It will be an invigorating spring if we judge by the number and range of the world-premiere plays and musicals offered by Chicago theater companies. Islam and Judeo-Christianity nearly come into contact in the first two plays on our list, while African-American history also figures strongly. The new musicals favor the women, with Jane Austen and 1920s factory girls taking focus. You might as well give up going to theater at all ( no, just kidding! ) if you can't find something on this list to intrigue you.
The Mecca Tales, through April 12—This world premiere by Rohina Malik was developed in conjunction with the Goodman Theatre and focuses on a subculture within a subculture: five American Islamic woman of diverse backgrounds who meet while making the pilgrimage to Mecca, the hajj, one of the most important of all holy obligations to a devout Muslim. The play is performed with live music, and directed by Rachel Edwards Harvith. At Chicago Dramatists, 1105 W. Chicago Ave.; www.chicagodramatists.org/production-the-mecca-tales
The Good Book, March 19-April 19—Denis O'Hare and Lisa Peterson, the team responsible for An Iliad, attack another Great Book, the Bible. Perhaps "approach another Great Book" is more appropriate, because who knows whether they will attack or defend the Bible? O'Hare and Peterson ( who also directs the play ) are perceptive and powerful poets in their exploration of classical literature, and they have framed the work as an exploration of faith by an adolescent considering the priesthood. The play's journey veers from ancient Mesopotamia to medieval Ireland to suburban America. For this multicultural odyssey, Court Theatre has engaged some of the finest actors in Chicago: Kareem Bandealy, Emjoy Gavino, Allen Gilmore, Erik Hellman, Hollis Resnik, Alex Weisman and Jacqueline Williams. Court Theatre, 5535 S. Ellis Ave.; www.courttheatre.org
The Upstairs Concierge, March 28-April 26—Tremendously gifted stage poet Kristoffer Diaz ( The Elaborate Entry of Chad Deity ) has a new play commissioned by the Goodman Theatre, in which Ella has a new job as concierge on the club floor of a sleek hotel filled with off-the-wall celebrity guests, at least one of whom is gonna' get naked before this farce is over. Diaz takes on fame-obsessed society in a new millennium in which everyone is supposed to be famous for 15 minutes, according to the late Andy Warhol. I don't know about you, but I'm sure ready for MY close-up! The Goodman Theatre, 170 N. Dearborn St.; www.goodmantheatre.org
The Birdfeeder Doesn't Know, March 31-May 16—Vision impairment hasn't prevented Chicago-based author Todd Bauer from establishing a multi-faceted and rich career as playwright, director and teacher. His new world premiere drama concerns an adult son with a disability ( no, not Bauer's own ) who must deal with the needs and demands of aging parents. An exceptional Chicago artist, Jonathan Wilson, is the director for a theater troupe which does very few new plays. This one must have something special going for it. Raven Theatre, 6157 N. Clark St.; www.raventheatre.com
An Issue of Blood, April 3-May 3—Victory Gardens Ensemble playwright Marcus Gardley tackles American history with a play set in 1676 Virginia and focusing on an actual historic figure, a wealth land-owning free woman of color, Negro Mary. Does society segregate her as Black, or empower her by virtue of her property rights? The hype for the play also reveals a secret wedding, an interracial love triangle, and a crime of passion. Hey, it sounds like something for everyone. Victory Gardens artistic director Chay Yew will stage An Issue of Blood. Victory Gardens Biograph Theater, 2433 N. Lincoln Ave.; www.victorygardens.org
The Bloodhound Law, April 17-May 24—Exceptional actor and playwright Kristine Thatcher also tackles a piece of American racial history in this world premiere which completes City Lit's five-year commemoration of the Civil War ( which ended 150 years ago, on April 9, 1865 ). The play's title refers to the vicious Fugitive Slave Act which allowed bounty hunters to seize escaped slaves in the North and return them to Southern captivity. Part of the Compromise of 1850, the law was proposed by Illinois Sen. Stephen A. Douglas ( ironically, buried in what is now a Chicago African-American neighborhood ), famous for his rivalry with Abraham Lincoln. Artistic director Terry McCabe will stage The Bloodhound Law. City Lit Theatre, 1020 W. Bryn Mawr Ave.; www.citylit.org
Sense and Sensibility, April 18-June 17—A big, lavish world-premiere musical based on the more-popular-than-even Jane Austen romantic novel about those dazzling Dashwood sisters. Artistic director Barbara Gaines guides the production and the development of the new work, with book, music and lyrics by Tony Award-nominated Paul Gordon. It's not always a good idea for one person to do book, music and lyrics—even Noel Coward wasn't as good at it as he thought he was—but that's the route chosen for this show. At least we know the founding story is strong and a delight. Let's hope Gordon, Gaines and associates can preserve Austen's cheeky yet romantic tone. Chicago Shakespeare Theater at Navy Pier; www.chicagoshakes.com
Shining Lives: A Musical, May 8-June 14—An extraordinary creative team is creating a world premiere musical from Melanie Marnich's play ( These Shining Lives ) about young women in 1922 who painted watch dials for the Chicago Radium Dial Company ... and what happened to them. The play is a moving and revealing study in history, justice ( eventually ) and female empowerment. With book and lyrics by Jessica Thebus ( also directing ) and music by Andre Pluess and Amanda Dehnert, Shining Lives: A Musical may have the capacity to break our hearts and ennoble us at the same time. Northlight Theatre, 9501 Skokie Blvd., Skokie; www.norhtlight.org
Chalk, May 24-June 28—This rolling world premiere ( that means another company helped develop it and will stage its own production within a few months ) by Walt McGough is a sci-fi fable about a woman who's survived the end of the world. Or has she? Or has the world not ended? And are there monsters? And why doesn't she welcome the return of her daughter? And why does she need that book of spells? Sounds interesting to me. Directed by Megan A. Smith for Sideshow Theatre Company, at Victory Gardens Biograph, 2433 N. Lincoln Ave.; www.sideshowtheatre.org
