Famed improviser Stephen Colbert once gave the sage advice for comedians to “learn to love the bomb.” To translate for non-comedians, he meant that when you are failing onstage, feeling humiliated and embarrassed, you have to learn to find joy in the process of failing, so much that it leads you through the fear, out of insecurity, and into success. To be an even semi-successful comedian, you have to learn to love the bomb.
One person can change everything. We know this. We are powerful, connected and talented beings.
What does your revolution look like? Marching? Phone banking? Demonstrating? Facebooking?
I want to know if you have asked yourself, really asked what the revolution means for you. Not for the “movement,” and not for the stolen lives America has taken through the centuries up to this point. Your revolution may look like marches, demonstrations, Facebook rants, phone banks. Your revolution may not look like intentionally considering what you want this world to be when we are done.
The #WeSeeYou movement sweeping the nation is asking our theaters for accountability, and investments in anti-racism. The initial call to action was an open letter entitled “Dear White American Theater” launched at 7pm on June 9th. This letter invited the community to sign the petition in solidarity with this letter on www.weseeyouWAT.com. Since then they have received at the moment of this publishing over 64,000 signatures and counting. In other words, if you don’t know, now you know. This is the original letter that dropped on June 8th, 2020, followed by their statement released today June 10th, 2020.
#WeSeeYou statement from June 10th:
“In reaction to civil unrest in our country, we—Black, Indigenous and People of Color (BIPOC) theatremakers—formed a collective of multi-generational, multi-disciplinary, early career, emerging and established artists, theater managers, executives, students, administrators, dramaturges and producers, to address the scope and pervasiveness of anti-Blackness and racism in the American theater. Our response was to draft a strong testimonial letter, ‘DEAR WHITE AMERICAN THEATER’, collectively crafted by theatremakers from across the country, exposing the indignities and racism that BIPOC, and in particular Black theatremakers, face on a day-to-day basis in the theater industry. Continue reading “Dear White American Theater: #WeSeeYou Movement is 64,000 Strong and Counting”
The Chicago Artists Relief Fund was founded in response to the devastating impact of the quarantine on the performing arts community. Recent surveys have indicated 95% of artists have lost income due to the pandemic.
We didn’t need a poll to know that thousands of our peers, friends and collaborators lost their jobs and income overnight. The service industry jobs, the teaching artist jobs, and the wide variety of survival gigs artists rely on simply evaporated. The need is immediate and urgent. The founders of the Chicago Artists Relief Fund rose to the occasion.
Since March 15th The Fund has raised over $75,000 and distributed emergency grants to over 315 artists in need across a variety of disciplines. Today (May 4, 2020), they are announcing an updated goal of $150,000.
There are a lot of things that we currently miss about the outside world — writing in cute coffee shops, hanging with coworkers, the lakefront — but perhaps the most gutting thing for us artsy folk is the fact that all theatre in the world has pretty much ground to a screeching halt. We still have movies and TV, of course, but there’s nothing else quite like the breathless thrill of a hard-hitting story that is happening in the same room as you.
Luckily, however, there are plenty of theatres across our nation who have managed to make their art available despite shuttering their doors, and so we are happy to provide this handy list of streaming theatre productions. NOTE: We’re going to limit this list to streaming theatre that is either newly available because of the pandemic, or was recently made free because of the pandemic. We will also make regular updates.
I don’t have anything particularly helpful to say about the larger issue of coronavirus. By all means, please stay home, wash your hands, and practice as much social distancing as possible. Here’s an excellent article about how social distancing will help and the best ways to practice it, as well as some cool, informative visualizations that show the scope of the problem.
I do, however, have something to say regarding mental well-being in these anxious times. I, for one, am doing everything my therapist has taught me in order to keep my anxiety under control; indoor exercise, yoga, meditations, and long walks outside (staying six feet away from anybody I see) have all worked wonders. But I won’t lie; I have found social distancing to be surprisingly difficult so far, and as of this writing it’s only been about three days. I’m not a social creature at the best of times, but strangely, I have within me at all times an unquenchable desire to be a social being. As an introvert, the closing of bars and restaurants hasn’t affected me much; I prefer hanging out one-on-one with people, especially people I haven’t talked to in a while.
Stop Kiss by Diana Son is the story of two young women, Sara (Kylie Anderson) and Callie (Flavia Pallozzi), living in New York in the late nineties. Each scene in the play alternates between two timelines; half of the scenes depict Sara and Callie as they meet for the first time, develop a friendship, and then slowly realize that their friendship might be something much deeper, lovelier, and more serious than they initially thought. Other scenes depict a near future where Sara is attacked by a violent man after her and Callie’s first kiss, in an act of homophobic violence. Callie must deal with the various reactions of friends, family, police, and the news media, while still struggling with her evolving feelings for Sara.
Stop Kiss is a play about the dichotomy of being queer; its very structure is a contrast between discovering the joy and freedom of stepping away from societal norms, and the pain caused by an unjust society which punishes that discovery at every turn. Director Kanomé Jones has put together an ensemble that understands this dichotomy on a visceral level, with the result that this collaboration between Pride Films and Plays and Arc Theatre touched something deep within my little queer heart in a way that no show in recent memory has.
Dance Nation, written by Clare Barron and directed by Lee Sunday Evans, captures the sweet, strange and uncomfortable aspects of growing up in and surviving the world of competitive tween dance, as we follow the adventures of six young girls preparing for a national tournament. A finalist for the 2019 Pulitzer Prize, the play received its world premiere at Playwrights Horizons in 2018 and ran at the Almeida Theatre in London before coming to Steppenwolf for its regional premiere.
Armed with a multi-generational cast and a healthy dose of whimsy, this production succeeds in telling this story in a way that required the magic of a theatre. It invokes imagination, is anything but expected, and in this way subverts the classic coming of age story into something as weird, messy, and wonderful as actual puberty. The dances are less literal and more figurative, capturing each character’s essence. One that stood out in particular perfectly captures the importance of ‘dance face’, and puts it up front and center with the assistance of some impeccable tech. Transformative lighting by Heather Gilbert moves us seamlessly through time and space, guiding the audience along a non-linear plot. Sound design by Mikhail Fiksel perfectly underscores each dance, monologue, and transition; movement and sound feel intertwined into a well choreographed dance piece.
2019 was by no means an easy year, and yet so much progress was made in our artistic community both on and offstage. The Rightlynd Saga reached completion in the same year Lori Lightfoot was elected. Abuse was unearthed and community solutions provided, systemic changes are underway on many levels, as the energy of organizations like Not in Our House and ChiTac drive our individual work. As Editor for Rescripted, I laid out my Visions for 2020. This article is about looking back, and celebrating where we came from one last time. Below you will find the 10 Rescripted Recognized shows selected by our critics, and a new addition for this year – Rescripted Raves. There is too much great work in the city to limit it to ten shows, and there you will find the other projects that brought us joy or moved the conversation forward. Happy 2020!
Red Rex at Steep Theatre. Directed by Jonathan Berry, written by Ike Holter. “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).” – Regina Victor, Editor In ChiefContinue reading “Rescripted Recognized – 2019 Edition”
We live in an extremely complicated world, more complicated than any individual is really capable of comprehending. We are also in an age where we are forced to stare straight into the face of the many broken machinations of that world. And this, simply put, is exhausting. So in order to wake up and feel alive, to march down the hill and start pushing the boulder back up again, we need good art to motivate us.Continue reading “Why the Variety Show ‘Resilient’ Is a Monthly Must-See”