Shattered Globe and Interrobang Come Together for the Chicago Premiere of ‘This Wide Night’

After 15 years behind bars, Lorraine (Linda Reiter) is a free woman, and she immediately sets out to reunite with her former cellmate Marie (Aila Ayilam Peck). It’s just like old times, which comes as both a relief and a concern for the two formerly incarcerated women struggling to rejoin society after imprisonment. This Wide Night by Chloë Moss is the story of a female friendship that was forged by unavoidable intimacy. Locked safely within the dingy walls of Marie’s studio apartment, Interrobang’s Managing Artistic Director Georgette Verdin joins Shattered Globe Theatre and taps into the lifesaving bonds that make it possible to survive life’s hardships.

Aila Ayilam Peck and Linda Reiter carry the weight of this two-woman play with remarkable skill and instinctive teamwork. Peck’s heartbreaking performance as an abandoned woman with a history of substance abuse has the power to pull the audience’s attention – until Reiter comes barreling onstage to break the tension with a hilariously jolting exclamation. Over the course of the play, the distance that has grown between the two after Marie’s release steadily closes. What at first seems like an almost comical inconvenience transforms into a codependent and deeply intimate relationship. Peck and Reiter establish a tragically beautiful connection that transcends their generational divide. Whenever one of them is missing from the stage, the world feels a little wrong.

Continue reading “Shattered Globe and Interrobang Come Together for the Chicago Premiere of ‘This Wide Night’”

East West Players’ ‘The Sitayana’ views the world through the eyes of a deserving heroine

Originally postponed from May 2020, Lavina Jadhwani’s The Sitayana (Or, How to Make an Exit) is a captivating retelling of the Ramayana which breaks from the original Sanskrit epic by centering Princess Sita rather than her husband Prince Ram. Directed by Reena Dutt and Produced by the East West Players, EnActe Arts, and Hypokrit Productions, this one-woman show dares to be as joyful as it is probing, and to explore the question: can a loving partnership survive the demands and expectations of idealized womanhood?

At the beginning of the play, the teenage Princess Sita (played on alternate nights Nikita Chaudhry, Sheetal Gandhi, and Minita Gandhi) eagerly awaits the man who can string Shiva’s bow, the man whom the gods have deemed worthy to wed her. Her prayers are answered in the form of young Prince Ram, who whisks her away to his kingdom of Ayodhya, where he vows to Sita that he will forever stay by her side—not just as her husband, but as her friend. Sita’s idyllic life in Ayodhya is short lived. When Prince Ram is ousted from his kingdom, she remains true to her dharma and follows him into exile, where her loyalty and fortitude is put to test after test.

Continue reading “East West Players’ ‘The Sitayana’ views the world through the eyes of a deserving heroine”

Theo Ubique Cabaret Theatre’s ‘Songs For A New World’ is a Refreshing and Revivifying Comeback for In-Person Theatre

I arrived at Theo Ubique Cabaret Theatre about an hour before curtain for Songs For A New World.. I expected to grab my playbill and head to a local shop for a bite to eat before the play. Instead, I was seated at a round table and given a menu. The last time I had been to a live theatre show was February 2020. I let the nostalgia take hold and let myself bask in the quaintness of storefront theatre. I found myself content and satisfied that Songs for a New World, directed by Fred Anzevino, was my first show back.

Featuring a stripped back set (James Kolditz) with only a huge moon to background the performances, Anzevino’s production is an unembellished and sincere approach to a musical that could easily veer into the overwrought.  By focusing on the actors’ chemistry and performances, Anzevino allows for the lyrics and music to take the foreground. The musical lacks a singular plot and neat-and-tidy character development. Instead, each number works as a stand-alone vignette. What ties the numbers together are that each character sings about moments in their lives that have shaped or affected them in significant ways. Whether on the cusp of a happy moment, or on the brink of a devastating tragedy, each number feels like an invitation. “The River Won’t Flow,” by Man 1 (Eustace J. Williams) and Man 2 (Matthew Hunter), reminded me of the moments in my life where I felt like nothing I did would change my bad outcomes, and  “I’d Give It All For You,” sung by Man 2 & Woman 1 (Nora Navarro) reminded me of the loves in my life I could never turn my back on. In the last few months, I’ve only been able to think of all that I’ve lost. This production was an aesthetic prompting of all the life that has been lived and that will be lived in all the futures. Life has been more than this pandemic, and will be more than this pandemic.

Continue reading “Theo Ubique Cabaret Theatre’s ‘Songs For A New World’ is a Refreshing and Revivifying Comeback for In-Person Theatre”

‘Mr. Burns, a post-electric play’ at Theater Wit Finds Power in Escapism

An audience that has been stuck inside our homes for the past year is no stranger to the rewatch. There’s something comforting about revisiting a favorite show, especially when you’ve exhausted anything new that Netflix has to offer. After Disney+ fixed their terrible aspect ratio problem, that show for me was The Simpsons. There are some episodes that I know by heart, and others that I was thrilled to rediscover. There is something about a global collapse that just makes you want to curl up on the couch with your favorite four-fingered family. Theatre Wit takes this desire out of your living room and onto the stage with a colorful revival of Mr. Burns, a post-electric play by Anne Washburn.

Something seismic has happened and the power is gone. Without electricity, modern society crumbles. Survivors who have lost everything work together to salvage the only pieces of their world that remain, the episodes of The Simpsons that they kinda remember. Playwright Anne Washburn, with music by Michael Friedman, explores how stories and pop culture may evolve when society starts over. Washburn roots the script in what is arguably one of the greatest Simpsons episodes of all time: “Cape Fear.” What begins as a few strangers around a fire exchanging punchlines becomes a traveling theatre troupe, which in turn becomes an epic operetta.

Continue reading “‘Mr. Burns, a post-electric play’ at Theater Wit Finds Power in Escapism”

An Open Letter to the Chicago Theatre Community about Metropolis Performing Arts Centre

Last month, Rescripted received an email from an anonymous theatre artist with the subject ‘Time’s Up Metropolis.’ In the email were anecdotes collected from a large number of actors, directors, and various other theatre artists, which spoke of the culture of harassment, intimidation, and unsafe working conditions at Metropolis Performing Arts Centre in Arlington Heights.

We are currently working on a long-form piece about Metropolis and will be applying our resources to investigate these matters more thoroughly. If you have worked at Metropolis and have a story you would like to share (anonymously or otherwise), please email us directly at rescriptedreviews@gmail.com. If you are a victim seeking community and support, you can also check out the Time’s Up Metropolis Facebook page.

Below is an open letter from Lauren Berman — a long-time director at Metropolis — who offers up her experience in the hopes of bringing these issues into the spotlight.


Continue reading “An Open Letter to the Chicago Theatre Community about Metropolis Performing Arts Centre”

Theatre Y’s ‘YOU ARE HERE: The Emerald Camino Project’ is a Radical Reimagination of What Live Theatre Can Be

For Chicago’s theatre community, the past year and a half has been marked by reckoning. As companies postponed shows and shuttered their doors, artists and theatre-goers alike were forced to mourn some of the most fundamental elements of live theatre: shared space, spontaneity, gathering. Now that live arts are beginning to return to Chicago, the question looms: how will theatre companies grow to incorporate the perspective gained over the past year?

Theatre Y’s YOU ARE HERE: The Emerald Camino Project has an ingenious answer: by making the lost experience of gathering the performance itself.

YOU ARE HERE: The Emerald Camino Project is a month-long series of ambulatory performances held across twelve neighborhoods connected by Chicago’s Emerald Necklace in the South and West Sides. The performance itself feels like a delightful cross between a walking tour, a chaperoned blind date, and an immersive art piece. Before setting out, each participant is paired with a stranger and a Theatre Y actor. The actor guides the two through the walk and facilitates conversation between the two. Led by actor Haman Cross III, the groups walk through the neighborhood, visiting landmarks, listening to presentations by community leaders, and enjoying performances by local artists (in North Lawndale, the performers were high-school-aged rapper Marcus Quinn Jackson and Willie Round, a.k.a. Prince Roc, a rapper and poet gifted with a resonant bass voice). Continue reading “Theatre Y’s ‘YOU ARE HERE: The Emerald Camino Project’ is a Radical Reimagination of What Live Theatre Can Be”

‘School Girls’ Naturally Shines as In-Person Theatre Returns at The Goodman

After opening on March 7, 2020 and enjoying five exciting previews, School Girls; Or, The African Mean Girls Play closed due to national and global strictures regarding the Covid-19 pandemic. The production was set to be a warm return to the Goodman stage for Ghanaian-American playwright Jocelyn Bioh and seasoned Chicago director Lili-Anne Brown, whose most recent triumph of I Hate It Here has us all wondering where Brown keeps her magic wand.

Throughout the pandemic, so many communities experienced a multitude of loss, and the Chicago theatre community is no exception. We saw not only show cancellations and postponements but many theater closures – with many companies still presently struggling to come back. We also experienced a swarm of social unrest in Chicago and throughout the country that called for the unequivocal support of all black and trans lives. The Goodman reopens their doors with a production not only written and directed by black women, but with an entire cast and team made up of mostly black women. I can’t help but wonder if this production’s 506-day sabbatical was a fated occurrence meant to center our return to the theatre around the gifts and powers of black women.

Continue reading “‘School Girls’ Naturally Shines as In-Person Theatre Returns at The Goodman”

Sideshow Theatre Company Offers Artistic Residency to Playwright Preston Choi

CHICAGO (July 22, 2021) – Sideshow Theatre Company has announced they will be offering a nine-month artistic residency to Chicago-based playwright Preston Choi. Through the residency, Sideshow will provide Choi with artistic and dramaturgical support as he develops his full-length play Drive-In to the End of the World. The residency will culminate in March 2022 with a reading of Choi’s final script. This residency strengthens the existing artistic partnership between Sideshow Theatre and Choi, who had previously been selected to participate in Sideshow’s new-play development program, “The Freshness Initiative.”

Artistic Director Regina Victor expressed their excitement for Sideshow’s continued partnership with Choi: “Preston originally joined us in collaboration for The Freshness, but as many of us have experienced, quarantine and working remotely have drastically altered the process. We have instead decided to innovate and devise a residency that would once again center this talented playwright, whom we are fortunate to host. This was a thrilling opportunity to take a step back from the capitalist mindset and center ourselves in practices of process over product and the limitless potential world-building of Black Radical Imagination.”

Continue reading “Sideshow Theatre Company Offers Artistic Residency to Playwright Preston Choi”

“I Hate It Here” Heralds a Fresh New Wave of Theater Innovation

“How do we capture something that is fundamentally, profoundly, a live experience?” – Lili-Anne Brown asks the audience in her pre-show interview at one minute to curtain. I Hate it Here by Ike Holter is Brown’s savvy answer to theatre’s existential dilemma.

A title slide appears: ‘Going live in a few moments,’ which marks the beginning of the incredible adventure you’re about to see. Shot in the style of a 90s sitcom, a reality TV show, or the live medium of Saturday Night Live. Release your need for linear storytelling and let Ike Holter and the cast and crew of I Hate It Here take you on a grief, rage, and pandemic fueled fever dream that will have you laughing and crying for 80 minutes straight.

Did I mention it’s all live? Continue reading ““I Hate It Here” Heralds a Fresh New Wave of Theater Innovation”

Founding Artistic Director of Writers Theatre Michael Halberstam Resigns

The Founding Artistic Director of Writers Theatre, Michael Halberstam announced in a press release today that Halberstam has resigned from his role at the theatre.

“It has been an honor and a joy to lead Writers Theatre for the past 30 years. I am proud of the strong working relationships I have created with some of the field’s finest practitioners. I am grateful for their many years of unparralleled artistry and the work we have created together. I am fortunate in having served one of the finest audiences a theatre could ask for and particularly for having  diversified our stages in the past five years. I am also profoundly grateful to our board of trustees, our superb staff, and the donors and patrons of Writers Theatre,” Halberstam said in his resignation statement on 7/14/2021.

Halberstam’s resignation marks the end of his 30-year artistic leadership career and stewardship of Writers Theatre, including the establishment of their new theatre building in 2016. Halberstam and Writers Theatre leadership state “now is the time to look forward, to create pathways for new voices and stories, and to build for the next 30 years.”

The Board, Halberstam, and the Writers Theatre leadership team, led by Executive Director Kathryn Lipuma, have begun a transition process with the best interests of the theatre, staff, artists, and its patrons at the forefront. Writers Theatre had received complaints about Halberstam’s workplace conduct and allegations of sexual abuse. Similar community concerns had previously voiced by local journalists about Halberstam’s sexual abuse and workplace harm allegations, while local artists have also been vocal on Facebook and Twitter.

The press release states, “the timing of Halberstam’s departure signals Halberstam and Writers Theatre’s desire to preserve the goodwill of the theatre and to continue to ensure a respectful workplace for all.”

A national search will be conducted for a new artistic director. Writers Theatre has appointed their long-time Director of New Work and Dramaturgy, Bobby Kennedy, to be the interim artistic director during the search. Plans for the Writers 2021/2022 season will be announced in late August 2021.

Resignations, and endings, are not always bad things. Sometimes they are necessary for the future to grow and truly be able to take root. The We See You White American Theatre Demands have a section that actually suggests leaders should consider resignation after 20 years. Harm reduction, safety, and securing a future for our artists are beneficial reasons to consider making staffing changes. We at Rescripted are sending our love out to our community as we undergo these leadership changes. Whether they inspire excitement or fear, hold the faith that we are constantly improving on ourselves. Our institutions can handle change, and I know from experience, it’s only going to make us better.