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”
Pictured: The core team of organizers for the ALTA Awards being thanked by Isaac Gomez, co-Creative Director of the Awards (the other co-creator Nancy Garcia Loza).
“Just look at this turn-out! And we’re only 15 minutes into the night. Like WE’RE always running late!” – Laura Alcalá Baker, casting director and artistic programs manager at Victory Gardens. The crowd attending the ALTA awards that evening at Victory Gardens Theater had packed the lobby barely 20 minutes into the cocktail hour! Continue reading “The 2018 ALTA Awards: A Night of Celebration for Latinx Artists”
Drury Lane does not have a casting problem.
Drury Lane has an institutional racism problem. As does Marriott. As does Paramount. As does just about every non-PoC centered theatrical institution in this city. To place the problem at the feet of casting is to blame the symptom rather than the cause. Continue reading “Drury Lane Does Not Have A Casting Problem”
On Wednesday, September 19, several Chicago artists received an invitation to audition for a play called Angel by playwright Henry Naylor. Angel is the second production in a series called “Arabian Nightmares”. The invitation was sent by local Chicago theatre Akvavit on behalf of Urbanite Theatre, located in Sarasota, Florida. Angel is inspired by fake news tweeted by the English-language news outlet Slemani Times. The tweet contained a photo of a woman named Rehana who was rumored to have killed as many as 100 members of ISIS. It has since been proven that though the photo, taken by Swedish journalist Carl Drott, was of a real woman, she was not Rehana, or “The Angel of Kobane” as they claimed. This story of the “Angel” has no basis in fact, and was disproved by the BBC in 2014. Rehana, “The Angel of Kobane,” never existed at all. Continue reading “When The Show Must Not Go On: Chicago Artists Respond to Controversial Casting Notice”
Regina Victor of Rescripted asked Emma Couling to sit down and chat with Rescripted about her growth as a writer over the past year, and what ensued was a badass conversation. Emma Couling is a freelance arts writer who contributes to Rescripted, you can read more about her work here.
How did you become a critic?
I never actively decided I wanted to be a critic. I didn’t even identify as a writer until two years ago. That summer, I had this experience where twice in one week, two different strangers groped me while I was going about living my life. And in that same week, The Reader published their exposé on Profiles Theatre Company. Continue reading “Rescripted Reveal: Arts Writer Emma Couling Will F*ck You Up”
You may remember my last article in what must now become a series, Dear White Critics: Stop Using the N-Word, when Justin Hayford decided racial slurs were appropriate for a theatre column. Yesterday, Ben Brantley of the New York Times decided it was appropriate to make a joke out of the unveiling of a trans character’s pronouns in the new Broadway musical Head Over Heels’. The character? Oracle and non-binary plural narrator Pythio, portrayed by drag performer Peppermint, who is a trans woman. What’s notable is that it’s the first time a trans actor has ever created a principle role in a Broadway show, and that Pythio is one of a handful of genderqueer characters ever seen on Broadway. Therefore, as a critic, one might think Brantley would use this opportunity to celebrate that fact. Alas, instead he decided to say this: Continue reading “Dear White Critics: Stop Being Transphobic!”
Steppenwolf’s Fellowship Cohort Presents: Crafting a Cohort
Monday, April 30 at 7pm.
Free Community Event Explores the Question, “How do we, as POC and queer artists create space for ourselves in institutions where we are often ‘the only one’?”
CHICAGO (April 24, 2018) –Steppenwolf Theatre Company’s 2017/18 Multicultural Fellows are proud to present Crafting a Cohort, a free event that aims to unite people of color and members of the queer community (POC/Queer Folx) in various levels of theatre career tracks by providing a space for discussion and connection. This event is curated by the 2017/18 Steppenwolf Multicultural Fellows cohort. The Steppenwolf Professional Leadership Program Fellowship is for early-career people of color working in various theatre disciplines and provides paid professional development opportunities both in and out of Steppenwolf Theatre. Jackie Taylor, Executive Artistic Director of Black Ensemble Theatre, will deliver the keynote address. This event takes place on Monday, April 30th from 7-9pm at the Merle Reskin Garage (1624 N. Halsted St.). Admission is free and snacks and drinks will be provided. RSVP by clicking here. Continue reading “Steppenwolf Fellows Present: Crafting a Cohort”