October 23, 2019
Our Dear Chicago Theatre Community,
We write to you to share that we, the cast of Peter and the Starcatcher directed by Jeremy Aluma and produced by Citadel Theatre, concluded three weeks ago that due to persistent and pervasive problems with the production, our relationship with Citadel was no longer sustainable. Our production was scheduled to run from September 18th to October 20th, but after eight public performances and much deliberation, it became clear that in view of the circumstances, we could no longer continue in the production. Continue reading “Why They Walked – Members of the Cast of ‘Starcatcher’ at Citadel Theatre Speak Out”
Tony Award winning play Oslo is a partially fictional account of the events between the Palestinian Liberation Organization (PLO) and Israeli officials leading up to the signing of the Oslo Accords in 1993, dramatized for the stage by J.T. Rogers. Currently receiving its Chicago premiere, it initially premiered Off-Broadway in June 2016 directed by Bartlett Sher at the Lincoln Center. The original cast then moved to Broadway to reprise their roles in April 2017 receiving awards and acclaim from New York Critics, Outer Critics, Drama Desk, Drama League, Lucille Lortel, Obie awards and other nominations along the way.
Timeline’s highly anticipated co-production of Oslo with Broadway in Chicago seems to fit perfectly with its mission to present stories inspired by history that connect with today’s social and political issues. As a production, it aimed to explore sociologist Terje Rod-Larsen’s theory that trusting in each others’ inherent humanity and building interpersonal human connection is the only basis for healthy debate, and potentially peacemaking. The lobby display as well as a program insert provided a historical guide to the Palestinian-Israeli conflict, while a huge column scribbled with sharpie responses asked audience members to participate in the conversation Timeline chose to center: “How do you resolve conflict?” Continue reading “‘Oslo’ at Timeline Theatre Muddles the Message of Peacemaking”
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”
Rescripted is thrilled to announce the third session of The Key: Young Critics Mentorship Program, September 25 – December 4 and hosted for the second year at Steppenwolf Theater, 1650 N. Halsted. Regina Victor, founder of the online arts journalism platform Rescripted, and entertainment critic Oliver Sava created the 10-week training program for Chicago youth in arts criticism. In league with The Chicago Inclusion Project, The Key has successfully held two sessions, educating young writers on the skills and industry knowledge needed to pursue careers in arts criticism. Alumni of The Key have written for outlets like Chicago Reader, Howlround, The Windy City Times, and Rescripted.
Continue reading “Rescripted Announces Third Session of The Key: Young Critics Mentorship Program”
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?”
The theater community in Chicago has had many reckonings in terms of representation in criticism, casting, play selection, administrative staff, and boards, yet we don’t often discuss Marketing and PR. This week Drury Lane Theater put out advertising on social media and their website for their upcoming show And Then There Were None which was received with a firestorm of criticism. The primary marketing graphic featured a noose. Continue reading “Drury Lane Theatre Hangs Itself With Its Own Race Blindness”
While preparing my review of Language Rooms for publication, I saw a post on Facebook from fellow Rescripted critic, dramaturg and writer Yasmin Zacaria Mikhael. Mikhael’s post led me to a second post from actor Arti Ishak, who has previously contributed to an article on Rescripted by Emma Couling. Both of these posts expressed the pain and frustration caused by this production of Language Rooms, and became catalysts for community discussion about the show, its implications and impact, as well as the response of the largely white group of critics that wrote about the show. In reading those discussions, and after reaching out to Mikhael and Ishak, it was clear that my initial response to the show was missing something. Continue reading “A Critical Response of ‘Language Rooms’ at Broken Nose Theatre”
When did water become a privilege? This is one of the questions up for interrogation in Parched: Stories of Water, Pollution, and Theft, devised by Free Street’s HQ Youth Ensemble. For this nearly 50-year-old, historic theatre company, putting Chicago on stage rightfully includes youth—and they don’t come to play. Continue reading “Inside Look – Free Street Youth Ensemble’s “Parched: Stories of Water, Pollution and Theft””
Did you know the Jeff Awards were last Monday? If so, you’re already doing better than me. When I returned from working on Pipeline at Indiana Repertory Theatre, I said to a few friends I was planning on going to the Jeffs, which I thought was next Monday (today). I then had a quiet night in my home, scrolling through Facebook, reading scripts and hanging out with my cat, when my friend came over. “Hey!” She said, wine and cheese in hand – how any good friend should arrive at your door – “My boyfriend is at the Jeffs so he won’t be home for a while!” At this point, imagine me, going to the sunken place à la Daniel Kaluuya in Get Out. Continue reading “How I Missed The Jeff Awards, or, The Misrepresentation of the Chicago Theatre Community”