Identity, Heritage, and Growing up in ‘Muthaland’

Muthaland at 16th Street Theater is a one woman show written and performed by the talented Minita Gandhi. It’s a showcase for her dexterity and ability to create and inhabit characters we love, and characters who make our skin crawl, as she goes on a journey to her parents homeland. In 16th Street’s bare black box theatre, there is only one practical light onstage, and the rest of the show travels on in the darkness with Minita herself. She walks down the staircase through the audience carrying her suitcases to the practical standing lamp on stage. Little did we know she was carrying the world of the play in her arms.

The opening of Minita Gandhi’s Muthaland is an energy-packed celebration of femininity and personality. She animatedly tells us about her life, her hopes for love and her family drama, which includes the upcoming wedding of her dear brother Milin. Minita separates herself as narrator by giving herself the affectionate nickname of Minu when she’s playing in a scene from history.

Minu is an independent woman, the daughter of two Indian immigrants who are audience favorites for Minita to affectionately and sometimes comedically interpret onstage. She is 35 years old, and has been getting her groove back by listening to Pink and Fiona Apple, reading The Power of Now and taking a Pranayama breathing class. After a visit to a gynecologist, Minu learns she only has two years to get a husband and have babies before she has to be concerned about freezing her eggs, and this is a terrifying enough thought that she returns to her prayer cabinet. Minu is a practicing Jain, which at more 85,000 years old is the one of the world’s oldest religions. She recites the Namokar mantra, one of the most fundamental and spiritually significant prayers in Jainism. This moment of gravitas is our first insight into bubbly actress Minu’s depth of intention and spiritual practice.

Though dramatically this is very clever, sometimes Minita playing an earlier, more innocent Minu is hard to buy. At the end of the production, when a you see a grown Minita in her mature fury and might, you understand why this character, that is so very personal and so profoundly changed in real life, might be harder for Minita to access than the multitude of personalities she brings to life onstage. These other characters are defined very specifically through gesture and voice, and it is clear who is speaking at any given time.

Minita the writer gives us access to the finer points in her life and family’s traditional customs in a delicate way that allows us to laugh at Minu’s reactions without laughing at cultural differences – which can often happen if an audience doesn’t understand something outright. Milin for example is in an arranged marriage, something Minu has a really hard time understanding at first, but once she sees how happy he is the audience is happy for him too. So, Minu is off to India, in one of the most fantastic visual moments of the play. Contained in her tiny suitcase is truly the entire world, as she pulls out costumes and scatters the stage with color as the lights (designed by Cat Wilson) flood the world with a pink and orange hue, transforming the black walls. You can feel the heat and the dust as Minu describes it to us thanks to the vivid text and suggestive design visuals. The sound also helps us understand our cultural context, as a variety of American and Bollywood love songs are played throughout the piece.

Muthaland is based off of Minita’s true experiences during her travels to India, and I do not want to spoil the surprise that is the crux of the drama in this play. I will speak to her magnificent performance of these gravity-filled moments. During a scene I will refer to as “The Interrogation” she masterfully plays a council of older Indian men who are questioning her honesty with a misogyny that will make your toes curl. Legs spread wide in a single spotlight, Minita easily embodies the threat and danger of these men as a steady heart-beat like pulse (sound by Barry Bennett) underscores their words. It conjures visceral memories of femmes being accused of lying when under threat from men, and is very hard to watch though artfully portrayed. The experience is so awful, that when it is over, it prompts Minu to tell her parents she hates India – thankfully only a temporary conclusion.

Muthaland is about the forcible growth of an already strong young woman, who was forced to undergo an emotionally and physically violent experience yet still reconcile her identity. In a spectacular final ten minutes of the play, Gandhi goes on an emotional journey from absolute devastation to a realistic healing process, perhaps even slightly optimistic about what is in her future. I commend Minita for her stamina in performing in this fabulous 90-minute production of her own work, and I can’t wait to see what productions lie in its future.

BIAS ALERT: Minita Gandhi is a friend.

Berwyn Cultural Center
6420 16th Street, Berwyn IL
August 31-October 7, 2017
Directed by Heidi Stillman
Photos by Anthony Aicardi

Assistant Director – Maeli Goren
Dramaturg – Lavina Jadhwani
Voice and Movement – Lanise Antoine Shelley
Scenic Properties – Jesse Gaffney
Lighting Design – Cat Wilson
Sound Design – Barry Bennett

Rescripted Announces ‘The Key: Youth Critics Mentorship Program’

CHICAGO (September 8, 2017) – Greenhouse Theater Center’s Artistic Director Jacob Harvey is pleased to announce The Key: Young Critics Mentorship Program, a training program for Chicago youth in arts criticism created by national online arts platform Rescripted, The Chicago Inclusion Project and entertainment critic Oliver Sava and hosted by the Greenhouse. Launching this fall, the ten-week initiative for youth ages 16 – 20 will include arts criticism workshops and lectures with the program’s creators, as well as guest speakers from all facets of the Chicago theater community. Students will attend Chicago theater productions throughout the fall season, write original critiques, undergo one-on-one editing sessions and create personal blogs to host their writing portfolio and multimedia reviews. Select critiques will also be published on Rescripted.

Applications for The Key: Young Critics Mentorship Program are currently being accepted at rescripted.org through Friday, September 22, 2017. For additional information and inquiries, please e-mail thekey.chicago@gmail.com.

“Our industry depends on having actively engaged critics who can perceive and appreciate the efforts and viewpoint of the artist,” comments Rescripted Editor-In-Chief Regina Victor. “I’m thrilled to partner with a savvy writer like Oliver Sava to co-facilitate this course in partnership with Chicago Inclusion Project, and grateful to Greenhouse Theater Center for hosting us. We are looking forward to mentoring the next generation of theater artists and writers as they learn to navigate the field of arts criticism. We want to be a part of the movement to ensure there are a multitude of critical perspectives to accommodate the increasing diversity of the stories on our stages.”

“We’ve put together a program that will give young critics the knowledge they need to start their careers, adds Oliver Sava. “This isn’t just about learning how to write reviews – it’s about helping young critics engage with what they’re watching on a deeper level, turn that engagement into pieces that will grab readers and learn how to sell that writing so they can ideally get paid for their work. This program is primarily focused on theater, but it will be multi-disciplinary because knowing how to write about a wide range of media is essential in the current arts journalism field. There are voices that could significantly enrich critical discourse in the city, and organizations like Chicago Inclusion Project and outlets like Rescripted are already working to make these voices heard.”

Chicago Inclusion Project Founder Emjoy Gavino comments, “The conversation around arts criticism, its practitioners and their ethical obligation to inclusion is truly exciting right now. As always our organization seeks to accompany talk with action we are thrilled to usher in the new wave of critics. Our community and industry deserve new voices.”

The Key: Young Critics Mentorship Program joins the Greenhouse Theater Center’s increasing number of initiatives aimed at growing Chicago theater, including the The Trellis Residency Initiative, a new professional development program for Chicago-area playwrights under 30, and the MC-10 Playwrights Ensemble, a collection of ten of the country’s most sought-after established and mid-career Chicago playwrights and theater-makers now in residence at the Greenhouse.

 

About the Program Creators/Mentors

Regina Victor is a producer, dramaturg, director and performer from Oakland California. They attended Phillips Exeter and Santa Clara University, from which they hold a B.A. in Theatre Arts and Religious Studies. Regina has worked with theatres such as Berkeley Repertory Theatre, Marin Theatre Company, Chicago Dramatists, The Hypocrites, Shattered Globe, Walkabout Theatre, and more. Victor’s writing has been published on Rescripted, Howlround and The Bold Italic. They are currently serving as the 17/18 Artistic Apprentice and Multicultural Fellow at Steppenwolf Theatre, as well as a member of the 17/18 Stage Directors and Choreographers’ Observership Class.

Oliver Sava is a Chicago-based entertainment writer focusing on comic books, television, and theater. He was a staff Theater Writer at Time Out Chicago, where he had a Performer Of The Week interview column. His writing on comic books, film, podcasts, television, and theater has been published at The A.V. Club, Chicago Theater Beat, Chicago Tribune, The L.A. Times, NPR Books, New York Magazine’s Vulture, VICE, and Vox. He is a 2017 fellow of The Eugene O’Neill Center’s National Critics Institute and a recipient of the 2017 Eisner Award for “Best Comics-Related Journalism/Periodical” for his A.V. Club writing. He graduated from Loyola University with degrees in English and Political Science, and was the dramaturg for Jackalope Theatre’s Prowess (2017 Jeff Award winner for Best New Play).

Rescripted is a collective of theatre professionals from all levels and disciplines in the field who are interested in engaging with their peers on a critical level. Founded by Regina Victor and Katherine O’Keefe, Rescripted is a national response to the need for a broader range of voices in the critical sphere. With writers in Los Angeles, Chicago, and the San Francisco Bay Area, Rescripted is shaped by its contributors’ interests, and specializes in publishing reviews, artist interviews, and essays on topics pertinent to our field. With a supportive framework in mind, Rescripted aims to reprogram the way we critically engage with each other while cultivating critics and adding new voices to the field. www.rescripted.org.

Founded by Actor/Casting Director Emjoy Gavino, The Chicago Inclusion Project is a collective of artists, committed to creating inclusive theater experiences by bringing together Chicago artists and audiences normally separated by ethnic background, economic status, gender identity, physical ability and countless other barriers. By deliberately choosing the unexpected, both in play choices and non-traditional casting, cultivating a diverse audience by bringing new combinations of artists to as many communities in Chicago (and it surrounding suburbs) as possible, choosing facilities for the multiple projects that are handicap accessible and keeping price of tickets affordable, The Chicago Inclusion Project programming aims to unite diverse collections of Chicagoans. For more information, visit www.thechicagoinclusionproject.org

About the Greenhouse Theater Center
The Greenhouse Theater Center is a producing theater company, performance venue and theatre bookstore located at 2257 N. Lincoln Ave. in Chicago’s Lincoln Park neighborhood. Our mission is first and foremost to grow local theatre.
The Greenhouse Theater began its producing life in 2014 with the smash hit Churchill, after which came 2016’s much-lauded Solo Celebration!, an 8 month, 16 event series highlighting the breadth and depth of the solo play form. This year, the Greenhouse announced a full subscription season, with a mix of multi-character and solo plays. With a focus on our community, the Greenhouse is also launching the Trellis playwriting residency, an initiative designed to cultivate the next generation of Chicago theatre creators and a two-tiered education program for college and high school students.

As a performance venue, our complex offers two newly remodeled 190-seat main stage spaces, two 60-seat studio theaters, two high-capacity lobbies, and an in-house rehearsal room. We strive to cultivate a fertile environment for local artists, from individual renters to our bevy of resident companies, and to develop and produce their work. In 2016, the Greenhouse announced a new residency program, which offers a reduced rate to local storefront companies while giving the Greenhouse a stake in the resident’s success. We house Chicago’s only dedicated used theatre bookstore, located on the second floor of our complex.

With new ideas always incubating, the Greenhouse is flourishing. Come grow with us!

FOR IMMEDIATE RELEASE

PRESS CONTACT: David Rosenberg
David Rosenberg Public Relations
david@drpublicrelations.com / (773) 505-1429

 

Song of I, Song of Us: Marcus Gardley’s black odyssey at California Shakespeare Theater

By Jerome Joseph Gentes

August 13, 2017
In my blood Lakota Sioux culture, we call chants of praise honor songs. This is an honor song for Marcus Gardley, and the CalShakes production of his new play black odyssey that opened last night. I want to state right out that I’m writing this on Sunday, August 13, the day after the murders and radical domestic terrorism in Charlottesville. I’m writing this under the cloud of the last few years of racial violence. I’m writing this under the shadow that the current Executive Branch of the Federal Government is casting over the land. I don’t want to pretend otherwise.

A soldier’s homecoming after war is never a simple story, never simply going from point A to B. Any traveler under any circumstance who gets lost and veers off course does not unravel a simple story. Combining those two tropes, and stirring in hefty doses of subplot by way of interference from gods, human nature, and nature itself, Homer (like others) added to a small but vital shelf of epic narratives for all times and all peoples. Small wonder that The Odyssey has inspired novels like James Joyce’s Ulysses and plays like Father Comes Home from the Wars (Parts 1, 2 & 3) by Suzan-Lori Parks. It has also inspired Oakland’s Marcus Gardley, and with black odyssey he has achieved something extraordinary: a personal and public take on Homer’s poem that not only stands alongside the original–it reflects and expands the epic and the other great works it has inspired.

Directed by Artistic Director Eric Ting, the exceptional cast of nine includes J. Alphonse Nicholson as the hero, Ulysses Lincoln, Omozé Idehenre as his faith-tested wife, Nella Jerome Pell, and Michael Curry as grown Malachai, the son born during his absence. I’m naming these characters and actors first because Gardley, Ting, and company have foregrounded the human story of a husband who has wed a woman, but hasn’t had the chance to perform his husbandly role and responsibilities. A man who has fathered a child but hasn’t had a chance to occupy and perform the role of parent. Likewise, Nella is Ulysses’s wife, but has had to live–and love–for 16 years without him, while Malachai has grown up like too many boys do–mothered, but unfathered. Gardley’s script plumbs the breadths and depths of this broken dynamic in ways that make it fresh and vital, and Ting wisely puts all three actors front and center. Nicholson actually spends much of his time at the very edge of the stage, making music on upturned five-gallon buckets as point and counterpoint to the action. Gardley preserves the Homeric framing device of deities at play with mortal lives in a chess match with dire consequences for humanity between Great Grand Daddy Deus, played by the orotund Lamont Thompson and Great Grand Paw Sidin, the oracular Aldo Billingslea.

The rage and grief and despair that play out for Nella and Malachai alone are the height of drama. Fortunately for them, the play, and for the audience, the Athena character, Tina, who Gardley makes a distant great aunt, moves in to help Nella raise Malachai. As played by the wonderful Margo Hall, Tina transitions from Olympian divinity in her gorgeous Ashanti gown to house-bound helper in caftan and leopard leggings and back again.

A third family, the Sabines, plays a key part in Gardley’s (re-)imagining: Alsendra, Artez, and Benevolence Sabine, played respectively by Dawn L. Troupe, Michael Gene Sullivan, and Safiya Fredericks. Ulysses encounters them early on his attempted journey home, where they’re on a New Orleans rooftop to escape the rising tides. Tides of Hurricane Katrina, tides of racism, tides of history, and tides of memory. Benevolence joins Ulysses for much of his journey home, and the Odyssey episodes weave in and out of their own adventures as well as the hero’s storytelling. Two such episodes were particularly spectacular: the Sirens episode, which gives Thompson a chance to play a pimped-out Granddaddy Tiresias, Troupe to play Diana Ross, Hall to do Tina Turner, and Sullivan to tear up the trunktop of a gold Caddy convertible as James Brown. Even better (and “better” is a relative word amidst such strong ensemble performances) is Troupe’s performance as Calypso, who tempts Ulysses with a monologue about food that had the audience salivating as she caresses every sound and syllable.

Gardley’s script is as lyric as anything I’ve ever heard or read, and I have read and heard a lot of song and poetry. (I cannot wait to re-read it in print, so if you’re a publisher, hurry and snap up the rights–no, the privileges–to publish this play.) There’s rhyme and rhythm, music and musings, imagery and idea to spare that not only honor the original; they take the original and this, its variation, further into the realm of timelessness. And the production honors every word. The simple yet stunning set design by Michael Locher consists of a grid of white-gold square pillars of varying heights. Xavier Pierce’s illuminations, darknesses, and shadows and Carlis Roberts’s sounds and silences transform them from the realm of the gods to project hallways and from BART and police stations. And because Ulysses Lincoln mentions that he enlisted in the military post-9/11, I thought more than once of the ruins of the World Trade Center. At the climax of the play–a deeply moving encounter between Ulysses and one of his female ancestors that reminded me of a moment in the great Toni Morrison’s Beloved–one of the pillars pivots around to spectacular effect.

Gardley’s play sings a song of society and selfhood, but more importantly, it gathers up humanity, history, memory, and storytelling into one magnificent performance poem. I haven’t seen Parks’s version of the Homeric myth, so I can’t compare them, and I don’t think I’d have to. black odyssey is a collective and collected chorus that rings true and necessary for our moment, and for moments to come. We too have a long journey to make, a long homecoming path to trod to get to the America we seem to be on the verge of losing. black odyssey is an imaginative roadmap for the heroism we’ll need.

Directed by Eric Ting
Closes Sept. 3rd
Ticket and Program Information
Photo Credit: Kevin Berne

Black Lives Black Words Centers Black Women

Black Lives, Black Words is an artistic movement that began in Chicago but has since had events in two continents, three countries, and seven cities. Producer and playwright Reginald Edmund began this venture with Executive Producer Simeilia Hodge-Dallaway in 2015, prompting playwrights and spoken word artists to respond to the question “do black lives matter?”

The resounding response: not only do black lives matter but black art does too. As Edmund has said “There isn’t anything particularly revolutionary about what ‘Black Lives, Black Words’ is doing in and of itself, it’s the fact that we are doing what so many organizations and institutions that have scammed off of the diversity and inclusion discussion, and that have the resources should be doing or failing to do, which is what makes us a revolutionary theatrical endeavor. Giving artists of color actual control over their own narratives, and giving the community voice, access, and space to be heard, as well as bridging communities with a shared global dialogue.”

There are a few events to look out for if you’re trying to catch a BLBW event this August. Starting August 14th at 7:30pm they are partnering with Collaboraction to host the “Our America Party.” Part of a greater “Our America” series, this project asked local people of color, LGBTQ+ and female playwrights and directors to speak on the state American Dream. Artists featured include Arti Ishak, Rohina Malik (Yasmina’s Necklace can be seen at the Goodman later this year), Dana Lynn Formby, Tanuja Jagernauth, and many more.

On August 21st, Black Lives Black Words is hosting a TEDTalks inspired speaker series called THE ARTIST SPEAKS, where legends such as prominent director Ron OJ Parson, and Malik Gillani, Artistic Director of Silk Road Rising, will speak to the history and state of the arts in America, and what lies in the future.

These events culminate in the third Black Lives, Black Words Event, this year to be held at Victory Gardens Theater August 22nd at 7:30pm. What’s different about this year? Every piece is written, produced, and directed by black women and femmes. Playwrights include Loy Webb, Nambi Kelly, Adia Alli, and directors include Nicole Michelle Haskins and BLBW’s Executive Director, Simeilia Hodge-Dallaway.

See what participating artists have to say about Black Lives Black Words this year:

“BLBW is an innovative, hard-hitting, internationally scoped project that focuses on the truth telling of the Black narrative in this country and beyond. I am so thrilled to have been asked to contribute a piece on something I am very passionate about, and to be able to witness the talents of all the other artists involved. I am particularly thrilled that all of the pieces in this installment are directed and written by women. Reggie Edmund is certainly doing his part to be a game-changer in the field of producing. I am humbled and grateful to be a part.” – Nambi Kelley (Playwright, Actor)

“I had the pleasure of covering BLBW’s for Newcity when it first started. It was a rough and raw idea at that point, finally coming to fruition. Since then it has turned into a refined movement that is touching lives both in the states and abroad. Seeing this movements growth first hand, shows the impact that artist truly committed to the community can have and you don’t need huge institutions behind you to be a force. And now that the movement is branching out giving women a voice, and addressing our current political climate, just shows that this movement that Reggie and Sim have helmed, isn’t just talking about change like most folks do. They are creating it from the ground up. And I am sincerely grateful and honored to lend my artistry to further their cause.” – Loy Webb (Playwright, Critic)

Tickets are an accessible $10-13 for events, check out http://www.blacklivesblackwords.org for more information!

 

 

About Face Youth Ensemble’s ‘Brave Like Them’: Explosive, Feminist, and Unapologetically Queer

By Regina Victor

About Face Youth Theatre Ensemble’s Brave Like Them is an exciting and dynamic exploration of cultural movements and gender expression infused with feminist punk. The show is entirely devised and performed by the members of the About Face Youth Theatre Ensemble and co-directed by About Face’s Education and Outreach Director Ali Hoefnagel and Education Coordinator Kieran Kredell. The script was well-written, and memorable, especially impressive because the age range for the ensemble that devised it is 13-23 years old. The play takes place in the Riot Grrl movement of the 1990s, an underground punk feminist movement that originated Washington state, credited with being the beginning of third wave feminism. Famous bands that came out of that era include Bikini Kill, Bratmobile, and Sleater-Kinney. Brave Like Them takes us to Washington state in that era, and investigates both the successes of the movement but also the racial and class discrepancies – most of the voices of this movement were middle class, white cisgender women.

The set (designed by Scott Penner) is papered with posters from iconic punk acts like Joan Jett, and the young people roam the space at the top of the show, cleverly setting our place and time. A couple of the ensemble members were talking to an audience member, and pretended to be mystified and confused by his cell phone flashlight, much to everyone’s amusement. Complete with twinkling bulb lights and alley seating, it’s hard not to feel like you’re at a real punk show when the actors break into their energetic opening dance highlighted by multicolored club lights (lighting by Kaili Story).

Danni (Kyla Norton) and their best friend Jamie (Sandy Nguyen) are old friends reunited after Danni lived in racist Tacoma for six years. As they try to find their place in the punk movement, Danni wonders why more of their favorite punk bands don’t look like them. Danni’s old crush Sam (a charismatic and stylish Ophelia Ashley Murillo) conveniently comes waltzing back into Danni’s life, asking if they would like to hang out at a venue called The Crocodile. There, they meet femme superstar Hannah (Lilian McGrady)  who chants her feminist manifesto “Girls to the front!” over a thrumming bass to an adoring crowd. Danni’s friend Jamie gets all up in this movement and finds her sense of self, immediately changing her aesthetic to match what a Riot Grrl is “supposed” to look like, complete with leather jacket, red lips and fishnets, Nguyen does a wonderful job portraying both Jamie’s bravado and her emotional complexity as she struggles balance her new Riot Grrl friends with Danni.  The costume design by Jeanine Fry informs us where each character is in their lives and gender expressions effortlessly. Danni, still trying to find their identity, is in their school uniform for most of the play.

While Jamie is off with the Riot Grrls, Danni meets some new friends in the form of an energetic ensemble that hangs out and plays punk music in the school gym. Noa (Jude Gordon), Coe (Jimbo Pestano) and Chris (Ben Flores), are all punk rockers who used to roll with Hannah until her movement got too exclusionary. We see this demonstrated very clearly when one of Hannah’s shows includes the words “no dudes no dykes no douchebags.” Coe uses they/them pronouns, Noa ze/sir, and Chris he/him. Chris points out that he is often excluded from feminist dialogue like Hannah’s because of his male presentation, but that erases the portion of his life where he was perceived as female, and his ability to talk about those injustices. Chris poses an interesting question: how can he possibly convince other people his masculinity isn’t a threat? It’s a really interesting argument that I’ve heard socially but was refreshing to see onstage, and Ben Flores’ thoughtful portrayal of this character really shines.

Coe and Noa were equally amazing ensemble members, with Noa’s dry wit cutting across the dialogue and generating big laughs from the audience. Noa refers to Jamie as the girl who “suddenly has all the buttons.” As someone who’s worked in community organizing, I found this particularly hilarious – there is always one eager person who shows up with 80 buttons on their jacket even though they’ve been to two rallies. In order to describe Jimbo Pestano’s portrayal of Coe, I have to be colloquial: Coe was serving band frontperson intersectional realness in a crop top and a flannel blazer with shoulder pads and skinny jeans. Serving. All. Day. One particularly fantastic lyric voiced by Coe and Danni I will be singing to all of my cisgender friends was “Nice gender, did your mommy pick it out?!”

The entire ensemble was strong, but there were many other notable performances, including the hilariously spacey record store clerk (Sharon Pasia), who encourages Danni to be a part of the movement, and not a part of the crowd. Danni’s mother, played by Mia Vivens, gives an endearing performance as a mother who has to navigate a new relationship with her child. Fresh from a divorce and struggling financially, she is often anxious and sometimes angry (but only, as she rightfully points out, because she’s black and had to sell her business and live in Tacoma at her husband’s behest for six years – I feel you sis), but never gives up on loving her family fiercely.

Brave Like Them is about the power of friendship, the discovery of personal identity, and the multifaceted aspects a movement needs to have so that it can succeed. It examines our fear of breaking apart systems and movements when we have nothing to replace them with, even if the movement is imperfect. A movement needs to encompass all people, or it inevitably dies. However, Brave Like Them does not condemn these movements, but examines how even when they are fleeting, even when we find ourselves in opposition to them, they can help us find the most important parts of ourselves.

Brave Like Them closes August 6th: http://aboutfacetheatre.com/

Directors: Ali Hoefnagel & Kieran Kredell
Assistant Dir: Donny Acosta
Devised by the About Face Youth Theatre Ensemble

FEATURING
Ophelia Ashley Murillo
Charlie Blackburn
Melody Derogatis
Ben Flores
Jude Gordon
Liv Haman
Elliot Hobaugh
Lillian McGrady
Sandy Nguyen
Kyla Norton
Sharon Pasia
Jimbo Pestano
Jae Taylor

PRODUCTION
Production Manager: Melissa Hubbert
Music Director: Nicholas Davio
Choreographer: Erin Kilmurray
Asst. Choreographer: Gabrielle Wilson
Lighting Designer: Kaili Story
Sound Designer: Brandon Reed
Costume Designer: Jeanine Fry
Set Design: Scott Penner
Prop Design: Meghan Erxleben
Stage Manager: Kasey Trouba
Asst. Stage Manager: Serena Dully

Photo Credit: (left to right) Jude Gordon, Ben Flores, Kyla Norton and Jimbo Pestano in About Face Youth Ensemble Theatre’s world premiere of Brave Like Them, co-directed by Ali Hoefnagel and Kieran Kredell. Photo by Emily Schwartz.

BIAS ALERT: I directed for the About Face Out Front 2017 Series, and identify as genderqueer.

Remembering Romance Under The Setting Sun in ‘The Glass Menagerie’

The premise of the well-known American drama The Glass Menagerie by Tennessee Williams centers around single mother Amanda Wingfield, her oldest son Tom, and his little sister Laura who have found themselves in a financial squeeze since only Tom is able to work. Out of desperation, Amanda decides to try and set Laura up with a “gentleman caller,” a man from Tom’s work named Jim. What differs in this production is the centering of people of color and women in the casting of the play, a point of artistic pride for director Lisa Portes. Amanda and Laura’s predicament doesn’t come across as the result of a debutante who doesn’t believe women should toil, but rather a societal limitation imposed by the times (the play is set in St. Louis in 1937). This increased my empathy for these characters ten-fold.

The  Glass Menagerie is a play I read and loved, but quickly shelved because I didn’t want to get too attached a play in which I’d never be cast. This is why Lisa Portes’ direction of The Glass Menagerie at Cal Shakes is so essential for children of color to see, and within the first five minutes I was envious of all the young people and students who will see this play and never question their place in it.

Tom, played by Bay Area legend and Campo Santo Co-Founder Sean San José, is the first character we see. As narrator and character, he is the crux for most of the movement in the play, master of this dream universe, and guides the moving furniture around the space. These movements increase in difficulty and attention as the play moves forward, which creates the feeling that this memory play and this family is only held together by Tom’s sheer effort. This made me pay attention to Raquelle Baretto’s costume design – they have put together easy to wear and move in pieces for the artists that are elegant and often striking. The opening design and staging of the play is a wonderful duet between costumes and lighting (Xavier Pierce) that lives in a moment beyond time. Baretto makes use of Laura’s affectionate nickname “Blue Roses” by dressing Laura in a sweet patterned dress covered in blue roses.

Sean San José’s gentle depiction of Tom creates a generosity of spirit this character is usually denied. This pays off when Tom breaks the menagerie animal, he finally becomes frustrated and dangerous in his ability to hurt the family. At particular risk in this play is his differently abled sister Laura, played by New York based poet and activist Phoebe Fico. Fico makes a striking and elegant stage debut as Laura, and we empathize with her at every turn. Laura is a character that I’ve usually seen played with a debilitated spirit, but Fico’s Laura is full of endearing smiles and sweet quips that make her moments of devastation hurt even more. Phoebe Fico sparkles in her acting debut, and deftly works the broad Cal Shakes stage with an inherent grace. I could tell it was her debut – if only because everyone else onstage is so seasoned – yet I found myself completely forgiving the absence of technical training in exchange for the genuine light that exudes from Fico. I support Cal Shakes’ decision to debut a new actress on an equity stage. A tradition of the past, it is incredibly rare to do so now, but the risk paid off tremendously.

Karen Aldridge gives a hilarious and warm tour de force of a performance as Amanda. When attempting to get Tom to bring home a gentleman caller, she hollers at him from the front porch as he traverses through the audience to get to work, eventually eliciting applause from the audience at the end of this scene on opening night. A particularly slick bit of directing from Lisa Portes and Aldridge’s animated demeanor gives life to a typically dull scene: Tom describing Jim, the gentleman caller to Amanda. Tom and Amanda move together to construct the full parlor including hanging windows and arranging the dining table during this exchange, giving it buoyancy.

The set, designed by Annie Smart, is bare and simple but surprisingly flexible. One of the most difficult things about the Cal Shakes space is how to define it. Each designer and director has to decide where the limits are for their world and build something to illustrate that, and though you can’t cover the forest landscape you can decide how to utilize it. In this design, a huge frame gives us the context of the home, and it worked in pulling my focus to the center. As it got dark I don’t particularly recall seeing the forest and even when it was visible it felt more like looking through a window. Rolling and hanging furniture is slid into place during the play, and the worst thing I have to say about it is that I was so struck by its compositional beauty I thought it was all a bit too nice for the financially challenged Wingfields. However, it’s a memory play, and who complains about things being unbelievably pretty?

As the set comes together and time marches on, the gentleman caller advances, and his entrance is beautifully highlighted by Brendan Aanes’ haunting sound effects. When we are thrust into this romantic memory by the arrival of Jim, the effervescent Rafael Jordan, a truly magical feat in the field of lighting is delivered by Xavier Pierce. He gives us parlor candlelight, despite the fact that we are outside and it’s dusk. It’s gradual and does not try to pretend that we are not outside, which makes it feel even more real once the light cue settles. I gasped, and everyone outside the show was talking about that visually stunning moment.

The Glass Menagerie is a stunning memory play and a must-see experience at the Cal Shakes Bruns Amphitheater. It runs through July 30th!

Tom: Sean San José
Amanda: Karen Aldridge
Laura: Phoebe Fico
Jim: Rafael Jordan

Director: Lisa Portes
Playwright: Tennessee Williams
Dramaturg: Philippa Kelly
Stage Manager: Cheryle Honerlah
Asst. Stage Manager: Laxmi Kumaran
Lighting Designer: Xavier Pierce
Scenic Designer: Annie Smart
Costume Designer: Raquel Barreto
Sound Designer: Brendan Aanes
Casting Director: Clea Shapiro
Acting Coach: Margo Hall
Text, Vocal and Dialect Coach: Lynne Soffer

Photos: Kevin Berne

BIAS ALERT: This writer worked for Cal Shakes in various capacities including understudying, ending in 2016.

Love and Talent Burn Fiercely in ‘Bright Half Life’

(Photo Copyright: Michael Brosilow)

By Regina Victor

Bright Half Life at About Face Theatre directed by Kiera Fromm is an elegant exploration of queer love and the quirks of relationships. A two-person play penned by Tanya Barfield, Bright Half Life centers around the intertwined lives of two women, Erica (Elizabeth Ledo) and Vicky (Patrese D. McClain). The play jumps back and forth through time to tell us the story of Vicky and Erica’s decades long love affair, from their first encounter at the job where Vicky is the only black female supervisor, to the marriages of their children. Fromm’s direction and Barfield’s sequence of events made it clear from the beginning that this love would be complicated and messy, that it would end and perhaps begin again. But whether or not they see a happy ending almost doesn’t matter. Bright Half Life  believes that it’s not about the result, it’s about the journey.

The play is non-linear, and often returns to moments from previous scenes, letting the audience discover new meanings and subtext to previously seen conversations as the new information about Vicky and Erica’s relationship comes to light. This could have been very confusing, but the design world gave the audience a clear roadmap to understanding the timelines. As they hurdled through time and space on William Boles’ angular and precise set, they only used two chairs and their bodies to set each scene, letting Christopher Kriz’s sound design guide the audience. This guidance is surprisingly subtle, you barely register the change of sound but rather sense the change of feeling. Kriz takes us from a Ferris wheel, to a hospital, to a conventional workplace, and more with a delicate clarity.

The lighting, designed by Christine Binder, consisted of ethereal side light, tight spot lights, beautiful overhead panels, and was used to tighten the focus of time and space. One particularly effective device was the use of a tight spot on a single actor’s face as she said something that at first seemed jarringly out of place in the scene. Then, as she would turn to her girlfriend and continue with her thought, it became clear that those moments in the light represented the actor’s internal monologue. This action informed the rest of the scene fabulously, utilizing an age old theatrical device in a fresh new way: letting an audience in on a juicy secret that only they know.  

What I truly loved about this show was the simplicity of the theatrical devices used, to an ingenious extent. Melissa Ng’s costume design was effortlessly able to scale 20+ years of a lifetime without either character leaving the stage. The secret? Layering. It is easy to muddy up a production like this trying to be cool or fancy, dazzling an audience with all the tricks available in 21st century theater,  but here the simplicity of the design and direction allowed these two stunning actors to shine.

 Actor Elizabeth Ledo as Erica comes out of the gate with such an infectious warmth that it makes you wonder how Vicky could possibly resist. Plaid-rocking Ledo is a crowd pleaser, and manages to infuse even Erica’s most infuriating moments with a helpless charm, invoking a beautifully tragic lesbian Hamlet. Patrese D. McLain has a tough job playing the  graceful but reserved Vicky, but when the walls come down and we do finally see her loving tendencies, the payoff is emotionally stunning and surprisingly playful.

The play focuses on the intimate dynamics that are found in many relationships. Certain arguments will feel painfully familiar, depending on your own lived experiences. After the show, each person I spoke to could point to a different moment in the play and say “my partner does that!”  It’s filled with the moments that build a relationship and slowly chip it away, the overarching question occurring over and over: would you do it again?      

On a personal note, I must discuss the social relevance of this play for me as a queer person of color and theatre artist. The play alludes to various time periods and stretches over decades as I previously mentioned, but the reference that caught my ear was to queer life in the early 2000s. Whenever marriage is discussed it is accompanied by a necessary trip to Massachussetts (gay marriage law was passed there in 2004), which struck an important chord for me.

I  felt incredibly inspired seeing a woman onstage who looked like me, playing a lesbian in an interracial relationship with children, discussing the hard truths about the difficulties of understanding cultural bridges. At one point, Vicky is discussing her own racial history and having been called an “oreo” in her past – a disrespectful term intended to imply one is black on the outside, and white on the inside. Erica has to stop and realize that though she lacks privilege as a white gay woman, she doesn’t in fact understand everything about Vicky’s identity as a black woman, and asks to be taught about her whiteness. It’s a touching moment of connection onstage in a world that feels so divided.

A timeless and compelling script, I recommend Bright Half Life for anyone wanting to see progressive LGBTQ+ theatre written by a black queer femme. About Face is one of the only companies where I can see queer, happy, healthy relationships portrayed without ever being the punchline or tragic figures. It is important that we get to see ourselves as the heroes and lovers, and About Face’s mission of portraying LGBTQ theatre is both necessary and commendable.

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Bright Half Life at About Face Theatre runs through July 1st, find more information here: http://aboutfacetheatre.com/

Erica: Elizabeth Ledo

Vicky: Patrese D. McClain

Understudy for Erica: Pamela Mae Davis

Understudy for Vicky: Demetria Thomas

Playwright: Tanya Barfield

Director: Kiera Fromm

Set Designer: William Boles

Lighting Designer: Christine Binder

Sound Designer: Christopher Kriz

Costume Designer: Melissa Ng

Props Designer: Vivian Knouse

Stage Manager: Helen Colleen Lattyak

Associate Lighting Designer: Bailey Rosa

Asst. Stage Manager: Gabriella Welsh

Asst. Director: Lauren Katz

Casting: Kiera Fromm & Alex Weisman

Production Manager: Alex Rhyan

Tech Director: Andrew Glasenhart

Master Electrician: Kristof Janezic

Scenic Painter: Jessica Howe

‘We’re Gonna Die’ at Haven Theatre Electrifies Audiences

(Photo Credit: Austin D. Oie)

By Regina Victor

Before I embark on writing the review for We’re Gonna Die, written by Young Jean Lee and directed by Josh Sobel for Haven Theatre company, I have to explain the circumstances under which I am seeing and writing about this show. I am writing this review on the way home from my grandfather’s funeral. A few hours before opening curtain for We’re Gonna Die on May 7th, 2017, my grandfather died. I wasn’t sure I was going to make it to the show that evening.

I am so glad I got there.

When you first walk into the Den and take a left into the Bookspan Theatre occupied by Haven and named after Artistic Director Josh Sobel’s aunt, Janet Bookspan, you are greeted with the sweet scent of a smoky haze machine. The entry to the space is plastered with pop and punk posters, and as I left the antique stylings of the Den lobby I felt like I’d walked into an independent rock show. The audience has the option of sitting at low, cabaret-style tables and being right up on the action (as I chose to do), or sitting in the more traditional bleacher-style seating. No matter where you sit, you can see the faces of everyone watching the show with you, which seems like an intentional effort to support the intimacy of this play.

We’re Gonna Die is an ode to living and dying, guided by the Singer, Isa Arciniegas, whose alto voice is versatile enough to go from sweet ballad to angsty rock song. Isa captured the crowd with her stamina and ability within the first ten minutes, as she effortlessly got the audience on board for the cabaret-style of the show. She never lost confidence or momentum and moved deftly through the witty and emotional text, trusting that the audience was smart enough to keep up with her. It’s a crucial first ten minutes in a compact play, running under an hour and a half with no intermission.

The design world of We’re Gonna Die fused effortlessly with the text. The simple stage (set design by Mike Mroch) ) and punky costumes (Izuma Inaba) were effective, I couldn’t help but think of Rosie The Riveter when looking at the red bandanna and brunette ponytail on “lady-drummer Sarah [Giovanetti]” as Isa affectionately called her during the opening performance. The play’s title We’re Gonna Die is cleverly turned into a band logo (WGD) that is stitched into Isa’s jacket and displayed in neon lights behind them.  But the most notable aspect of the design was the lighting crafted by Claire Chrzan, who hung a multitude of household lamps  above our heads mixed in amongst stage lights, making  the lights themselves just as intriguing to look at as the stage they were lighting. The play consists of various stories from people’s lives, and I couldn’t help wondering if these lamps had sat in their living rooms and now lived again as homage to them and part of this show. I could have spent the show watching the lamps dim in and out, but the ensemble is too ferociously entertaining to allow it.

As a performer and musician myself, I know one of the hardest things in the world is to act and be in a band at the same time. In such intimate proximity to the audience, I was probably five feet away from the nearest musician, all the band members are closely watched and can’t fudge any notes or lose their cool. I have never been so impressed. Elle Walker’s poise while playing the keys and confident tosses of her long brunette hair during an exuberant and carefree dance solo ensure she grabs the spotlight at choice moments in the show. Jordan Harris possesses a beautiful singing voice, their solo moment is only one line but I was struck by the melodic tendencies of their voice. Last but certainly not least is Spencer Meeks’ beautifully messy eyeliner, and funky scene-stealing guitar solos. On the night I saw it, they also had a standout improvised moment about how their Green Goddess veggie drink was not the best choice for hydrating during a rock concert. I can happily report that hydrated or not, Spencer’s vocal talent as they harmonized on various songs was still excellent . Every person in the ensemble not only had great stand-out moments, they were serving every second of the show!

The twists and turns of Young Jean Lee’s emotional journey are best left unsaid so that you can be as delighted and devastated by them as I was. The show is compiled of true stories collected through interviews, and through their specificity they give the audience a place in each anecdote. One sentiment that I feel was perfectly captured here was the (dare I say the word?) millennial sense of being special, and deserving of immunity from tragedy, while also being perfectly aware of one’s imminent mortality. It is a reality in this new world that each of us is more empowered than we’ve ever been and simultaneously just as helpless to our mortality as ever.

Despite this feeling of millennial immortality, as the play says if you are a person there will be a day when you die. When your time comes, that is your time. Instead of being a depressing realization I found it galvanizing. My grandfather has 12 grandchildren while being an aeroengineer as a black man in the 1950’s and 1960’s. As sure as we are of death, we can also be sure that our full lives will affect those we leave behind, and that our stories will be told. I came to this show with the rawest open heart, and I left with a sense of how important life is, and how important it is to record the history of those lives and immortalize ourselves through art.

I thoroughly enjoyed my experience at We’re Gonna Die, and would recommend it to anyone who is interested in a fun punk show about living and dying. The remarkable direction of Josh Sobel, artistic director of Haven Theatre, moves easily from deep tragedy to big joy (remember – I said dance sequence!!). Lucky for you, it’s been extended to June 10th, so be sure to get your tickets ASAP if you’re interested in this fun rock production!

http://haventheatrechicago.com/were-gonna-die/

Isa Arciniegas – SINGER

Spencer Meeks – GUITAR / BASS

Sarah Giovannetti – DRUMS

Jordan Harris – KEYBOARD

Elle Walker – KEYBOARD

Kamille Dawkins – SINGER u/s

 

PRODUCTION

Playwright – Young Jean Lee

Director – Josh Sobel

Music Director – Spencer Meeks

Scenic Design – Mike Mroch

Costume Design – Claire Chrzan

Sound Engineer – Archer Curry

Choreography – Jon Martinez

Production Management – Krista Mickelson

Stage Management – Julia Leghorn

Assistant Director – Abhi Shrestha

Assistant Production Manager – Corbin Paulino

Master Electrician – Cedar Larson

Technical Direction – Alan Weusthoff

Graphic Design – Jenifer Dorman

 

Production photos by Austin D. Oie