characters do not survive the story. The title of the opera loosely translates to “beautiful singing,” and Bel Canto was an embarrassment of riches, with a diverse cast of newcomers and Lyric veterans alike. (our review)
Billy Elliot
Drury Lane Theatre (April 17 – June 7)
A smash success of a movie-turned-musical, Billy Elliot brings much-needed grit to an oft-sugarcoated genre. Director-choreographer Rachel Rockwell’s talent for working with young performers was on full display in Drury Lane’s winning production. As preteen Billy traded in his boxing gloves for ballet shoes – much to the confusion and chagrin of his community of striking miners – the audience cheered, wept and felt every complex emotion. Everyone loves a good underdog story, and thanks to Rockwell’s gifts, this Billy was one for the record books. (review)
Carousel
Lyric Opera of Chicago (April 10 – April 26)
Though widely regarded a classic, Rodgers and Hammerstein’s Carousel doesn’t always translate well to modern times. After all, it’s hard to empathize with a leading man who beats his wife. Lyric Opera’s all-star production treated the delicate subject matter with respect, weaving antihero Billy Bigelow’s contemptible actions into a satisfying arc of redemption. Broadway starlet Laura Osnes was a perfect Julie Jordan, a sweet-natured foil who also possessed intelligence and spark. Steven Pasquale’s pitch-perfect Billy and Matthew Hydzik’s adorably bumbling Enoch Snow stood out in a stunning ensemble of vocal music’s cream of the crop. (review)
Charm
Northlight Theatre (Oct 21 – Nov 8)
When you’re young, trans and on the streets, manners are probably the furthest thing from your mind – but Mama’s about to change all that. Acclaimed Chicago playwright Philip Dawkins crafted this beautiful drama, based on a real-life etiquette class taught by an elderly transgender woman at Boystown’s Center on Halsted. Funny and touching without ever resorting to schmaltz, Charm deftly followed the journey of Mama and her students and how saying “please,” belting one’s pants and learning to waltz can provide a barricade of pure hope against an undeniably cruel world. (our review)
Direct from Death Row: The Scottsboro Boys
Raven Theatre (Sept 22 – Nov 14)
“Vaudeville” and “Death Row” are rarely uttered in the same breath, let alone explored in the same production. Raven Theatre’s daring production broke this rule and many others, mixing past and present in a harrowing but relevant history lesson. Playwright Mark Stein, director Michael Menendian and a crack design team expertly incorporated music, dance and commedia dell’arte in an innovative analysis of race in the American justice system. As the titular “boys” – nine young black men accused of raping two white women in 1931 – awaited their fate, the audience was forced to reflect on today’s racial politics, and ask themselves: have we made any progress on this front, or is our society simply running in circles? (our review)
Disgraced
Goodman Theatre (Sept 20 – Oct 18)
Disgraced went where few productions have gone before, relentlessly analyzing race relations with in-your-face skill. Most of the Pulitzer Prize-winning one-act play is set at a dinner party, where two interracial couples find themselves going head-to-head and heart-to-heart. After its 2012 world premiere at American Theater Co., followed by a successful Broadway run, Ayad Akhtar’s provocative play returned to its Chicago home with tightly-paced direction courtesy of Kimberly Senior, and a cast whose energy positively crackled for 90 minutes of snappy dialogue and shocking action. Disgraced never shied away from tough topics, and its capable quintet of actors eagerly dove in to the controversial material. (our review)
Doubt: A Parable
Writers Theatre (April 28 – Aug 2)
Writers Theatre experienced a challenging season – one that had to be condensed due to construction of their new space – and appropriately enough, Doubt is a challenging play. However, the greatest obstacles often lead to innovative solutions, and Writers’ production of Doubt was aptly staged in a church. The cloistered, hushed space provided a more haunting backdrop for the parable of two nuns, a priest, and a schoolboy than any theater ever could. No play this year was better at putting its actors and audience right in the moment, and this Doubt left its spectators shaken and disturbed, their eyes wide open. (review)
A Funny Thing Happened
on the Way to the Forum
Porchlight Music Theatre (April 21 – May 24)
Stephen Sondheim is generally not known for his silliness, but his ancient Greek farce flouts all of the composer’s carefully constructed rules. Belly laughs abounded in Porchlight’s near-perfect production, featuring the brilliant Bill Larkin as Pseudolus, a charismatic slave willing to go to hilarious lengths to gain freedom. Thanks to Michael Weber’s sure direction (greatly enhanced by Brenda Didier’s fantastic choreography), Porchlight’s Forum was a funny valentine to an era of musical theater gone by, and the next generation of talent springing up in Chicago. (our review)
Grand Concourse
Steppenwolf Theatre Company (July 8 – Aug 30)
What does it mean to “do good”? Heidi Schreck’s darkly hilarious play took no prisoners while exploring every aspect of this question, and director and Steppenwolf ensemble member Yasen Peyankov handled the complex material with utmost intelligence. Mariann Mayberry never gives a less-than-fantastic performance, but her portrayal of a conflicted nun who runs a Bronx soup kitchen was nothing short of phenomenal, and Brittany Uomoleale held her own as a teenage volunteer brimming with secrets and lies. (our review)
The Full Monty
Kokandy Productions (March 2 – April 12)
“What I want?/That’s easy, asshole/I want a job.” So began Kokandy Productions’ stellar production of the clever and heartfelt hit musical based on the 1997 cult film. When a group of unemployed Buffalo steel workers seek out money and purpose, they decide to become male strippers for one night and one night only. So what if looks and talent aren’t exactly in large supply? This young, non-Equity musical theater company continued its tradition of excellence in terms of source material and talent, particularly Garrett Lutz as a deadbeat dad desperate to retain joint custody of his teenage son and George Toles as a sweet, suicidal security guard. (our review)
Ghosts
Mary-Arrchie Theatre (Nov 8 – Dec 20)
Sadly, the 30-year tenure of Chicago’s premier storefront theater will come to an end in 2016. This adaptation of Henrik Ibsen’s Ghosts is a fitting part of Mary-Arrchie’s final season, with an intelligent script whose 1882 world premiere happened in this very city. Director Greg Allen deftly added meta-theatrical touches like audience references and contemporary expressions, providing levity to a story involving syphilis, adultery and incest. These funny, poignant touches only enhanced Ghosts’ melodramatic, grim reality. Kudos to Mary-Arrchie founder Richard Cotovsky and company. You will be missed. (our review)
Heat Wave
Cold Basement Dramatics (March 7 – April 25)
In July of 1995, a record-breaking heat wave rocked Chicago, and victims – most of them poor, nonwhite and/or elderly – dropped like flies. Cold Basement Dramatics’ short but intense production, part of Steppenwolf’s Garage Rep Series, should have been required viewing for every city resident. Now more than ever, the true story of disaster, race and class has a sad relevance to today’s Chicago – a city divided, tragic, but for so many, home. (our review)
The Herd
Steppenwolf Theatre Company (April 2 – June 14)
Steppenwolf had a banner 2014-15 season, with a plethora of fantastic plays adhering to the theme, “how did I get here?” The Herd took this question literally with a common occurrence – a birthday party – with uncommon twists involving surprise guests and revealed truths. An all-star cast including John Mahoney, Francis Guinan and Lois Smith superbly executed British actor Rory Kinnear’s debut play, thanks in part to Frank Galati’s expert direction. Bursting with gallows humor and genuine heart, The Herd was living, breathing proof that hell may be other people, but family is forever. (review)
The Miraculous Adventure of Edward Tulane
Chicago Children’s Theatre (Oct 23 – Nov 15)
CCT’s adaptation of Kate DiCamillo’s 2006 book followed its large-eared title character, a hollow toy rabbit, on an epic journey toward selflessness. Darker and more reflective than his velveteen counterpart, Edward underwent a metamorphosis from snobby to sweet, thanks to Stuart Carden’s sophisticated direction and Dwayne Hartford’s skillful adaptation. Honest and straightforward, The Miraculous Adventure of Edward Tulane transcended the sticky-sweetness of lesser children’s theater and was, at its core, simply good theater. (our review)
Moby Dick
Lookingglass Theatre i/a/w Actors Gymnasium (Jun 20 – Aug 9)
Chicago is no stranger to theatrical adaptations of Herman Melville’s epic: the now-defunct Building Stage Chicago and The House Theatre immediately come to mind, and that’s just in the last few seasons. But this Moby Dick was a different, more elaborate story: physical and purely poetic in the way only Lookingglass productions can be. Thanks to David Catlin’s darkly glorious adaptation and direction, man, madness and mythical beast were all on magnificent display this summer. (review)
Oklahoma!
Paramount Theatre (Sept 19 – Oct 18)
In four short years, Aurora’s Paramount Theatre has launched a celebrated series of musicals, and received an astounding 16 Jeff Award nominations in its first year of eligibility. Paramount’s tradition of excellence continued last fall with Rodgers and Hammerstein’s iconic tribute to down-home love. Brimming with sumptuous orchestrations led by Tom Vendafreddo, Kate Spelman’s dynamic choreography and a gifted, enthusiastic ensemble, this Oklahoma! struck the perfect balance of giggles and gravity. (review)
Pocatello
Griffin Theatre Company (Nov 14 – Dec 13)
As audience members walked into Pocatello, they were treated to Joe Schermoly’s set, perhaps the most realistic I’ve ever seen in live theater. Schermoly’s flawless recreation of an Italian chain restaurant was a character all its own, and served as a rich backdrop for playwright Samuel D. Hunter’s trademark relentlessness. With empathy and intelligence, director Jonathan Berry wove the story arcs of the employees of a failing highway restaurant in Idaho. Tragic and deeply human, Pocatello was an opus for Griffin Theatre Company, creating a world both specific and universal. (our review)
The Price
TimeLine Theatre (Aug 26 – Nov 22)
Arthur Miller’s poignant, piercing drama isn’t his best-known, but perhaps it should be. TimeLine Theatre’s sterling interpretation could go a long way in lifting The Price from obscurity, preserving Miller’s perfect plotting in a quiet, intimate production. Bret Tuomi and Roderick Peeples shone as two estranged brothers recalling their riches to rags childhood while determining the fate of their late father’s brownstone and the goods inside. A tale as old as time – and Miller’s personal response to the absurdist theater dominating Broadway in the late 1960’s – The Price was a rare masterpiece that began with the simplest of premises but gradually dove deeper into the complexities of family. (our review)
The Project(s)
American Theater Company (May 6 – June 21)
ATC’s Artistic Director, the late P.J. Paparelli, left behind a magnum opus with this brilliant mélange of documentary theater and a cappella music. Eight African-American actors took the stage as a plethora of characters – some of them white – in a vibrant oral history of Cabrini-Green, Wentworth Gardens, and the Robert Taylor and Ida B. Wells Homes. Paparelli and co-writer Joshua Jaeger used verbatim interviews from former and current Chicago Housing Authority residents, city officials and academics and further enhanced the stories with Jakari Sherman’s inspired choreography and music. The Project(s) was like nothing Chicago has seen before – and sadly, because of Paparelli’s tragic death earlier this year, will ever see again. (review)
R + J: The Vineyard
Red Theater Chicago and Oracle Productions (Oct 24 – Feb 20, 2016)
The little theater company that could, Red Theater Chicago teamed up with Oracle Productions to create a Bard adaptation with hearing and deaf actors…completely free to the public. Adaptors Aaron Sawyer and Janette Bauer set William Shakespeare’s love and suicide story in 19th century Martha’s Vineyard, which at the time had a large hereditary deaf population and a shared sign language. Communication is at the core of Romeo and Juliet – secrets are spilled, confidences betrayed and words of love and death freely spoken – and R+J: The Vineyard tackled these issues in an inventive, innovative way that inspired and delighted hearing and deaf audiences from beginning to end. (our review)
Red Handed Otter
A Red Orchid Theatre (April 9 – May 24)
Life often happens while you’re waiting, and no one experienced this more than Red Handed Otter’s gang of security guards. Ethan Lipton’s odd and engaging script celebrated the quirkiness of human relationships, often through the context of animal behavior, with idiosyncratic surprises around every corner. Director Dado kept the tight pacing on track, and winning performances abounded, particularly Guy Van Swearingen, Mierka Girten and Ashley Neal. Sly and quick, Red Handed Otter deftly juggled the silly and the profound. (review)
The Rose Tattoo
Shattered Globe Theatre (Jan 15 – Feb 18)
Shattered Globe successfully tackled this rare revival of Tennessee Williams’ lesser-known tragicomedy with graceful humor. The emotions of a grieving widow, her daughter, a mysterious visitor and various busybody townspeople were vast and operatic, but at the same time, relatable. Small but mighty Eileen Niccolai brought sass and wit to leading lady Serafina, and Nic Grelli proved a worthy match as suitor Alvaro. It’s a shame this earthy folk tale isn’t produced more often, but few could match Shattered Globe’s heartfelt rendition. (review)
Shining Lives: A Musical
Northlight Theatre (May 8 – June 14)
With a dynamo director/bookwriter/lyricist (Chicagoland treasure Jessica Thebus), a strongman of a music director (Chuck Larkin), and a powerful true story, this world premiere musical had all the makings of “good” from the get-go. Add in a trio of actors (Alex Goodrich, Erik Hellman and Matt Mueller) who played the guitar, banjo and mandolin parts of Amanda Dehnert and Andre Pluess’ soulful score and Shining Lives got even better. Top it off with a quartet of women whose gorgeous vocals and formidable acting gave the Norma Rae-journey of company gals who find out they’re working with a dangerous poison and fight for change, and Northlight’s musical became the best. (review)
The Tempest
Chicago Shakespeare Theater (Sept 17 – Nov 8)
Teller is best known as the single-monikered, nonverbal half of legendary magic duo Penn & Teller. He’s also a lifelong Shakespeare enthusiast, thanks to his father reading him the Bard’s plays as a child. But the Teller-directed production of The Tempest at Chicago Shakespeare Theater wasn’t all card tricks and levitation (though there were plenty of each). Deep reverence and understanding radiated from every staging move and every syllable, and this Tempest took on an otherworldly quality. Teller didn’t just display his passion for his favorite Shakespeare play: he took the audience with him, so they too could experience the childlike wonder of one who never stopped believing in magic. (our review)
Travesties
Remy Bumppo Theatre (Mar 30 – May 3)
A novelist, a Communist and a Dadaist walk into Switzerland in 1917: sounds like the makings of an intellectual riddle, and yet it actually happened. Tom Stoppard’s sharp comedy, told from the perspective of an aging British civil servant, chronicled the baffling real-life relationship of James Joyce, Vladimir Lenin and poet Tristan Tzara, complete with limericks, song lyrics, and a healthy dose of Oscar Wilde homage. Not easy, to say the least, but Remy Bumppo director Nick Sandys cleared the various Stoppard obstacles with a determined and witty air. Disciplined in cutting through the Stoppard layers, Sandys never dumbed down the script or sacrificed wordplay. Nearly three hours, Travesties made the most of every minute, literary reference and vaudeville callback. (review)
Who’s Afraid of Virginia Woolf?
Redtwist Theatre (Sept 12 – Oct 31)
Edward Albee’s parable of marital discord (and addiction) is incredibly easy to screw up, to the point where the playwright’s articulate arguments descend into screaming and outright parody. Not so under the direction of Jason Gerace. Redtwist Theatre’s interpretation was just this side of outrageous, and brimming with masochistic glee. Thanks to Gerace and a phenomenal quartet of actors, there was nothing more sick and fun than watching a dinner party descend into madness as two couples tore each other – and themselves – to shreds. This Virginia Woolf set the bar high for future productions: a bitter cocktail of an evening and a harsh reminder of the fleeting nature of love. (our review)
Honorable Mentions
Assassination Theater – MBC
Body + Blood – The Gift Theatre
Domesticated – Steppenwolf Theatre
Fallen Angels – Remy Bumppo Theatre
Jesus Christ, Superstar – Theo Ubique Cabaret Theatre
A Kid Like Jake – About Face Theatre
October Sky – Marriott Theatre
Sense and Sensibility – Chicago Shakespeare
The Seven-Per-Cent Solution – City Lit Theater
Side Show – Porchlight Music Theatre
