O’Neill’s sometimes sobering tale of dreams and drinking problems comes to the Goodman.
When the curtain comes up at the beginning of the Goodman Theatre’s production of The Iceman Cometh, eight men are passed out drunk in a 1912 Greenwich Village saloon run by Harry Hope (Stephen Ouimette). There is a bit of…
At the Goodman Theatre, David Mamet’s ‘Race’ examines more than just skin color.
A philosophic, political comedy with a not-so-healthy dose of absurdism.
The only source of drama in the Madness of George III is whether the king’s madness will be cured.
“Three Tall Women” eschews traditional action-based plot in favor of internal conflict.
Chicago Shakespeare Theater’s latest production leaves the viewer underwhelmed.
Whereas we exalt Shakespeare’s late tragedies of perturbed noble statesmen—Hamlet, Othello, Macbeth, and King Lear—we too often write off Romeo and Juliet as one of Shakespeare’s early attempts at tragedy, lacking the depth of his mature genius.
Society’s repressive power to confine individuals to a single role and to define them only in terms of that role is the heart-wrenching theme of Anton Chekhov’s The Seagull, re-imagined for the Owen Stage of the Goodman Theatre.