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Terry Guest and His Magical Negroes Declare Marie Antoinette the Ultimate Karen at the Story Theatre

In a world where women’s rights are under attack, it struck me as peculiar to witness a story about a white woman who in spite of all her wealth and privilege, found time to complain. . . a lot. In a country where 53 percent of white women voted for Donald Trump, it also struck me as peculiar to witness a story about a white woman who feels paralyzed within the comforts of her gilded patriarchy. Luckily, no one masters the peculiar quite like Terry Guest.

The Story Theatre, in its second season, has mounted a theatrical feast with Marie Antoinette and The Magical Negroes. Written and directed by resident playwright Terry Guest, the play chronicles the life and eventual demise of the last queen of France. The production features an ensemble of mostly black actors (sans the two who play Marie Antoinette and King Louis XVI) and begins with the façade of a boarded up storefront with the words “This is not history” written broadly across the wall. While this image alludes to days of civil unrest past and present, it functions mainly as an omen that Guest will not be exploring history verbatim, but expanding upon the ripples that provoke the waves of change throughout history. Though much of the action of the play takes place in France from 1774 to 1793, it wouldn’t be a Terry Guest production without transcending time and space. Marie Antoinette explores the continuum of political resistance by taking us to New Orleans, Haiti, Chicago, and even Texas; anywhere where violence and resistance have mingled to create radical change.

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‘Pump Boys and Dinettes’ at Porchlight Music Theatre radiantly outshines its script

Porchlight Music Theatre kicks off its 27th season with what it calls a “a country fried phenomenon,” and I can assure you it is precisely that. Set in a North Carolina diner/filling station somewhere off the highway, Pump Boys and Dinettes provides a scintillating peek into the lives and relationships of the guys and gals of the Double Cupp Diner.

Featuring a creative team that consists of core members of Chicago’s Black Ensemble Theatre, this production is a love letter to hometown hospitality and nostalgia. Daryl D. Brooks’ direction is straightforward and concert driven, and works in smooth cohesion with the distinctive and stellar music direction by Robert Reddrick. The choreography by Rueben D Echoles gives the musical numbers an easygoing feel, and never distracts from the vocal prowess of the ensemble. The production stays devotedly true to its backroad roots, shying away from the modern audience’s expectations at every turn. While the book does very little to build the world of the play or illuminate its characters, the score distracts from the musical’s more shallow notes and eventually builds to a very heartfelt goodbye.

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‘Fannie (The Music and Life of Fannie Lou Hamer)’ returns to the Goodman Theatre, bigger and better than ever

I first saw Fannie during its tour of Chicago city parks in the fall of 2020. Since that abridged version, the play has gone on to be enjoyed by audiences in Seattle, Washington D.C, Sarasota, Florida and Ashland, Oregon. Written by Cheryl L West, this one-woman play with music exalts the life and workings of civil rights activist Fannie Lou Hamer.

Hamer was central to the founding of both the National Women’s Political Caucus and the Mississippi Freedom Democratic Party, which fought for the political advancement of both women and people of color respectively. She then later launched the Freedom Farm Cooperative, which sought to buy land for black people to collectively farm and sustain black life in Mississippi. A survivor of police brutality, misogyny, voter suppression, and a forced hysterectomy, Hamer is a symbol of perseverance and non-violent resistance.

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‘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.

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PHOTO ESSAY: Black Drag Royalty Demands Boystown Reparations

In an effort to bring our audience an authentic look into the activism taking place “on the ground,” Rescripted will be periodically featuring protests and highlighting the unseen heroes who are bringing restorative justice to the underrepresented masses.

On June 14th, Chicago drag performer Joe Lewis, also known as “Jo Mama,” organized a queer demonstration that many would consider to be the queer march heard round the world. What began as a protest against police brutality and violence against trans individuals turned into a call for accountability and reparations for the local black drag and trans community. Amidst a crowd of upwards of 1,000 people, some of Chicago’s most prominent black drag performers called for the dismantling of white supremacy throughout the historic Boystown gayborhood. Among the notable speakers were Lucy Stoole, Miss ToTo, Lúc Ami, Tatyana Chante, Zola and Rupaul’s Drag Race competitors Dida Ritz, The Vixen and projected All Stars front runner Shea Couleé. Miss Couleé transfixed the crowd as she told local bar owners and show runners to “make room” for the black drag talents who nurture the livelihood of Boystown but are all the while pushed to the periphery of queer nightlife. Couleé’s speech along with a spoken word piece performed by local trans activist Zola garnered viral status across all social media platforms. As a result, there was a virtual town hall that brought many Boystown gatekeepers into conversation with black drag performers who came bearing grievances. Tatyana Chanté, a local activist who has also organized multiple protest in the Chicago area said that they “hope people are awake now… and committed to being anti-racist” so that “Boystown can actually be a welcoming place for more than cis-white gay men.”

Photos by Christian Bufford

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PHOTO ESSAY: Scenes from Honk for Justice Chicago

In an effort to bring our audience an authentic look into the activism taking place “on the ground,” Rescripted will be periodically featuring protests and highlighting the unseen heroes who are bringing restorative justice to the underrepresented masses.

In the wake of protests happening all over the country, sparked by the national outrage over the untimely deaths of Ahmaud Arbery, Breonna Taylor and George Floyd, local activists have been taking the revolution into their own hands. Mobilizing protests in virtually every neighborhood across the metropolitan area, many activists have spearheaded efforts that have led to an unprecedented call to action against police brutality and racial inequality. One such activist is Jocelyn Prince, who orchestrated an ongoing interactive protest called #HonkForJustice. Every day Jocelyn corrals protesters to different intersections on the North Side of Chicago where they occupy the sidewalks, wave signs, chant and get drivers to honk their car horns. According to the open Facebook invite page, Jocelyn was “sick and tired of being sick and tired.” In addition to this recent organizing effort, Jocelyn is also a frequent staffer and volunteer with the Democratic Party. She was a staff field organizer for both Obama and Hilary Clinton as well as the 2020 Kamala Harris For The People campaign.

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