Trigger warning: sexual harassment and assault, racism, body shaming.
“Can we not force students to be around reported abusers? Students and otherwise.” – Anonymous Roosevelt University Student, June 17, 2019.
Just yesterday the news broke that Senn High School teacher and former co-Artistic Director of The Yard, Joel Ewing was charged with a count of sexual assault involving a minor.
Earlier this year The Chicago College of Performing Arts at Roosevelt University’s Associate Dean and Director of the Theatre Conservatory Sean Kelley was accused of repeatedly humiliating and sexually harassing his students. This was never reported, but as you can see from the cover photo of this article, students and faculty were quietly notified via e-mail that he was no longer employed at the university after months of outcry on social media.
These events, and the culture of every theatre program in America, are closely intertwined, and it’s time we acknowledge that. Continue reading “Abuse Is Not Art: The Yard, CCPA, and Academic Atrocities”
The Theatre Communications Group Conference took place on June 4-8th, and for the first time ever they included an arts journalism track. My conference journey began with co-facilitating a session with Brian Herrera of the Sol Project titled “What is a Theater Review(er) Good For? A Critical Look at the Role of Journalism in Theatre Today.” This session was a lab that took place before the official start of the conference, and was a three hour round table discussion. In addition to the obvious title question, we chose to investigate what our present relationship to reviewers was, and try to shape what it could be. This article is an attempt to summarize these rich and invigorating hours of conversation. Continue reading “TCG Conference Coverage 2019: What is a Review(er) Good For?”
Phil Timberlake’s adaptation of Emma at Lifeline Theatre is an engaging and dynamic piece of work, directed with a clear hand by Elise Kauzlaric. Based on the Jane Eyre novel of the same name, Emma follows the protagonist of the same name as she matchmakes through her fictional English countryside community of Highbury. As she interferes in all of her neighbor’s love lives, she creates a big mess and must recognize the desires of her own inner heart in order to put everyone back together. Continue reading “A Whirlwind ‘Emma’ with Heart at Lifeline Theatre”
“No one dies at Disney,” Stephanie Shum screeches into the abyss during Small World at The New Colony, a show that may prove to be the funniest and simultaneously most disturbing theatrical event of 2019. When I say funny I do not mean elbow your friend and chuckle a few times in the first thirty minutes before things get serious. Jillian Leff and Joe Lino’s new play Small World made me and my guest guffaw for about 80 solid minutes. This is a refreshing structure, as there is still quite a lot of emotional depth provided by the text and Patriac Coakley, Stephanie Shum and Jackie Seijo, the cast of three that launches this production into the stratosphere of hold-on-to-your-stomach hilarity. Continue reading “‘Small World’ Delivers a Sidesplitting End of Days at The New Colony”
For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf by Ntozake Shange is a vibrant tribute to the transitional power of the Black femme. The moment we step into the abandoned train station at Court Theatre, we know we are in a space full with the possibility of movement and growth. Directed by Seret Scott, who took over the role of Lady in Orange in the original Broadway production, this beautiful production moves with purpose. Continue reading “‘For Colored Girls’ at Court Theatre Leads us to the end of our own Rainbows”
“When it became clear that our ensemble member Mary Ann Thebus’ consistent retention of the script was challenging due to side-effects from medication, we chose to see it as an opportunity to remind ourselves and Chicago what makes us who we are.” – an excerpt from The Gift Theatre Company program insert.
Dear White Critics,
We’re baaaaaaack. Much like Johnny in The Shining y’all don’t know how to quit. This is the third installment in “Dear White Critics,” the series that never should have been, and unfortunately it focuses on a couple of beloved Chicago critics who each made a really offensive judgement call in different ways. Doubt presented by the Gift Theatre is a formidable production, please see my full review of that enthralling piece of theatre by clicking here. Many critics enjoyed the show, but some critics decided to focus on the fact that Mary Ann Thebus was holding a script for her performance due to a side-effect of medication that made memorization difficult. Then a storm of ageism, sexism, and ableism was unleashed on Chicago courtesy of primarily Chris Jones at the Chicago Tribune. Continue reading “Dear White Critics: I ‘Doubt’ You Meant to be Ableist…”
From the first echoes of the imposing Michael Patrick Thornton’s voice bringing the devastatingly charming Father Flynn’s voice into the space (a charismatic Michael Patrick Thornton), we are submerged in a flickering Catholic Church. The first moments of Doubt by John Patrick Shanley produced by the Gift in Steppenwolf’s 1700 space caused the audience to be simultaneously reaffirmed and frightened by Flynn’s sermons. His tone suggests that if we just listen close enough we will avoid the temptations of which he speaks. The spectators are few, two nuns and a dignified Black woman, she is notably separated from the rest, seated between the nuns and the Father. This is an intentional choice by director John Gawlik, manifested by Mike Durst’s deft lighting, that would later prove relevant. Continue reading “Fire and Brimstone Outweigh ‘Doubt’ in Gift Theatre Production”
Chicago has no shortage of incredible femme critics and Rescripted is thrilled to introduce the perspectives of two of the most incisive women writing on Chicago theatre. Yasmin Zacaria Mikhaiel is a former alumni of The Key and writer and Windy City Times, Scapi Mag, and Chicago Reader among others. Catey Sullivan has been reviewing theatre since 1992. She writes for the Sun-Times, the Chicago Reader and Crain’s Chicago. Read their reviews on Jackalope Theatre’s Dutch Masters below. Continue reading “Dual Perspectives on Dutch Masters – Catey Sullivan x Yasmin Mikhaiel”
Ike Holter’s Red Rex takes a deep dive into the underbelly of making theatre in Chicago, and a brave ensemble of people at Steep Theatre rose to the challenge. The sixth play in the Rightlynd Saga directed by Jonathan Berry gets its name from the fictional theatre company at the center of the narrative, Red Rex Theatre Company. After almost a decade of relatively mediocre production Red Rex has recently taken up residence in the abandoned former home of the Three Lord Gang – one of many easter eggs from the rest of the Rightlynd Universe (the RU, you know, like MCU). Continue reading “‘Red Rex’ is the Clapback Chicago Theatre Never Knew it Needed”
Our present moment invites more conversations than ever about the kind of world we want to live in and whether the behaviors of our predecessors is worth emulating. Dada Woof Papa Hot, Peter Parnell’s rather absurdly named play, asks some very straightforward questions about American home life and the value of the nuclear family. The playwright uses the lens of sets of two sets of gay dads who have young children in the same school. They decide to be couple friends and try to use their bond to navigate fatherhood and their relationships together. Continue reading “‘Dada Woof Papa Hot,’ a Family Drama at About Face Theatre”