Wally World, written by Issac Gómez and co-directed by Lili-Anne Brown, is a two act radio play produced by Steppenwolf Theatre. The show revolves around employees at the fictional superstore Wally World (akin to another actual large corporation with a similar name), who face the complicated tension and stress of having to work on Christmas Eve. While the store continues to be in complete chaos on the front end, things behind the scenes are just as bad if not worse as the store manager’s position of power is threatened and challenged throughout the hard workdays.
Wally World tries to give the realistic perspective of what it’s like for employees of a large company to be working over the holidays… least to say, it’s not ideal. If you’ve ever been forced to work retail during the holidays, this show is certain to bring memories flooding back. Beyond a reach for authenticity in what it’s like to work retail for a large corporation, this play seeks to ask poignant questions about capitalism, activism, harassment, white supremacy, and labor exhaustion. Wally World’s ideals are similar to other plays like Lynn Nottage’s Sweat or any similar “kitchen sink drama” that involves a variety of diverse characters who get chances to shine in beautifully written monologues about their internal struggles.
Continue reading “REVIEW: ‘Wally World’ at Steppenwolf Meditates on Capitalism at Christmastime”
I sat in my living room with my candles burning, lights dim, and a warm sugary cup filled with flavored tea, as suggested by the production team, and intently listened to the Theatre In The Dark’s A Christmas Carol. In this 70 minute live audio play, I was whisked away into the inhospitable world of Ebenezer Scrooge, guided by only my imagination and a team of talented actors and audio engineers .
Western culture is obsessed with adapting different versions of A Christmas Carol throughout the years, whether through the means of big spectacle plays, large budget films, or even comic books. However, as I’ve grown I’ve found that with every passing year I somehow still love this tale for its striking relevancy even as the holidays and I become more estranged from one another — as I’ve grown older and more cynical, and as they’ve grown more commercialistic and vapid year by year. This A Christmas Carol stays true to the same classic holiday ghost story written by Charles Dickens that has lived on for hundreds of years. This production doesn’t try to change the words, reimagine, or re-adapt the original because it doesn’t need to. It only strips down the well-known story to create a complex radio play that feels like a thrilling tale told around a fire. Theatre In The Dark even encourages its audience to have virtual listening parties for the performance to allow communal connection with others.
Continue reading “REVIEW: ‘A Christmas Carol In the Dark’ Brings the Classic Tale Back to Its Ghostly Roots at Theatre in the Dark”
Stick Fly at Writers Theatre, directed by Ron OJ Parson and written by Lydia R. Diamond, is set around two affluent Black siblings who bring their partners, one black and one white, to their family cottage on Martha’s Vineyard. It is at Vineyard where they are forced to confront their realities, family secrets, and class prejudices.
The trek to Glencoe in the cold might seem daunting, but the show itself is too thoughtful and poignant to miss. It doesn’t beg to be included in the theatre landscape; it carves its own way.
Continue reading “‘Stick Fly’ at Writers Theatre Asks Poignant Questions About Blackness in America”
Roe at The Goodman Theatre, written by Lisa Loomer and directed by Vanessa Stalling, begins in the past, from the first court case of Roe v. Wade in 1970, and continues well on into the 2000s. The story itself brings in lots of quotes, monologues, facts, and information to give the audience, along with telling a segmented narrative from Norma, the woman behind Roe. This is a lot of information for any audience to take in under two hours, especially given that the show jumps in time. While there is a lot of talking to the audience in the show, we never really learn anything new about the case or who Norma really is. The show isn’t so much about Roe as it is about glimpses of ideas without a solid foundation.
Continue reading “‘Roe’ at the Goodman Theatre Gives Us Glimpses of a Famous Court Case”
Ms. Blakk For President is a world premiere play performed at Steppenwolf Theatre, co-written and directed by Tina Landau and written by Tarell Alvin McCraney. The show is about Chicago’s very own LGBTQ activist Terence Alan Smith, better known as the drag queen Joan Jett Blakk, who decided to run a political campaign with Act Up and Queer Nation to bring visibility to the Gay community in crisis during the 90s. It’s a pretty unknown story to someone, like me, who was born in the very late 1990s without context on figures who are often censored in our pop culture. Steppenwolf’s lobby dramaturgy does a great job with filling the atmosphere and historical context about the show. The dramaturgy display (Polly Hubbard) is filled with an engaging Chicago timeline that traces Joan Jett Blakk and the AIDS crisis from the 1970s to present today. There are also a few art installations and a memorial to Marsha P. Johnson. Continue reading “Pride is the Prerogative in ‘Ms. Blakk For President’ at Steppenwolf Theatre”
Volta is Cirque Du Soleil’s newest touring show that is based on the theme of embracing differences, social media isolation, and finding sparks of childhood magic.
Circuses have a long and exploited history, especially in America. Yet, Cirque is all the fun of the circus made sophisticated and without the guilt. It probably why it’s still one of the few lasting circus-like traveling shows. I have nostalgia towards the circus and big top events. I crave the spectacle and audience engagement that the circus provides, but not the elephant and horse animal abuse from touring circus’ like Barnum and Bailey or The Ringling Brothers. Not to mention, the added danger of performers working with hungry and wild animals, which resulted in the closing of many circus’ in the 1990s and 2000s. I wasn’t disappointed with Volta, because it’s more than just a “circus”. Cirque Du Soleil’s marketing of being beyond a “circus” has become a rising trend in spectacle performances. Continue reading “‘Volta’ is Cirque Du Soleil’s Mysterious and Exciting Adventure at Soldier Field”
I love Matilda. Specifically the musical which I’ve seen twice on the West End, which is why I was so excited to review Drury Lane’s production directed by Mitch Sebastian. Part of my love comes from nostalgia as I grew up watching the 1996 movie and reading Roald Dahl’s classic novel. The other part of my admiration for Matilda comes from the fact that Roald Dahl wasn’t afraid to tackle tough issues in his books, and this musical doesn’t shy away from those issues either, unlike the 1996 movie. The show themes range from revenge, abuse, power hierarchies, loneliness, trauma, and the loss of adolescence. Continue reading “Drury Lane’s Ambitious, Entertaining ‘Matilda’ Leans Toward the Chaotic”
The Children written by Lucy Kirkwood is making its Chicago premiere at Steppenwolf directed by ensemble member Jonathan Berry. The show is performed with a breathtaking set design (Chelsea M. Warren) that consists of a full scale house on the shore of an English cottage complete with sounds of seagulls and waves crashing on the shore (sound by Andre Pluess). This is where the entire show is set, and it juts out, making the audience feel small in comparison. This prominent house is where we meet three retired nuclear scientists who both share and keep secrets. Continue reading “What Will ‘The Children’ Sacrifice for a Brighter Tomorrow?”
Cambodian Rock Band written by Lauren Yee, is directed by Marti Lyons at Victory Gardens. The premise of the play is in the name, but the show encompasses so much more depth than the careers of a rock band. It’s about the trauma of genocide in Cambodia, family dynamics, and how one can repair themselves through music. Continue reading “‘Cambodian Rock Band’ Delivers Reality-Shattering Performances”
Sweat, written by Lynn Nottage, is a Pulitzer prize winner that focuses on race, debt in America, capitalism, and the working class. Director Ron OJ Parson’s production of Sweat at the Goodman is, at its core, about humanity, power, and the fight for survival. It’s about what will humanity do when they are pushed to the breaking point and worked like a dog. Sadly, the answer is not as black and white as it seems as Brucie states “you think they give a damn about you?” Continue reading “Goodman Theatre’s ‘Sweat’ Lays Bare the Passions of Working America”