Long before Jeffrey Eugenide’s novel 2003 ‘Middlesex’ brought intersexuality to the mainstream lexicon, there was David Reimer. ‘BOY’ by Anna Zeigler is a new play inspired by the real life story of a boy raised as a girl after a botched circumcision. Reimer was known only as the “John/Joan” case throughout the medical community until 1997, when he decided to make his story public. He has since committed suicide.

‘BOY’ makes its area premiere at TimeLine Theatre Company under the direction of Damon Kiely. In their intimate space, this small cast tells Zeigler’s version of the John/Joan case. The structure of the play is one its strongest assets. We first meet Adam (Theo Germaine), a shy young man trying to flirt with a girl named Jenny (Emily Marso). Starting here establishes the present tense, or in this case, the early 90s. In alternating scenes, we then meet Adam’s parents Doug and Trudy (Stef Tovar and Mechelle Moe) in the mid-60s. They’re new parents desperate for a way to make normal the life of their infant son whose penis is mutilated in a medical accident. They’re introduced to Dr. Wendell Barnes (David Parkes), the founder of the first American institute on gender. The two stories gradually meet in the middle when Adam must confront his past in order to move into his future.

The brisk pace tells a complete story, if only a little brief. A story as unique as this probably garners more questions than answers. The ensemble works well together to demystify this case study. The courtship between Theo Germaine’s Adam and Emily Morso’s Jenny is endearing. Morso perfectly embodies the dialogue of a tough-girl with a warm side. Whereas Theo Germaine gives one of their best performances yet. Theo swings from child to grown up in the blink of an eye throughout the play and yet, it’s through those swings we can see that Adam never really grows up. Stef Tovar and Mechelle Moe as the stereotypical Iowan family dealing with this surreal reality are impeccable. Moe has the mannerisms down. While Tovar’s character is pretty quiet throughout the play, his final moments on stage with Adam are some of the play’s most touching.

‘BOY’ will surprise many. As the National Geographic pointed out last year, we’re in the midst of a gender revolution. What is the most surprising is how accessible this play is. Unlike Taylor Mac’s comic masterpiece ‘HIR’ – there’s no tone of condescension here. The play is simply a well-structured, fictionalized account of the John/Joan case. It’s as juicy as an episode of the Phil Donahue show but there’s also a lot of heart here, and it begs the bigger question, what would you do? Zeigler’s version of the real life Dr. Money (who wrote about David Reimer extensively) – Wendell Barnes, is written in a way that will make some debate whether or not he genuinely cared for his patient or proving his extreme gender theory. Though, it’s through this (unfortunately) failed experiment that we know so much more about sexual science today.

Through March 18 at TimeLine Theatre Company. 615 W Wellington Ave. 773-281-8463

With the homecoming and family-visit season safely in the rear-view, Shattered Globe presents a new play by Rachel Bonds about the places we come from. “Five Mile Lake” is directed by Cody Estle, his first production with the company.

Bonds writes about a feeling that many city transplants can relate to all too well. “I can’t believe I managed to spend 18 years there,” she says of her small hometown in the stage notes. Though Bonds seems to have escaped small town life at a young age, her script is not a snobby look down her nose at small town America, in fact, it’s almost the opposite. There’s a longing for a perceived simplicity in this play. The irony is that no matter where you live, complexity is unavoidable.

‘Five Mile Lake’ is about five characters in a town outside Scranton, at the edge a frozen lake. The symbolism is not lost. Local coffee shop coworkers Mary (Daniela Colucci) and Jamie (Steve Peebles) live fairly uneventful lives until Jamie’s older brother returns with a new girlfriend and an open-ended visit.

In many ways, this is a retelling of Chekhov’s masterpiece ‘Uncle Vanya’. Mary and Jamie seem to toil endlessly in their dismal lives. Jamie works on a lake house his brother Rufus (Joseph Wiens) and girlfriend Peta (Aila Peck) are suddenly interested in when their impressive city-life turns to shambles. Mary is bogged down by a shell-shocked brother Danny (Drew Schad), all the while dreaming of a life outside Five Mile Lake. Between these desires for other circumstances are subtle, but wholly palpable, moments of truth.

Shattered Globe is an ensemble theater and most of their productions feature familiar faces. The result is a sense of intimacy between actors that translates to an audience. There’s a naturalistic cadence to Rachel Bonds’ dialogue too. Sometimes inside-jokes or silliness between characters seems contrived on stage. Whenever Daniela Colucci is in a scene, you feel like you’ve known her all your life. There’s something really authentic going on here. Estle gets great performances out of even the smallest, non-verbal moments of the play. A scene in which Rufus and Mary’s older brother Danny run into each other after years of estrangement is so fraught that just a searching look from Drew Schad is enough to break your heart.

“Five Mile Lake” is a prime example of why you should see new work. Sometimes it’s a gamble, but other times in the middle of an ordinary Sunday you find yourself completely invested in the problems fictional characters. You take them with you, because they are you.

Through February 24th at Shattered Globe Theatre. Theater Wit. 773-975-8150

Finding love is hard. What someone else wants can sometimes be a riddle, but in the case of Puccini’s ‘Turandot’ it’s quite literal. The Lyric Opera of Chicago welcomes back the classic Eastern-flavored piece that is new to Chicago but has previously been seen in a few other American cities. Directed by Rob Kearley, this quick opera is an intellectual alternative to the scads of warmed-over holiday specials offered by most other theaters in December.

‘Turandot’ is a somewhat culturally insensitive Chinese fairy tale. In it, Princess Turandot (sung by Amber Wagner) is a mysterious princess who asks her suitors to answer three riddles. Failure to answer correctly results in death. She goes through suitors quickly until a non-noble, Calaf (Stefano La Colla), is able to correctly guess the answers. Calaf is beloved by his father’s slave Liu (Maria Agresta), but he blindly persists in his conquest of Turandot.

While Amber Wagner is a vocal sensation, there’s something missing in her performance. Stefano La Colla on the other hand is both a fantastic vocalist as well as a convincing actor, something not exactly mutually exclusive in opera. Though, the evening’s real stand out may well be Maria Agresta who will be singing Liu for the December performance dates. Her Liu is very moving.

Puccini’s score is stunning. This is a more modern opera in that it was first presented in 1926. The rich choral arrangements and individual songs with melodies and harmonies make this sound like a traditional musical. It’s not hard to hear ‘Les Miserables’ in the large cast choruses. The music is strong enough to overshadow the none-too-subtle themes of Orientalism and misogyny.

Thankfully, the set pieces and costumes (which are mostly very tasteful) are the only uses of what some would call “yellow face.” The intricate sets designed by Allen Charles Klein are beautiful. The colors and contrasting layers are dazzling and the perfect companion to the soaring music.

‘Turandot’ was Puccini’s final work and he died before completing it. There’s a well-accepted conclusion written by Alfano based on sketches left behind. Some productions simply end where Puccini ended, but that seems a bit disappointing. Kearley opts for the Alfano conclusion. Operas can feel a little endless for the uninitiated. Have no fear, ‘Turandot’ is a swift and engrossing three hours. This is a great beginner opera for those looking to culture themselves this holiday season.

Through January 27th at Lyric Opera Chicago. 20 N Upper Wacker Dr. 312-332-2244

“I’ve always favored unbridled passions,” sings Wotan in the Lyric Opera’s new production of Richard Wagner’s “Die Walküre” This is the second installment in Wagner’s epic 4-opera cycle “Das Rheingold” Lyric produced the first opera last season and will sequentially include the next two operas in their forthcoming seasons. In 2020, there will be a special presentation of all four productions.

Five hours is a long time to spend in a theater. Wagner is especially challenging for those not particularly versed in classical music. That said, this gorgeous production by David Pountney is well worth the time. If you’re wondering if you needed to see the first opera to understand the second, you absolutely do not. “Die Walküre” is a standalone with a clear conclusion. Most will at least be familiar with “The Ride of the Valkyries”

“Die Walküre” is sung entirely in German with projected subtitles. Try to imagine a time in which there were no subtitles. The plot is very weird, perhaps it was best to only assume what’s going on. Essentially, this is an opera about incest and that seems pretty racy for its 1870 premiere. The music is incredible though, which likely contributed to its cannon status.

The first act is surely what to come for, coincidentally it’s also the shortest. In the first act we meet the incestuous lovers Siegmund (Brandon Jovanovich) and Sieglund (Elisabet Strid). Siegmund rescues Sieglund from an unhappy marriage and wards off her husband with a magical sword only he’s able to pluck from a tree stump. He then impregnates his sister wife, despite that they know they’re related. Insert shrug emoji here. Staging in the first act is pretty sexual for a 19th Century opera. Siegmund’s sword is an obvious phallic symbol and Pountney’s blocking leaves little to the imagination. The blatant eroticism helps spice up the melodrama.

Logically, this affair angers the gods and they send favored Valkyrie Brünnhilde to kill Siegmund. Reknown soprano Christine Goerke reprises the role of Brünnhilde, which she’s previously sung for a few other companies. For those unfamiliar with this opera, it would seem like a bit of a surprise that the story really ends up being about Brünnhilde and her relationship with her father Wotan (Eric Owens). The two shine together in the final act, despite the nearly agonizing repetition of dialogue.

This is an exciting and beautiful production. The aesthetic is almost like an old movie set. The horses upon which the Valkyries fly are hand operated by the ensemble. It makes you wonder, how did Wagner envision this special effect at the time he wrote it? Each scene is darkly lit and costumes are trimmed in red. The time period seems to be undecided as costumes appear to span the decades.

With only seven performances, this special production is a must-see for local opera enthusiasts. For those unfamiliar with opera, attend without trepidation. The production may run just a little under five hours (with two 30-minute intermissions), but the evening seems to fly by.

Through November 30th at Lyric Opera of Chicago. 20 N Wacker Drive. 312-332-2244

Celebrating nearly 35 years in their factory space around the North Center neighborhood, American Theater Company has a knack for taking risks on new works. “Welcome to Jesus” is prefaced with a recorded curtain speech by artistic director Will Davis, “It’s our responsibility to take risks.” And that is absolutely true. At no other company in town are you more likely to see a smash hit first production right before it becomes a Pulitzer finalist.

“Welcome to Jesus” is not one of those gems. This new play by Janine Nabers is likely to land among the annals of forgotten plays, but good for ATC for taking a chance. Under the direction of Will Davis, this world premiere is certainly provocative but begs the question, is this the best way to make the playwright’s point?

“Welcome to Jesus” is about a small Texan town obsessed with high school football and wholesome, Christian values. When two bumbling, and related, cops come across the zombie-fied head football coach with a dead body in the woods, the play takes on a racist-flavored B-horror movie feel.

The point that Nabors spends two short acts exploring is what it’s like for people of color in Christian, white dominated places. It’s also a commentary on how the professional sports industry uses up athletes while skirting the issue of racism. In that regard, Nabors’ script is very topical. The problem is that her thesis is obscured by supernatural plot points which ultimately have no resolution or bearing on the conclusion.

Will Davis’ direction is a little strange, but the performances are strong. A little too often the audience is subjected to blinding light and expected to participate. There’s nothing necessarily wrong with that, but if an audience can’t connect with the work, this gimmick is bound to be awkward.

“Welcome to Jesus” has something to say, but whatever it is, isn’t quite there yet. The important thing is that a successful theater company saw a play with a contentious message and gave it a chance. Nabors would be best to revise her well-meaning script so that it’s more like a play and less like a Netflix pilot.

Through December 3rd at American Theater Company. 1909 W Byron St. 773-409-4125

Sarah Ruhl’s ‘In the Next Room, or the Vibrator Play’ returns to Chicago at Timeline Theatre. Directed by Mechelle Moe, this drawing room comedy about the advent of electricity is sure to tickle audiences. Ruhl’s works have often been produced around the city as she’s an Evanston native. She may reside in Brooklyn now, but we’ll still claim her as our own.

‘In the Next Room’ was shortlisted for the 2009 Pulitzer after a successful Broadway run. It was also nominated for the 2009 Tony Award for Best Play. ‘In the Next Room’ might just be Ruhl’s most fully realized play. It’s a whimsical, if not loose, history of the invention of the vibrator. While it may sound like a cheeky sex comedy, ‘In the Next Room’ is a feminist anthem.

Dr Givings (Anish Jethmalani) is a country doctor who specializes in hysteria, a very real condition that afflicted women during a much less sexual period in history. His wife Catherine (Rochelle Therrien) does not suffer as her husband’s patients do, but instead yearns for romantic love. In some ways, this play is like Sarah Ruhl’s own version of ‘A Doll’s House.’ A wife searching for her purpose in a world dominated by men. Catherine says at one point “I do not know what kind of person I am” and feels like a failure when her child will not nurse. Through various entrances and exits, we’re shown how sexless life was between man and wife during the Victorian era. As an audience with hindsight, we understand that this miracle cure for hysteria is nothing more than a medically induced orgasm.

The ensemble is well cast. Rochelle Therrien makes Ruhl’s fanciful dialogue endearing and innocent. Her fresh-faced and child-like performance is so charming you can’t believe her husband’s indifference. Though quiet and understated, Dana Tretta plays Annie, the physician’s midwife. A sort of “Igor” sidekick type, but Ruhl doesn’t overlook the character. Her arch of a life without love is perhaps the most touching of all.

Not only is this play a feminist anthem, but a play about orgasms. The very idea that women did not discuss anything related to sex is absurd in a world where you can watch re-runs of ‘Sex and the City’ at any given time. Even nursing a child was considered distasteful to discuss. Rarely if ever have so many simulated orgasms happened in one theatrical performance. Though, like the era, they’re so unsexualized that you can’t help but giggle at the characters discovering themselves. In one full-length play Sarah Ruhl bursts nearly every female taboo of the time out of the closet. Never have Women’s Rights been a more hot button issue and ‘In the Next Room’ comes at just the right time.

Through December 16 at Timeline Theatre Company. Stage 773, 1225 W Belmont Ave. 773-327-5252

Darn those French and their "musical spectaculars." There are few things Americans do with more flare than the French, and musical theater is one of them. "Piaf: The Show!" is billed somewhat differently than what it actually is.

That is not to say we've been misled. Those who have spent time in Paris or Montreal know that "musical spectacular" means something a little different than "a new musical." Think Cirque du Soleil. Quirky, but charming, and yet still somewhat disappointing to an American audience who appreciates narrative.

"Piaf" was conceived by Gil Marsalla and ran in Paris for a few years. The show was a hit so they decided to take it on the road. Luckily, they got their original Piaf, Anne Carrere, to come along. The show would likely be a wash without her endearing performance.

Divided into two acts, "Piaf" spends the first half interpreting Edith Piaf's early career through her iconic songs. There is no dialogue. Each song fades into the next with only minimal set re-arrangements. Miss Carrere is accompanied by a lively jazz trio who occasionally join in the play. The second half of the show is a reimagining of Piaf's triumphant final performance at Carnegie Hall. The second half is surely where "Piaf's" more emotional numbers reside.

Anne Carrere is a dead ringer for Edith Piaf. She's prettier than the real-life Piaf, but then again, Marion Cotillard is stunningly gorgeous and won an Oscar for her portrayal. The important thing is that Carrere can sing, and not only can she sing, but mimic Edith Piaf perfectly. If you close your eyes you would swear you were listening to a record. She employs Piaf's playful nature and through charm and song truly creates a "musical spectacular."

This one-night only stop in Chicago is an enjoyable evening but in the end, it's probably closer to a tribute band than a traditional play. Audiences will not leave knowing anything more about the French icon than they came with.

Awesome Company at the Anthenaeum Theatre. 2936 N Southport Ave. One-Night Only.

It’s the season of Arthur Miller in Chicago. It appears Miller is enjoying a renaissance right now with three of our major companies reviving his work this season. The Steppenwolf takes on "The Crucible" as their Young Adult show. Calling upon Jonathan Berry (one of the city's foremost storefront theatre directors), Steppenwolf bids for a younger audience's attention.

Berry doesn't disappoint. His vision for this show is more like MTV than stuffier productions of yore. The first act begins with hip-hop flavored choreography combined with Izumi Inaba's stylish costumes that create a sort of "sexy Halloween costume" version of "The Crucible". The alternative staging helps guide a younger, perhaps less engaged audience through the multi-cast roles and quick on-stage character changes. Berry also makes a distinct stylistic choice to gender and colorblind cast all of the roles. Performances are convincing enough that it never feels like a gimmick. Instead, it underscores Miller's theme that these characters are all of us.

The only misstep is Naimi Hebrail Kidjo's tepid Abigail. Arthur Miller's scenes between Proctor and Abigail are some of the most electrifying in modern American drama, but somehow, they rarely reach a boil here. Perhaps an underplayed Abigail helps bring the relationship between Proctor and his wife Elizabeth into sharper focus. The scenes between John (Travis A. Knight) and Elizabeth Proctor (Kirstina Valada-Viars) are gripping. Valada-Viars gives a feisty performance, making Elizabeth a stronger heroine than typically played. Knight's John Proctor is youthful and naive, but not without a quick temper and imposing figure.

The ensemble wears many hats, quite literally in some cases. Stephanie Shum swiftly moves through characters without faltering. It's hard to figure why some actors played more roles than others, but the moral backbone of the play is sufficiently taken up by Taylor Blim's Mary Warren.

For many of us, "The Crucible" occupies a greyish area of high school that we'd like to forget. The old timey language and belabored scenes are hard to get into. Even still, this is a show the Steppenwolf is aiming at school groups. Berry's version is cool. It may take some effort to get generation Snapchat into it, but for those who invest, this is a worthwhile production. "The Crucible" and "Death of a Salesman" are essential theater experiences. So much more is defined in a live performance versus a moldy permabound high school book.

Miller is hot right now because his themes are forever relevant. "The Crucible" tells us not to be sheep, but to look around and develop our own code of ethics. Jonathan Berry's modernish version of this classic work is sure to attract audiences without much theater-going experience, and what a cool introduction this would be. The key to instilling the values of Arthur Miller onto another generation is make it seem new, and this production feels fresh.

Through October 21 at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650

“Sometimes lying is the most humane thing you can do,” declares Gina Gionfriddo’s character Suzanna Slater in her play ‘Becky Shaw.’ Gionfriddo’s script was shortlisted for the 2009 Pulitzer and enjoyed a successful Off-Broadway run in 2008. ‘Becky Shaw’ makes its Chicago premiere at Windy City Playhouse in Irving Park.

Scott Weinstein directs this sleek production at the even sleeker Windy City Playhouse space. With only 25 seats, the performance space asks its audience to swivel in remarkably comfortable club chairs between scenes as there are three stages in the theater. Something about the orientation of the theater makes this telling more active than a typical play. A really unique experience that may be as memorable as the play itself.

‘Becky Shaw’ is a story about two non-biological siblings Suzanna (Amy Rubenstein) and Max (Michael Doonan) caught in a ‘Cruel Intentions’ style love affair until Suzanna marries someone else. They come from a splintery family and are brutal with one another, but not brutally honest. When Suzanna and her husband attempt to set up cold and cruel Max with delicate Becky Shaw, the play takes a dark direction.

This play is nothing if not well acted. The titular role, drawn as an allusion to the Victorian novel ‘Vanity Fair’ by Thackery, is played by Carley Cornelius. Her version of a clever woman trying to claw her way out of circumstances is haunting and weird. At no point do you ever feel that you’ve got her figured out. At times she’s vulnerable and soft but then turns deliberate and forceful. Cornelius brings a very relatable quality to this mysterious character. Gionfriddo has created such a fascinating character in Becky Shaw, that it’s almost disappointing that there’s not more of her here.

Gionfriddo’s play is funny and provocative. There are quote-worthy snippets of dialogue that, offer glimmers into the playwright’s opinions. She seems very concerned with equality of sexes. Several times the script calls a relationship a meeting of equals. Some may remember Gionfriddo’s play ‘Rapture, Blister, Burn’ which premiered at the Goodman in 2015. While nowhere near as good, ‘Rapture, Blister, Burn’ continued the playwright’s probe into the complexities of long term romantic love between men and women.

The scene jumping quality of the script lends itself well to the multi-staged set-up of Windy City Playhouse. It helps establish the passage of time between scenes and gets you close enough to the actors to feel directly involved. The female ensemble is works really well together in this production. Chicago stage veteran Suzanne Petri gives a standout performance as the mother of Max and Suzanna, and walks away with some of the most insightful lines of the evening. ‘Becky Shaw’ is a play about what happens when you bring a new person into your life, whether you want it or not. (John Accrocco)

Through November 12 at Windy City Playhouse 3014 W Irving Park. 773-891-8985

The Goodman Theatre almost never includes a show in their subscriber season that they haven’t developed themselves. Dutch director Ivo van Hove began his vivid production of Arthur Miller’s “A View from the Bridge” in London before bringing it to Broadway in 2016. It went on to win the Tony Award for best revival. Goodman artistic director Robert Falls requisitioned the work for Chicago prior to the Broadway run. Some may remember van Hove’s contribution to the Goodman’s 2009 Eugene O’Neill Fest. His arresting version of “Mourning Becomes Electra” performed entirely in Dutch was a sure stand out.

Ivo van Hove’s vision for Arthur Miller is uniquely his own in that it’s nothing like you’ve ever seen. If a standard Miller production bores you, then imagine an electric guitar version of Miller. The scenery and scene changes have been cut and what’s left is a minimalist masterclass in strong directorial choices. Minimalism doesn’t mean a lack of spectacle. The white cube contains the play to a small portion of the stage, allowing for audience members to sit right on stage. Each movement of this highly choreographed production creates a stunning visual.

Suffice it to say, you’ll never see “A View from the Bridge” like this again. van Hove’s intention is to create an “ultimate” version of classic American works through a European lens. What he reflects back is interesting. The concluding scene is a work of installation art, and leaves you with an unsettling feeling that we are but animals battling it out at the bottom. As with his interpretation of O’Neill’s “Mourning Becomes Electra”, van Hove is unafraid of heightening the subtle sexuality in the script. The blocking between Catherine (Catherine Combs) and Eddie Carbone (Ian Bedford) is highly suggestive and pushes the envelope even further than Miller had in 1953.

There’s no scenery, no costumes and no tricks for this cast to hide behind. Since the New York production, some of the parts have been recast, but many have not. Catherine Combs reprises her role as Catherine, but is no stranger to the Goodman stage. Combs’ performance is transfixing. She’s able to balance the juvenile qualities of a young girl in a falsetto, but convey the deep-voiced desires of a woman with an unexpected control. Playing her adoptive mother Beatrice, Andrus Nichols, commands each scene. The script would make this character a weakling, unable to stand up to her hulking husband. Nichols brings a hardened strength to the role that propels the final scenes to full throttle.

This production will stick with you. With our nation’s president touting severe immigration reform, this play comes at a critical point in history. Arthur Miller wrote plays that addressed social issues. In many ways Eddie Carbone is how Miller saw America, as something afraid of change. When we hear white supremacists chanting “You will not replace us” on national TV, it’s hard not to draw comparisons. This is an essential play for our times. Ivo van Hove has created a striking and extremely intense version of “A View from the Bridge” that Arthur Miller himself would applaud.

Through October 15th at the Goodman Theatre. 170 North Dearborn. 312-443-3811

*Now extended through October 22nd