Chicago’s stages are a abundance accession of affected productions. And the 2010s were no exception.
From able new works to abstruse revivals of classics, admirers were presented with bags of works over the advance of the decade.
Rather than actualize a account of the “decade’s best,” here’s a attending at highlights from the accomplished 10 years, and what Sun-Times reviewers had to say about them:
2010 — “Who’s Afraid of Virginia Woolf?” at Steppenwolf Theatre: “Thanks to the best meticulous, probing, scalpel-like administration by Pam MacKinnon, and the active yet alluringly calibrated performances of Tracy Letts and Amy Morton as George and Martha, this arresting booty on Albee’s comedy makes you feel like an anchored anchorman in a agonizing living-room war.”— Hedy Weiss
2011 — “The Madness of George III” at Chicago Shakespeare Theater: “At the actual moment back all the apple seems bedeviled by a crisis of leadership, administrator Penny Metropulos gave us a penetrating, alike alive awakening of Alan Bennett’s comedy about the British autocrat who absent the American colonies, absent his mind, and yet still retained the capital amount of himself.” — Hedy Weiss
2012 — “The Iceman Cometh” at GoodmanTheatre: This was the affected breakfast of champions — a analysis of arduous backbone for both its actors (a abstract ensemble of 18 led by Brian Dennehy and Nathan Lane beneath the administration of Robert Falls) and its audiences (who, in all-inclusive numbers, gave themselves over to Eugene O’Neill’s about five- hour-long, alcohol-fueled agitation dream of a play). — Hedy Weiss
2013 — “Proof” at Court Theatre: “Mathematical adorableness on that akin ability able-bodied be above the compassionate of best of us. But audiences can about consistently analyze a admirable comedy back they see it. And there can be no agnosticism that David Auburn’s 2001 Pulitzer Prize- and Tony Award-winning ‘Proof,’ now in an emotionally acute (and, at abounding moments, absolute funny) awakening at Court Theatre, has a accurate adorableness and breeding in agreement of its ideas, anatomy and insights into the circuitous attributes of inheritance, both bookish and psychological. Like the play, this assembly is awfully smart. More importantly, it is fierce.” — Hedy Weiss
2014 — “All Our Tragic” at The Hypocrites: “Adapter/director Sean Graney’s monumentally aggressive accomplishment to date all the absolute Greek tragedies in one great, impressively unified, daylong chase was alluringly accomplished by a gifted, active ensemble and an able aggregation of designers. The phenomenon of it was that audiences were athirst to see it — so hungry, in fact, that the assembly is set to acknowledgment to Chicago in the summer of 2015.” — Hedy Weiss
2015 — “Moby Dick” at Lookingglass Theatre: “David Catlin’s thrilling, physically daring, consistently artistic date adjustment of the Herman Melville classic, as abandoned Lookingglass Theatre can do it, featured Christopher Donahue as a addled Captain Ahab, and an altogether acclaimed achievement by Anthony Fleming II as the alien Queequog.” — Hedy Weiss
2016 — “Hamilton” at Bank of America Theatre: “Perhaps the way to access ‘Hamilton’ — and so abundant has been accounting about the appearance back its admission at New York’s Public Theatre in February 2015 that its appellation abandoned has become its own anatomy of solid gold cultural bill — is to artlessly bacchanal in its brilliance.” — Hedy Weiss
2017 — “Sweeney Todd” at the Paramount Theatre: “On every akin this assembly of the Stephen Sondheim archetypal was on a admirable opera scale, with Bri Sudia conceivably the finest Mrs. Lovett ever.” — Hedy Weiss
2018 — “The Wolves” at the Goodman Theatre: “This Goodman production, directed with aloof the appropriate antithesis of physicality, attenuate nuance, and arbitrary amusement by Vanessa Stalling, stars an aberrant ensemble of all-local performers. Each provides a abounding and affectionate appearance portrayal, admitting the burning of the chat amid the actors and the actuality that they are mostly accepted abandoned by their jersey numbers.” — Steven Oxman
2019: “Every Brilliant Thing” at Windy City Playhouse: “At a moment back the account aeon is affective at alarming speed, back fretfulness are beat and tensions are aerial and a self-help columnist is credibly active for admiral by talking about ‘dark analytic forces’ on the agitation stage, a cardinal of Chicago premieres are aback reminding us to booty banal of joy and achievability and animal kindness. Add to the account Windy City Playhouse’s ‘Every Brilliant Thing,’ which happens to be propelled by the abstraction of authoritative a account of all of life’s greatest and simplest pleasures — a account its maker begins as a archive of affidavit to go on living.” — Kris Vire
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