We are all lucky that we’ve gotten to live at the same time and in the same timeline as Stephen Sondheim, possibly the most influential and important composer and lyricist in modern Broadway history. From his most popular musicals — Sweeney Todd: The Demon Barber of Fleet Street, Into the Woods, his lyrics for West Side Story — to his more obscure — Anyone Can Whistle, Company, Follies — he’s left a wealth of lyrically and musically rich songs for us to study and enjoy.

The Stephen Sondheim Tribute Revue, directed and produced by 4 Chairs Theatre founder Lauren Berman, showcases songs selected thoughtfully and with care from the catalog of the late, legendary composer, with a talented ensemble featuring Kaitlin Feely, David Geinosky, Lyndsey Minerva, Brian Member, Denise Tamburrino, and Michelle Tibble, accompanied on piano by Tyeese Braslavsky. 

The selected songs range from Sondheim’s early works, like 1962’s A Funny Thing Happened on the Way to the Forum and Anyone Can Whistle from 1964, even his very first musical Saturday Night, to his later, more well-known works such as Sweeney Todd and Sunday in the Park with George.

Pictured: Michelle Tibble and Denise Tamburrino

Each of the ensemblists has a clear, powerful voice, creating the perfect canvas for which to display the complex and varied works of Sondheim. Sondheim always emphasized the importance of trained, mindful vocalists throughout his career — he felt that singing should enhance acting, not the other way around. The emotion comes first, always, and the music and lyrics are there to prop up that feeling, take it out of time for a moment and examine it. These actors deliver on just that.

Highlights for me included ensemblist Denise Tamburrino’s solo performance of “Send in the Clowns” from A Little Night Music. Possibly one of Sondheim’s most performed standalone songs, “Send in the Clowns” sardonically comments on the bad timing of love by a woman who’s experienced the ups and downs of it. Tamburrino’s rendition brings the right amount of restraint to the reflective song, letting the emotions on her face and pauses between phrases speak just as much as the lyrics.

Pictured: Brian Pember, Lyndsey Minerva, and Denise Tamburrino

Other highlights were the selections from Company (inlcluding the frantic "Getting Married Today" performed with tact by Lyndsey Minerva, Denise Tamburrino, and Brian Pember) and Into the Woods, Sondheim’s fairy tale-gone-wrong musical from 1987, which included two of the more moving, clear-headed tunes from the show: “No One Is Alone” and “Children Will Listen”, the former sung by the whole ensemble and the latter by Michelle Tibble and David Geinosky.

And finally, another Sondheim gem is uncovered with Kaitlin Feely’s performance of “The Miller’s Son” from A Little Night Music, a song about fantasy and its clash with reality, one of many examples of Sondheim's songs that has stood the test of time and was, in fact, ahead of its time with its witty lyrics and shrewd observations of life.

As Lauren Berman writes in her director’s note, “There are musicals, and then there are Stephen Sondheim musicals.”

The Sondheim Tribute Review by 4 Chairs Theatre is playing at the Skokie Theatre - Performing Arts Center through August 18, 2024. Tickets can be purchased on the 4 Chairs Theatre website. 

Phone rings, door chimes, in comes Company! The new, gender-swapped revival, that is.

Known more for his fully scored, more epic musicals like Sweeney Todd and Into the Woods, Stephen Sondheim packs a big punch in this unconventional little musical about the dichotomy between single and married life — and it’s as fresh and funny in the 2020s as it was when it premiered in 1970.

Company is hilarious and moving in equal measure. It’s human and messy, yet gloriously refined through Sondheim’s music, lyrics, and storytelling.

Arguably the first musical surrounding a concept instead of a plot, Company opens a Pandora’s box exploring all the trade-offs between being married and being single. The songs and scenes detail the pros and cons of both marriage and bachelorhood, with everything tied together and grounded through the character of Bobbi — played with charisma and vulernability by Britney Coleman — the lone bachelorette in a sea of partnered-up friends, who’s about to turn 35 and is still waffling over what she wants out of life.

The North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade

In the 1970 version, Bobby is a bachelor. In this gender-swapped revival, which premiered in London’s West End in 2018 and on Broadway in 2021, Bobbi is a bachelorette. Both versions are entertaining, enlightening, and have insightful things to say about love. While the 1970 version was, undoubtedly, ahead of its time, the revival brings a modern touch — and a slight Alice in Wonderland flair — that connects the characters to today’s audiences.

The topic of, or should I say battle between, singledom versus settling down is endlessly mineable. Bobbi likes being single because it’s carefree. But after spending time with her married friends, she wonders if she’s missing out on something. Then again, after seeing her friends’ seemingly happy relationships hit rough patches, Bobbi appreciates again the merits of being single.

There’s a song at the top of the show called “Sorry/Grateful”, sung by Bobbi's married friend Harry, explaining how he views marriage. “You’re always sorry / You’re always grateful / You’re always wondering what might have been / Then she walks in”. It’s a wistful, reflective number that speaks to the dissatisfaction we’re apt to feel no matter what side of the fence we’re on.

Derrick Davis as Larry, Judy McLane as Joanne and Britney Coleman as Bobbie in the North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade

The ensemble is strong in this production. The characters of Bobbi’s married friends carry the show as much as Bobbi does. Their conversations and quips about relationships show the true, full, colorful spectrum of married life. The scenes of Bobbi chatting with her friends feel like one-act plays (and, in fact, they kind of are; Sondheim took one-act plays by playwright George Furth and partnered with him to create Company) and show the upsides, downsides, and ridiculous sides to partnering up with someone for life.

Some of the better-known songs include the frantic “Getting Married Today”, sung at breakneck speed by the hilarious Matt Rodin, while experiencing cold feet before his wedding; the instantly recognizable “Ladies Who Lunch”, the 11 o’clock number made famous by Elaine Stritch in the original Broadway production and sung with conviction by the fabulous Judy McLane on this tour; “Another Hundred People”, which serves as a love letter to the chaos of social life in New York City; and “Being Alive”, where everything Bobbi has learned throughout the musical is elegantly summarized.

Don't miss this clever, unique, and truly funny production of one of Sondheim's best.

Company is playing at the Cadillac Palace Theatre at 151 W Randolph St. through November 12, 2023. Tickets at the box office or at BroadwayinChicago.com.

Fall into the blazing ring of fire that is Johnny Cash’s scorching song catalogue at Ring of Fire: The Music of Johnny Cash at Drury Lane Theatre. Part biography, part music revue, and all entertainment, Ring of Fire will take you on a nostalgic, country music-filled journey through the life, times, and songs of American treasure Johnny Cash.

The original 2006 Broadway production of Ring of Fire lasted only 47 performances, likely because it was riding the coattails of the popularity of the 2005 Johnny Cash biopic Walk the Line starring Joaquin Phoenix, and the Broadway musical treats the same story and songs more shallowly and lightly. Drury Lane Theatre brings back this production in a new context, in a new decade, maybe when we need and miss the country music icon more than ever.

Erik Hellman, Roy James Brown, Ron E Rains, Elleon Dobias, Michael Potter. Photo by Brett Beiner

The modest hour and 45 minute run time consists mostly of music, impressively played live by the six-person cast and band, which was one of the biggest highlights for me. Ron E. Rains portrays an older Cash, narrating the story and exchanging meaningful glances with the younger Johnny, played by Michael D. Potter, as he goes through life making music, headlines, and mistakes. 

Using Cash’s songs, small costume and set changes, and short bits of dialogue, the show takes you through Johnny Cash’s life, from his childhood growing up on a farm, to hitting it big in the country music scene, to his drug addiction, to meeting his soulmate June Carter. 

Aja Wiltshire, Michael Potter. Photo by Brett Beiner

The only complaint I could see one having about the show – and maybe why it didn’t last long on Broadway – is how briskly it skims over the rich life story of Johnny Cash. It feels more like a musical review than a traditional musical. It’s even reminiscent of a similar musical, Million Dollar Quartet, about a recording session at Sun Studios with Cash, Elvis, Carl Perkins, and Jerry Lee Lewis that had a home in Chicago for many years in the early 2000s. If you like the music, you’ll be happy. But if you want a more traditional musical with plot and character-driven songs, this may not be the show for you.

Johnny Cash fans will love hearing both hits and deeper cuts from the Cash catalogue, like “Big River”, “Straight As in Love”, “Cry Cry Cry”, “Hey Porter”, “I Still Miss Someone”, “Five Feet High”, “Daddy Sang Bass”, “Get Rhythm”, “Folsom Prison Blues”, and dozens more. Female voices also shine with Aja Wiltshire as a brassy and sassy June Carter and Elleon Dobias as Cash’s heartbroken first wife Viv.

Ring of Fire: The Music of Johnny Cash is playing at Drury Lane Theatre through October 22, 2023. Tickets can be purchased on their website.

Murder, intrigue, and Angela Lansbury: the three universally acknowledged truths that make up a great mystery story. Hell in a Handbag's production of Murder, ReWrote: The Musical Parody at the Den Theatre is the perfect cross-section of drag show and musical. Expect to laugh, cackle, restrain yourself from singing along, and make an immediate tribute to the incomparable Angela Lansbury as you’re reminded of what an icon graced our screens and stages for the better part of a century.

Musical theatre references and camp abound alongside the talented singing and comedic performances. Whether or not you’re a fan of Murder, She Wrote the television show, you’re bound to be entertained outside of all context at Murder, ReWrote: The Musical Parody.

(Left to right) Britain Gebhardt, Grant Drager, David Cerda and Caroline Kidwell in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

In The Den Theatre’s Murder, ReWrote, our favorite comedically reimagined mystery novelist Bessica Feltcher (Jessica Fletcher, in the real ‘80s/'90s TV show) has a harrowing case on her hands: that of a rich hieresses's daughter found dead in the living room of the family mansion.

Who could have done it? Her mother? The maid? Bessica’s hapless nephew Grady? It’s like watching a game of Clue play out in real time, only way funnier.

Britain Gebhardt channels Lansbury in voice, looks, and persona as acclaimed mystery author and amateur detective Bessica Jeatrice Feltcher, aka BJ. The hobbyist slueth finds herself at the center of a whodunit murder mystery leaving everyone wondering, “Who killed Christina??”

The rest of the cast is hilarious and committed to their roles as well, from Grant Drager as Bessica’s goofy nephew Grady to David Cerda's haughty, RuPaul-esque portrayal of heiress June Crayfish.

(Left to right) Mark Bartishell, Caroline Kidwell, Britain Gebhardt, Daniel Hurstand, Cathy Reyes McNamara in Hell in a Handbag Productions’ world premiere of Murder, ReWrote. Photo by Rick Aguilar Studios.

Hell in a Handbag Productions goes all out in this production, from the creative and unexpected ways they adapt a television series to the stage, the thoughtful references to Lansbury’s other work sprinkled throughout, and the loving insults they lob at the corniness of the original TV show.

The music and lyrics by George Howe and Ed Rutherford, along with the direction from Anthony Whitaker, make this musical parody a sparkling one. You can feel the love and attention to detail that went into every joke, reference, and visual gag, showing that this creative team genuinely loves its source material. You can only make fun of something lovingly – and cleverly – if you admire it and respect its merit in the first place.

Murder, ReWrote: The Musical Parody is playing at the Den Theatre through September 16, 2023. Tickets can be bought at the box office at 1331 N Milwaukee Ave or on their website.

*Extended through September 18th

He’s everyone’s favorite optimistic sponge—and he has his own musical. Kokandy Productions' SpongeBob the Musical at the Chopin Theatre is the perfect family summer night out, or the perfect night out for any fan of Nickelodeon’s lovable Bikini Bottom characters.

With bright, colorful costumes and staging, this show is busy and fun to look at. All the blue fringe hanging from the ceiling makes you feel like you’re under the sea, and the costumes invoke the well loved cartoon characters while keeping the looks original and interesting.

(left to right) Frankie Leo Bennett, Sarah Patin, andIsabel Cecilia Garcíai nKokandy Productions’ The SpongeBob Musical. Photo by Evan Hanover.

Living in a pineapple under the sea has never been more stressful. SpongeBob and his friends, the dim-witted Patrick Starr and the bright-witted Sandy Cheeks, take on a volcano that’s about to erupt and threaten Bikini Bottom’s very existence. They get help (and hindrance) from their friends and frenemies, like SpongeBob’s boss Mr. Krabbs and his daughter Pearl, his eternally cranky neighbor Squidward, the Krusty Krabb’s nemesis Plankton and his personified computer wife Karen, plus ever-changing ensembles of other fan favorite background characters from the cartoon.

Normally known for their darker productions, like last year's Sweeney Todd, Kokandy Productions instead brings a bright, colorful, child-friendly story to the stage this summer. But like many of their other productions, there is a high level of inventiveness and physicality in the props and costumes. Directed by JD Caudill, Kokandy's SpongeBob the Musical is an energetic and animated production.

And a lot of that energy comes from the cast, with Frankie Leo Bennett as a lovable and quirky SpongeBob, Sarah Patin as a self-assured Sandy, and Isabel Cecilia Garcia as a dopey but well-intentioned Patrick.

(front, center) Quinn Rigg with (back, left to right) David Lipschultz, QuinnSimmons, Shane Roberie, Maddison Denault, Nicky Mendelsohn, Kelcy Taylorand, TommyBullington inKokandy Productions’ The SpongeBob Musical. Photo by Evan Hanover.

Though the entire cast from the stars to the ensemble are great, my personal favorite is Quinn Rigg as Squidward. Maybe it’s just that as I’ve gotten older I have more of an affinity for the character's cynicism, but Rigg impeccably pulls off the cartoon squid in human form—and even channels John Mulaney. Or maybe Squidward has always sounded like John Mulaney and this show just made me realize it. 

We all know and love SpongeBob, but what about the music? Instead of one composer or a composer + lyricist duo, the score of this show was written by a slew of famous artists, but not reusing their songs in a jukebox musical way. The songs are original, and each one is written by a different artist. There are songs by Panic! at the Disco, Sara Bareilles, T.I., Plain White T’s, David Bowie, The Flaming Lips, Yolanda Adams, Cyndi Lauper, John Legend, and more. So, whether you like the music will depend on what genre(s) of music you like. It takes you from pop to rap to folk to electronic.

It’s a wild ride.

SpongeBob the Musical is playing through September 3, 2023 at The Chopin Theatre. Tickets available at Eventbrite.

Grease has always been, first and foremost, a stage show. And while the 1978 movie with John Travolta and the late Olivia Newton-John is what lives on in pop culture (as it should), Grease arguably works better on the stage, and this version should get more credit.

Drury Lane Theatre’s production directed by Paul Stancato captures the high school of it all—and the 1950s of it all—in a way the film doesn’t. While the film primarily focuses on the love story between Danny and Sandy, the stage show gives near equal time to all the guys and girls in the group, giving the audience a snapshot of an entire high school class with a range of personalities, quirks, and levels of delinquency.

The story is one we're familiar with: boy meets girl, boy gets girl, boy loses girl, boy fights to win her back. But in Grease, it's wrapped up in a 1950s bow, complete with greasers, bobby socks, and early rock 'n' roll melodies. And with the structure of the story and songs in the stage version, more of the ‘50s songs are featured as solos throughout, like Marty’s “Freddy My Love” she sings with the girls as backup at their sleepover, and “Those Magic Changes” sung by Doody and the other teens on the bleachers. In the movie, these songs are crammed into the dance scene with Sha-Na-Na singing them in the background. Onstage, they get to be full-fledged moments.

Cast of Grease at Drury Lane Theatre. Photo by Brett Beiner Photography.

Led by Jake DiMaggio Lopez as Danny and Emily Schultheis as Sandy, the Drury Lane cast brings energy and spectacular voices to the musical we know and love. Standouts of the cast for me, besides the two leads, were Alina Taber as a snarky but surprisingly vulnerable Rizzo, who finally breaks her cool girl veneer in her act two song “There Are Worse Things I Could Do”, and Billy Rude as Kenickie, who can be described in much the same way, playing the tough guy most of the time but the production giving him moments of more raw emotion.

The sets and costumes also shine, with 1950s high school hangouts like the diner, the bleachers, and teenage girls' bedrooms portrayed vibrantly through backdrops and set pieces. And the costumes felt realistic for the time period with, like the sets, a dash of bright cartoon-y-ness to match the energy of the score.

Billy Rude and Alina Taber in Grease. Photo by Brett Beiner Photography.

Stancato says in his director's note in the program that he wanted to bring together the grit and realness of the original Grease with the polish and flash of the movie. I think this production does just that. It acknowledges the audience's love for the movie while respecting the edginess of the original 1971 stage version (which, interestingly enough, premeried in Chicago—where Drury Lane's production is set).

If you like Grease the movie, this show is a must-see.

Grease is playing at Drury Lane Theatre in Oakbrook Terrace through June 4, 2023. Tickets available by phone at (630) 530-0111 or at drurylanetheatre.com.

If you love Rent, you’ll really like tick, tick…BOOM! If you don’t like Rent, you’ll probably still really like tick, tick…BOOM!, because what’s not to like about a great story and a talented cast? If you’ve ever struggled, strived, or attempted to create anything — or even just faced existential crises about getting older — tick, tick...BOOM! is relatable, funny, and heart-wrenching.

It's a musical about artists, for artists (and artist appreciators). It's a love letter to the process, the devasting lows and the ecstatic highs. It's sometimes even a love letter to Stephen Sondheim, who actually mentored the musical's late composer Jonathan Larson and saw great promise in him. (It's also an Oscar-nominated film directed by Lin-Manuel Miranda and starring Andrew Garfield on Netflix. Highly recommend.)

Most importantly, the music is fantastic.

And BoHo’s Theatre’s all trans and gender nonconforming production directed by BoHo Artistic Associate Bo Frazier would’ve made Jonathan Larson proud — it lets a diverse, talented-packed cast shine and captures both the humor and horror of the creative process in equal measure.

Larson’s most well-known and influential musical is 1996’s Rent, but he had another musical in the works when he tragically passed. Tick, tick…BOOM! is a semi-autobiographical, rock/pop musical about a young composer named Jon, who’s living the starving artist life in New York City in the early '90s and trying to get his show off the ground. (Can you smell the Rent? Thematic similarities abound: putting all your eggs in your own creative basket over everything else, roughing it in NYC, struggling with the idea of working to get by vs. working for creative fulfillment, staying true to your passions vs. the perceived soul-sucking of "selling out"... like Rent, there are even voicemails from concerned parents.)

I like to think of tick, tick...BOOM! as baby Rent, and an even more acute story, zeroed in on one man, one artist, his journey to make a difference and be heard, and the few people close to him that accompany him on the way.

BoHo Theatre's Alec Phan plays protagonist Jon as engaging and sweet — he's someone you'd want to be friends with, someone you'd root for. In fact, his friends in the show do. His girlfriend Susan, played with charm by Luke Halpern, and good friend Michael, played with nuance by Crystal Claros, encourage him to see his creative endeavors through, even as they take on boring, corporate jobs and move to the suburbs. It's like they've pinned their hopes on Jon too, like maybe they weren't able to make it, but they believe Jon can.

And, with the retrospect knowledge of Jonathan Larson's musical theatre success, we too wholeheartedly root for Jon and respect his integrity as an artist.

Each of the three cast members has extraordinary singing and acting talent, but the highlights for me were the songs that feature all three performers. The opening number "30/90" where Jon laments turning 30 in the year 1990 (and all that he'd hoped to have already accomplished by this point) and the closing song "Louder Than Words" build to choruses with three-part harmonies and uptempo rock piano — Billy Joel could never —that showcase this powerful blend of voices.

Some other fun ones to look up on Spotify: "Therapy", "Sugar", and "Green Green Dress".

Besides the catchy music, the main thing that drew me to Rent as a teenager was its representative cast. It's not just about one type of person, but a bouquet of different types of people, of different races, different sexualities — the first Broadway musical where the LGBT characters outnumbered the heteronormative characters. While the original iteration of tick, tick...BOOM! featured cisgendered characters and actors, this genderfluid production combines the spirit of both of Larson's creations, giving equal voice to a spectrum of humans and normalizing the marginalized.

One thing’s for certain: Jonathan Larson would’ve loved this production.

Tick, tick…BOOM! is playing at The Edge Theatre at 5451 North Broadway from January 19 through February 5, 2023. Tickets and information here.

You’d think that a 1956 musical about a man who doesn’t like women all that much and the woman who lets him refine and control her wouldn’t hold up in 2022 (especially in light of the recent Roe v. Wade reversal which gives women far less control over their bodies and lives), but surprisingly for that very reason, it does.

Lerner and Lowe’s classic stage musical My Fair Lady — based on the 1913 George Bernard Shaw play Pygmalion — tells the story of Eliza Doolittle, a young flower seller with a thick Cockney accent that all but requires subtitles, and Henry Higgins, an exacting phonetics scholar obsessed with the English language and its various dialects. When he proposes that he could make coarse, street urchin Eliza passable as a duchess within six months, Eliza is intrigued. She shows up at his home asking for speech lessons so she can learn to speak “more genteel” and get hired at a proper flower shop. Thus begins the fraught relationship between Eliza and Henry, their days filled with vowel exercises and an inordinate amount of yelling.

Laird Mackintoshas Professor Henry Higgins andShereen Ahmedas Eliza Doolittle in The LincolnCenter Theater Production of Lerner & Loewe’s My Fair Lady

This 2022 tour of the 2018 Broadway revival features a well-rounded cast, a fantastic orchestra, and gorgeous, lush sets and costumes. Shereen Ahmed in the title role is beautiful, endearing, and sympathetic as Eliza; she’s easy to root for. And she’s done an impressive job mastering Eliza’s uncouth Cockney as well as her polished English accent that first breaks through in the song “The Rain in Spain Stays Mainly in the Plain”. Her counterpart Henry Higgins, played by Laird Mackintosh, is often infuriating with his condescension but reveals enough vulnerability to show he’s capable of being changed by Eliza as much as she is by him.

If you’ve never seen My Fair Lady onstage or the 1964 film starring Audrey Hepburn, you’re still likely to recognize one or two of its songs. “On the Street Where You Live” has been ubiquitously covered, and “I Could Have Danced All Night” is easily the musical’s most recognizable song. Other notable numbers include “Wouldn’t It Be Loverly”, “Get Me to the Church on Time”, and “I’ve Grown Accustomed to Her Face”. There really isn’t a bad song in the show. 

Throughout the production, there’s some subtle birdcage imagery: First, we see that one of Eliza’s few prized possessions is an empty birdcage, and second, the elaborate set for a ballroom scene where Eliza first makes her debut as a high-society lady showcases outlines of peacocks outside of empty birdcages. As Henry suggests at the start of the story, Eliza’s lower-class dialect has held her back in life, trapped her where she is. She’s a woman of wit, charm, beauty, and street smarts, but 1913 London society can’t look past her unpolished appearance or hear past her unrefined, loose-voweled accent. Learning to speak “properly” sets her free, opening her up to worlds she never would have been allowed into before.

Kevin Pariseauas Colonel Pickering,Laird Mackintoshas Professor Henry Higgins andShereenAhmedas Eliza Doolittle in The Lincoln Center Theater Production of Lerner & Loewe’s My Fair Lady

Though Henry’s lessons enrich Eliza’s life, his treatment of her, especially in the first half of the show, is undeniably harsh. In fact, he seems to have a problem with women as a whole. In one of his songs, “I’m an Ordinary Man”, he rants about women’s fickleness and sentimentality, repeating the line, “I will never let a woman in my life”.  I wasn’t sure how audiences would react to this song or the character of Henry Higgins in 2022. 

But as I said, My Fair Lady surprisingly holds up. Because we view the story through a different lens now. In the 50s, they likely laughed with the man and his exasperation with an insufferable woman, and in 2022, we laugh at the man’s outdated ideals — not to mention the woman’s exasperation with the insufferable man.

My Fair Lady is playing at the Cadillac Palace Theatre at 151 W Randolph St. through July 10, 2022. Tickets are available at BroadwayInChicago.com or by entering the daily ticket lottery.

Dancing normally isn't my thing, but literature is. And "The Yellow Wallpaper" by Charlotte Perkins Gilman is, surprisingly, a better candidate than most short stories for a dance interpretation. It starts as something quaint, recognizable, and spirals its way into madness: something dance and music can convey potently.

Gilman's feminist classic "The Yellow Wallpaper" brought much-needed light to the issue of women's mental health when it was published in 1892, and it still sheds light on this often misunderstood experience today.

The postpartum-suffering protagonist of this story wants to be heard, but her husband silences her at every turn — confining her to the house, isolating her from friends, even discouraging her from writing — leaving her anxiety and confusion nowhere to turn but inward. She starts seeing things in the yellow wallpaper of her bedroom. She sees a woman trapped behind bars, her own situation playing out in the wallpaper every night. By the end, she and her hallucination are one and the same. With no other outlet for her emotions, she's turned herself into something flat and silent, but weirdly free.

And to see this all acted out through dance is visceral and wonderful.

This joint production by Chicago Danztheatre Ensemble and RE Dance Group comprises of two shows: "The Attic Room" by RE Dance and "The Yellow Wallpaper" by Danztheatre. The choreography by Michael Estanich and Ellyzabeth Adler, respectively, is desperate and graceful, the characters losing control in one moment and suspiciously, blithely sedated the next. The dance incorporated into the story was emotive and seamless. As a dance dummy, these vague terms are the best I can use to describe it, but what I can say is it made me feel things.

What was an unreliable narrator on paper, too wrapped in her psychosis to describe herself objectively, is now right in front of us, slowly losing it and crying out for help. While "The Attic Room" is more abstract, both productions depict a slow undoing of a character's reality, and the helplessness and confinement of not understanding her own mind.

"The Attic Room" and "The Yellow Wallpaper" are playing November 19th & 20th at 8PM at 1650 W Foster Ave. Tickets at Danztheatre's website.

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.