Let’s just get this out of the way: this has been one spectacularly bad week for the planet, and thoughts and good wishes go out to the people of Japan. Times like this make me wonder what the role of art can be—and the good folks at Links Hall tackle that question head-on with “To Art and Profit: What Is it Good For? Defining Art’s Purpose Now.” Addressing the role of art in social action, the festival incorporates dialogues and performances and continues April 15-17 and May 20-22. Complete info online.

It’s not for Those Darn Ides—March is now about World Theatre Day. On March 27, theatres around the globe will be asked to share a message with patrons from Jessica A. Kaahwa, a professor at Makerere University in Uganda, on the necessity of theatre as “that universal language by which we can advance messages of peace and reconciliation.” The League of Chicago Theatres will be sponsoring more events for WTD—check their website for updates.

March is also Women’s History Month, and so perhaps it’s fitting that one of the women who has kept the flame of Chicago theatre lit for so long is taking a bow. As reported by Chris Jones of the Chicago Tribune, Abena Joan Brown, who founded and led eta Creative Arts Foundation for over 40 years, is stepping down as president. She will be succeeded by Phillip Thomas, formerly of Chicago Community Trust.

My first visit to Provision last summer did not inspire much confidence. Their production of Godspell was energetic, but not particularly polished. And the selection of their current offering—Shadowlands—was not the sort of choice that gave much hope of innovation.

And certainly William Nicholson’s Shadowlands isn’t the sort of script that is going to do anything but make established theatre-going audiences comfortable. Based on the late-in-life love affair and marriage of novelist C.S. Lewis to American Joy Gresham, this story of affection, unexpected love, and difficult loss, is exactly the sort of fare that’s calculated to appeal to the older, educated, liberal audience that buys the vast majority of theatre tickets.

But what director Tim Gregory’s production has going for it is two exceptional performances from a pair of Chicago stage veterans. And that’s no small thing. Brad Armacost as Lewis and Susan Moniz as Gresham navigate Nicholson’s not-especially-subtle script with practiced ease. And they do a credible job of unfolding an intellectual connection that turns into romantic affection.