Kerry Reid

I saw Mara Nelson-Greenberg's Do You Feel Anger? (a “trenchant 2018 satire of office and gender politics,” as Reader contributor Dmitry Samarov

Local stages have been exploring outer space a lot this spring. Lazy Susan Theatre Co.'s production of Nigel Berkeley and Corey Farrell's absurdist moonwatchers was a delightful romp.

Earlier this year, I wrote about Improv: The Play at iO, in which two actors join a team of improvisers to do a long-form show based in part on a real playscript that only one of the actors knows.

Blue Man Group and Teatro ZinZanni are gone. Cirque du Soleil isn't in town this summer. What's a family with some disposable income and a desire for a splashy onstage spectacle to do?

Back in the day, rotating repertory was a hallmark of summer theater in the United States.

A dispute between a white couple and a Latine couple takes on bigger sociopolitical implications in Theatre Evolve's production.

I saw Daryl D. Brooks's Men of Soul the first time at the 2019 National Black Theatre Festival in Winston-Salem, North Carolina.

Despite Second City's roots in improvisational theater, the company's revues both on the mainstage and at Second City e.t.c. have mostly depended

Given the hot weather coming down this week, I may have lucked out in seeing Midsommer Flight's opening weekend of As You Like It on a cool evening at Chicago Women's Park and Garden.

Theater people love bars. Like other second-shift workers, it's second nature for actors or crew members to head to a friendly watering hole to decompress after a late show. Playwrights also love setting plays in bars: as the Goodman's current production of Iceboy! reminds us, one of the most epic masterpieces in American theater history—Eugene O'Neill's The Iceman Cometh —was set in a dive bar.