“The Iceman Cometh,” Goodman Theatre Sure, the NATO thing was a big deal. But only a few blocks away, another event of enormous international significance was going down. The Goodman Theatre’s pummeling production of Eugene O’Neill’s “The Iceman Cometh,” revelatory in its newfound sense of ensemble, saw audience members from eight countries and forty-six states, and became the most successful production in the Goodman’s eighty-seven-year history. Featuring an all-star team of Chicago talent—Marc Grapey, John Judd, Patrick Andrews—theatergoers were also too thrilled to welcome back old friend Brian Dennehy (with all his craggy brilliance), acquaintance Nathan Lane, and new pal Stephen Ouimette (who ripped our hearts out) onto the Albert stage. On Kevin Depinet’s set right out of a postmodern opera, Robert Falls directed a freakin’ five-hour play with a completely sold-out run. Only in Chicago.
Audience Choice: TIE: “Black Watch”/National Theater of Scotland/Chicago Shakespeare, “Death and Harry Houdini”/The House Theatre, “Follies”/Chicago Shakespeare, “The Hunchback Variations Opera”/Theater Oobleck, “The Jackie Wilson Story”/Black Ensemble Theater, “Jitney”/Court Theatre, “Sweet Bird of Youth”/Goodman and “Jersey Boys,” “Kinky Boots” and “Wicked,” all Broadway In Chicago
