O’Neill’s sometimes sobering tale of dreams and drinking problems comes to the Goodman.
Gabriel Kalcheim, Chicago Maroon
Articles
‘The Iceman Cometh,’ bearing cold comfort
Lyric captures grandeur of Verdi’s ‘Aida’
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…
In Mamet’s ‘Race,’ nobody wins
At the Goodman Theatre, David Mamet’s ‘Race’ examines more than just skin color.
The Physicists tests the limits of sanity
A philosophic, political comedy with a not-so-healthy dose of absurdism.
Madness of George III glosses over the true King George
The only source of drama in the Madness of George III is whether the king’s madness will be cured.
Court’s character-driven Women is a play without plot
“Three Tall Women” eschews traditional action-based plot in favor of internal conflict.
As You Like It falls short of the Bard’s expectations
Chicago Shakespeare Theater’s latest production leaves the viewer underwhelmed.
Romeo and Juliet’s stellar cast captures Shakespeare’s subtleties
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.
Modern, yet misguided: Don’t flock to Goodman’s Seagull
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.