Airline Highway is about community. D’Amour focuses the play not on their pain, but on their joy and celebration of a life fully lived, using the “living funeral” as a landscape to highlight her nuanced characters and their complex relationships.

Based on interviews with local teachers and students about the current educational climate, Forgotten Futures creates space for discussion of the dysfunction plaguing Chicago Public Schools.

At this historic moment in which it is still quite dangerous to be a black man in the United States, Native Son offers an important provocation. For all the world has changed since 1939, the production asks us to take a good hard look at what has not.

"All Our Tragic," adapted and directed by Sean Graney and produced by The Hypocrites at the Den Theatre in Chicago, features all thirty-two surviving Greek tragedies by Aeschylus, Sophocles, and Euripides compiled into a single twelve-hour epic. It includes seven intermissions of varying lengths and a vegan feast of Mediterranean food is served throughout. The result is rather like a contemporary version of a Dionysian festival.

Dani Snyder-Young writes about Conor McPherson’s new version of August Strindberg’s The Dance of Death, at the Writers Theatre.

Dani Snyder-Young writes about Generation Sex, a devised piece from Teatro Luna looking at misogyny, violence, Latina identities, modern femininity, and more.

Dani Snyder-Young writes about the 2014 Chicago Home Theater Festival, which places participatory performances inside private homes.

Dani Snyder-Young writes about the Chicago-based Albany Park Theatre Project, a youth theatre ensemble. She reviews APTP's 2014 remounted production of God's Work, at the Goodman Theatre.

Dani Snyder-Young writes about the intentional diversity she witnessed in five of the 2014 Humana Festival productions.

Dani Snyder-Young reviews the (now closed) Next Theatre Company production of Kirsten Greenidge’s Luck of the Irish in the context of Evanston, Illinois

Dani Snyder-Young looks at the world premiere of Joel Drake Johnson’s Rasheeda Speaking, and reflects on seeing a play about race, with a mostly white audience. 

Dani Snyder-Young reviews Silk Road Rising's world premiere of Motti Lerner's Paulus, and explores the modern ramifications for a play about religious inclusivity in Israel.

Dani Snyder-Young reviews Steven Simoncic’s Broken Fences at 16th Street Theater, and highlights the play's message... and how audiences have failed to recieve it.

Dani Snyder-Young reviews Janine Nabers' Annie Bosh is Missing at Steppenwolf Theatre Company.

A look into how director Mary Zimmerman brought The Jungle Book, steeped in racial contexts of British Colonization and 1960s America, to today’s conversation of what has and hasn’t changed.

Dani Snyder-Young writes about The Miss Neo Pageant, and how - even though the ideas presented permeate much of the media about women - we still struggle with the ideas of female competition, jealousy, and distrust.

Dani Snyder-Young discusses The Happiest Song Plays Last by Quiara Alegría Hudes, and asks: how do we invite diverse audiences into this exploration?

Jeff Augustin’s Cry Old Kingdom takes place in Haiti, 1964 during François "Papa Doc" Duvalier's reigme. Dani Snyder-Young reviews the 2013 Humana Festival production with an eye towards its theme of sacrifice, and the actor-audience power dynamic.