Amadeus ***
“Amadeus” might look like a 1979 drama about two rival composers in the Austrian court, but it’s really a meditation on genius, mediocrity and, above all, jealousy. It’s a very savvy, literate and pleasurable play, like all of Peter Shaffer’s plays, and Gary Griffin’s rich revival has enigmatic central performances from Robert Sella as Antonio Salieri and, especially, young Robbie Collier Sublett as Wolfgang Amadeus Mozart. Through Nov. 9 at the Chicago Shakespeare Theater on Navy Pier; $54-$70 at 312-595-5600.
Buddy: The Buddy Holly Story ***
There are no surprises with this popular but thin jukebox musical. But I’ll say this: The people at Drury Lane found a Buddy for their “Buddy.” And when you have this level of Buddy — the handsome, young Justin Berkobien — coupled with several other good buddies, you can offer fans of the Holly oeuvre a very good time. Through Nov. 2 at Drury Lane Water Tower, 175 E. Chestnut St.; $45-$55 at 312-642-2000.
Campaign Supernova ***
Second City e.t.c. has to be sufficiently edgy that Second City doesn’t seem in a rut, but when the mainstage sells out, it also has to deliver laughs. As directed by Matt Hovde, “Supernova” straddles those conflicting masters as well as Democrats screw up elections. Through Dec. 31 by Second City e.t.c., 1608 N. Wells St.; $19-$25 at 312-337-3992.
Caroline, or Change ****
Charles Newell’s gripping production of Tony Kushner and Jeanine Tesori’s risky, serious and mostly melancholy musical about racial and domestic discontent in 1960s Louisiana was greeted by a bigger roar of approval than I’ve heard in 15 years of shows at Court Theatre. There’s an extraordinary performance in the central role from E. Faye Butler, here grappling with the struggle of an African-American maid of a well-meaning Jewish family. Through Oct. 19 at Court Theatre, 5535 S. Ellis Ave.; $40-$60 at 773-753-4472.
Co-Ed Prison Sluts ** 1/2
“Prison Sluts” is a filthy show. It wallows in the seedier side of life behind bars. But it ran for years in the 1980s and was significant in the development of Chicago comedy. It’s good to see it back. No inappropriate subtlety has been added to the mix. Older, yes. Classier, no. Huzzah! Through Oct. 31 at Annoyance Theatre, 4830 N. Broadway; $15 at 773-561-4665.
Dave DaVinci Saves the Universe ***
Here’s why I like the House Theatre of Chicago’s show: The time-traveling hero actually knows that every time he goes back or forward in time, he sets off a cascade of self-canceling possibilities. It’s a comic book yarn with an emotional hook. Dave DaVinci (Stephen Taylor and Dennis Watkins) and his wife Nora (Stacy Stoltz and Carolyn Defrin) want to travel through time to prevent the suicide of their teenage daughter (Paige Hoffman). Through Nov. 8 at the Chopin Theatre, 1543 W. Division St.; $25-$29 at 773-251-2195.
Dr. Egg and the Man with No Ear ***
If you think visual theater is all sweetness and whimsy, consider “Dr Egg.” A man, his wife and baby have a terrible bike crash. The woman is killed. The baby is threatened. And a beast bites off the man’s ear. From there, this show ponders DNA, genetics and life with only one ear. Visiting Australian artist Jessica Wilson is behind this provocative and creative play — it has more polish than anything I’ve seen at Redmoon in years. Through Oct. 19 at Redmoon Central, 1463 W. Hubbard St.; $15-$25, 312-850-8440.
The Glass Menagerie ***
Shattered Globe is one of the few American theater companies headed by a designer. To see the payoff, witness Kevin Hagan’s unusually cast but quite beguiling revival of Tennessee Williams’ classic, which immerses the audience in such an intense visual and audio landscape, it triggers a strong emotional reaction in a theater where the action unspools just a few feet away. Through Nov. 2 at the Greenhouse, 2257 N. Lincoln Ave.; $20-$35 at 773-871-3000.
Jacques Brel’s Lonesome Losers of the Night *** 1/2
Theo Ubique’s beguiling and splendidly sung little show by Fred Anzevino and Arnold Johnston sets Brel’s songs in a bar on an Amsterdam wharf, circa 1959. The No Exit Cafe is so close to the rumbling “L,” you can hear when the doors are closing. But Anzevino’s subtly toned show still is positively bursting with the aura of European dislocation and humanistic emotional oomph. . Through Oct. 26 at No Exit Cafe, 6970 N. Glenwood Ave.; $20 at 773-370-0235.
Jersey Boys ****
As the music of the Four Seasons and their rise from Newark to the top of the pop-music charts, this Chicago production delivers a smash-hit adult night out for a city that understands Jersey better than most. Open run at the Bank of America Theatre, 18 W. Monroe St.; $30-$150 at 312-902-1400.
The Mark of Zorro ***
Lifeline Theatre has cornered the market on swashbuckling literary adaptations. In an original adaptation by Katie McLean remounted at Theatre Building Chicago, “The Mark of Zorro” is an uncommonly good time for anybody older than 10. The secret weapon in Dorothy Milne’s production is the young actor James Elly, who manages to convince as both fop and superhero and delivers a killer sword-fighting performance. Through Nov. 23 at Theatre Building Chicago, 1225 W. Belmont Ave.; $30 at 773-327-5252 .
Picnic ****
William Inge’s characters know they’re pretty for 30 seconds. They know mistakes in love and sex aren’t easily eradicated. And they know the chance for lifelong happiness comes and goes in a flash. David Cromer, an exceptionally talented stage director, knows this too. His devastating, brilliantly cast “Picnic” goes directly for the jugular, albeit by way of a throbbing sensuality that deftly acknowledges the other side of Inge. Through Nov. 16 at Writers’ Theatre, 325 Tudor Ct., Glencoe; $50-$65 at 847-242-6000.
The Threepenny Opera ** 1/2
The fearless Hypocrites bounce out of the autumnal starting gate at the Steppenwolf Garage, sending a thrilling rush of passionate, Brechtian energy through a soul weary from summer distractions. This is a juicy, risky, no-holds-barred, only-in-Chicago version of Bertolt Brecht’s tale of Mack the Knife and his corrupt world of vice. The mostly young cast can’t do full justice to Kurt Weill’s famous score. But they never betray a note of insecurity or falsity. And Sean Graney’s production has guts. Through Oct. 12 at the Merle Reskin Garage Theatre, 1624 N. Halsted St.; $10 at 312-335-1650.
The Voysey Inheritance *** 1/2
On the weekend of the banking meltdown, Remy Bumppo had the good fortune to open a very fine production of “The Voysey Inheritance,” a period story of a family whose brilliant but reckless patriarch fudges the books of its investment firm. It’s updated in typically devilish fashion by David Mamet — a writer who embraces the free-market ethos with relish and, when necessary, is uniquely equipped to send it down the river, barge aflame. Under James Bohnen’s astute direction, the acting is top drawer. Through Nov. 2 at the Greenhouse, 2257 N. Lincoln Ave. $35-$45 at 773-404-7336.
Weekend ***
Talk about weird topicality — events in Gore Vidal’s “Weekend” revolve around a pragmatic, populist Republican senator whose presidential ambitions are threatened by his rebellious son’s romance. This is now a strangely revealing and unashamedly juicy show that exposes the increasing rarity of a well-made, smart-night-out comedy that keeps you entertained and stimulated. A lively and mostly effective TimeLine Theatre cast keeps things bubbling along under Damon Kiely’s direction. Through Oct. 12 by TimeLine Theatre Company, 615 W. Wellington Ave.; $25-$35 at 773-281-8463.
Wicked *** 1/2
Blond girl. Green girl. Tragically beautiful sister. Love interests. Goat. Wizard. All are in fine Midwestern fettle. This self-aware, grrrl-friendly pop musical is Chicago’s most prominent and profitable theatrical attraction, though it won’t be around forever. Through Jan. 25, 2009 at the Oriental Theatre, 24 W. Randolph St.; $32-$90 at 312-902-1400.
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HOTTEST TICKET
This one hits home
Our Town **** David Cromer’s astounding, revisionist production of Thornton Wilder’s classic is back for the fall. In the jaw-dropping third act, which makes some truly shocking and inspired conceptual choices, I found myself saying “Oh, my God” to no one. This “Our Town” hit me that hard. If your tastes run to shows that make you stare right in the face of your own mortality and inability to prioritize what really matters in life, your own petty obsessions and jealousies, then go and see this show.
Through Oct. 26 by The Hypocrites at Chopin Theatre, 1543 W. Division St.; $20-$25 at 773-472-7352.
