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Many dance choreographers seek to expand their medium through inventive collaborations.

Chicago's reputation as a place where New York shows are born has come a long, long way from the occasional shot 20 years ago to a regular parade of productions nowadays.

Some people called the Chicago theater of the early ‘70s “rock ‘n’ roll,” some called it “scratch ‘n’ sniff.”

With over 800 shows each year, Chicago theater companies often jostle in vain to open their shows on a night when no other show is opening. At least several times a year, theater critics face calendars crammed with a dozen or more new productions opening in a three or four day stretch.

The buzz about the changes at Chicago's Department of Cultural Affairs—which will be merged into the mayor's Office of Special Events at the end of the month—and the subsquent resignation of its longtime head Lois Weisberg, inspired this week's Paper Machete.We asked Carrie Kaufman to sp

When a play is deemed Kafkaesque you’re likely in for themes of alienation, scenarios of nightmarish distortions, and hints of evil floating around the edges.

  What drew director Max Truax to Heiner Muller’s forbidding “Hamletmachine”? Until Trap Door’s current production, it hadn’t been performed in Chicago since 2001, when an Argentine company did its puppet adaptation here.