Theresa Rebeck’s BERNHARDT/HAMLET, now in its Chicago debut at the Goodman with direction from Donna Feore, is a comedic takedown of gender politics in the theater—and, as an extension, in society at large. Set in 1899, the play is Rebeck’s fictional reimagining of famed French actor Sarah Bernhardt’s experience portraying one of the most canonical roles in the theater: Shakespeare’s Hamlet. Rebeck’s play is often amusing, and her script is full of witty dialogue and one-offs. While the play’s themes surrounding gender roles and how so often women in power are questioned are undoubtedly timely, some of the ways in which those themes manifest in BERNHARDT/HAMLET are rather too pointed. 

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Chicago Shakespeare Theater’s North American premiere of THE KING’S SPEECH is a wholly delightful theatrical affair, rife with British charm. While the Holocaust and World War II certainly loom as reluctant monarch Prince Albert, Duke of York (aka “Bertie”) ascends the throne after his older brother David voluntarily abdicates so he can marry the American divorcee Wallis Simpson, David Seidler’s play itself maintains a cheerful tone. The play focuses on Bertie’s journey to find his voice, both by committing himself to his service as the newly minted king of England but also as he works to overcome his stuttering with the help of eccentric speech therapist Lionel Logue. Seidler’s script suggests, of course, that Bertie wants to do this work so he can become an authoritative and effective leader worthy of England’s citizens. 

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In this season premiere production of TINY BEAUTIFUL THINGS, Victory Gardens Theater is dishing out advice with a spoonful of Sugar. Quite literally, the writer Cheryl Strayed (perhaps best known as the author of the memoir WILD) served as an advice columnist using the pen name Sugar for a column she wrote for the online publication THE RUMPUS between 2010-2012. Here, Nia Vardalos translates Strayed’s book of letters into a stage play.  The script invites Sugar (Janet Ulrich Brooks) and three Letter Writers (Jessica Dean Turner, August Foreman, and Eric Slater,) all to share the same physical space. Director Vanessa Stalling’s staging often places Sugar centerstage, underscoring the fact that the common thread among the characters is that they have all come to her seeking advice. Courtney O’Neill’s charming and serene modern coffee shop set features a rich teal blue color scheme (one will note that even the props themselves are shades of teal), and costume designer Theresa Ham has the cast dressed in a palette of orange and deep blue. The production’s carefully cultivated color palette not only lends the set design a sense of calm—even though the material of the letters Sugar receives is often anything but—and also conveys that all of the letter writers (and Sugar herself) are united by a common humanity and the answers they seek. 

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Steppenwolf Theatre Company’s season opening production of Lauren Yee’s THE GREAT LEAP combines the energy of the final moments of a major sporting event alongside moments of great intimacy and intensity for which the company is largely known. Set designer Justin Humphries has transformed the Upstairs Theatre into a small-scale basketball court, while Keith Parham’s lighting and Pornchanok Kanchanabanca’s clever sound cues (pay close attention to the intermission playlist, as it’s particularly inspired) mimic the spectacle you’d see at a sports stadium. The design is exceedingly clever, and while it doesn’t quite reach the immensity of a Bulls game at the United Center, the production on the whole is a unique theatrical experience. 

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