By Lavina Jadhwani
“Casting should be diverse. Shakespeare is meant for everyone.”
This simple statement, written atop the casting breakdown of Lauren Gunderson’s new play, THE BOOK OF WILL at Northlight Theatre, filled me with so much hope.
I am a woman of color who regularly directs Shakespeare and regularly encounters pushback when trying to convince producers and audiences that the words people often assume were written primarily for white, cis, able-bodied men can be shared by, well, everyone. That’s why I was so moved by Gunderson’s sentiment and so excited by the casting announcements made by the Denver Center and Oregon Shakespeare Festival regarding this play. (The world premiere in Denver included two South Asian actors — my desi heart soared!!) My heart sank, however, when I saw the casting announcement of a local company, Northlight Theatre, which included an all white cast and production team. Nevertheless, I attended the production in hopes of learning something new about this play and the world of William Shakespeare. I wanted to keep an open mind. And honestly — I wanted to support my friends. Continue reading “‘Book of Will’ Fails to Diversify The Bard”
(Featured image: Obsessive Eye Photography)
Walkabout Theater just finished a tour of their their newest devised piece, A Persephone Pageant. My children and I caught the recent Chicago performance on the grassy lawn behind The University of Chicago’s Reva and David Logan Center for the Arts. The family friendly pageant, co-directed by Jessica Thebus and Thom Pasculli, incorporates original text by Sarah Ruhl and Morgan McNaught and features choreography by Kristina Isabelle, music by Mark Messing and puppets by K.T. Sivak and Jackie Valdez. The play updates the Demeter myth imagining Persephone as Water and Hades as Greed, remaking the story into a contemporary parable about climate change. Continue reading “Walkabout Theater’s ‘A Persephone Pageant’ Reimagines the Demeter Myth as a Parable About Climate Change”
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.
Continue reading “Rescripted Announces ‘The Key: Young Critics Mentorship Program’”
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?”
Continue reading “Black Lives Black Words Centers Black Women”
By Monty Cole
Let me set the scene.
A couple of weeks ago, Antoinette Nwandu’s Pass Over opened at Steppenwolf Theatre Company in Chicago and rocked the city – folks are still holding on to anything sturdy. Nwandu’s Beckettian take on the plight of the American Black man drops Moses (Jon Michael Hill) and Kitch (Julian Parker) on a lifted cement street corner in an unnamed city. A street light hangs over them like Waiting for Godot’s infamous tree, and beyond that lies a black void.
The play isn’t easy. Antoinette Nwandu has written fiercely brilliant dialogue saturated with ebonics and “niggas” spun into its vernacular. The word is used so much that the one white character in the play points out his discomfort with the frequency of the word. Now might be a good time to mention that I’m a Black Chicago-based director. Hi. Continue reading “‘Pass Over’ and the Chicago Theatre Aesthetic”