"Back for Blood: Never Whistle at Night Part II" is a compelling sequel to the acclaimed Indigenous anthology edited by Shane Hawk and Theodore C. Van Alst Jr.

Kevin Webb stars in Conor McPherson's solo play about a frustrated middle-aged theater critic who falls in with a band of vampires.

A real-life protest against Angels in America forms the backdrop for Eric Coble's satirical comedy, now in a Chicago premiere with Tin Drum.

Fleetwood-Jourdain Theatre's revival of a play about a family of Black women quilters in Alabama focuses on family and community.

Edward Torres and Archana Vaidya take over as interim leaders of the embattled company as it seeks to reestablish itself in Chicago’s theatre scene.

A reflection on the vastness of The Great Lakes through poems, essays, and personal stories set in Belt Publishing's newest anthology.

Every winter, Chicago becomes the epicenter of the puppet theater world. Here are some titles and companies not to miss.

The organization provides financial assistance to artists experiencing illness and injury.

With music by Matthew Sklar and lyrics by Chad Beguelin, the Christmas cheer is dialed up to 11 in the familiar story of a human raised in the North Pole who travels to New York.

’Tis the season when Chicago’s stages give way to Ebenezer Scrooges, George Baileys and Nutcracker princes — plus, the sounds of klezmer, flamenco, bluegrass and Motown.

If passed, Chicago Public Library will lose half their budget for acquiring new books and materials.

The Chicago theatre is looking back, while forging ahead.

Ashland Avenue , by Lee Kirk, runs at the Goodman Theater in Chicago.

A look at Belt Publishing's new book "The Rockford Anthology" through the eyes of a writer reconsidering their relationship to their hometown.

The El, by Theodore C. Van Alst Jr., is a semi-autobiographical novel set over the course of one scorching day in Chicago, August 1979.

The audience, limited to 15 people per performance, embark on a journey through the United Church of Rogers Park’s nearly 100-year-old building.

Lauren Gunderson pens the play which is now running at Chicago Shakespeare Theater.

Phillip Howze’s experimental, often confounding play, draws on theatrical traditions of absurdism, burlesque and commedia dell’arte to satirize a slew of Western interlopers.

Cynthia Marker’s solo performance as the unnamed narrator holds the audience in rapt attention for its 100 minutes.

The school-age aardvark of Marc Brown’s children’s books and long-running animated series finds his muse in a new musical in Lincolnshire.

Is this latest tour up to the task of carrying on a beloved Disney musical? As directed by Matt West, yes, it is.

Director Peter G. Andersen’s outdoor summer production leans into the antics and physical comedy at the expense of passion.

The play by Noah Diaz runs until July 20 at Chicago's Steppenwolf Theatre Company.

Founded last year, the True Colors drag group continues to expand both its roster and fan base.

This new adaptation of the 1898 H.G. Wells novel has many of the hallmarks of a campy sci-fi B movie: cheesy dialogue, exaggerated stock characters and visuals with low-budget charm.

Don’t miss a rare chance to see Samuel Beckett’s 1957 play, directed here by Yasen Peyankov.

With Gender Play, Wilhelm aims to create a relaxed, welcoming atmosphere that feels more like a collaborative event than a formal evening in the theater.