Muthaland at 16th Street Theater is a one woman show written and performed by the talented Minita Gandhi. It’s a showcase for her dexterity and ability to create and inhabit characters we love, and characters who make our skin crawl, as she goes on a journey to her parents homeland. In 16th Street’s bare black box theatre, there is only one practical light onstage, and the rest of the show travels on in the darkness with Minita herself. She walks down the staircase through the audience carrying her suitcases to the practical standing lamp on stage. Little did we know she was carrying the world of the play in her arms. Continue reading “Identity, Heritage, and Growing up in ‘Muthaland’”
Steep Theatre has just extended its devastating and urgently important play, Lela & Co. I wanted to take a moment to recommend this production and encourage people to see it now that it has been extended through September 16th.
I feel so fortunate to have seen Cruz Gonzales-Cadel play Lela in this heartbreaking two-hander opposite Chris Chmelik. Gonzales-Cadel has phenomenal range. We immediately fall in love with Lela as she disarms us with her charm and draws us into her story.We start in Lela’s childhood home with a loving mother and a father who alternates between indulgent and abusive. The limited abilities of women to shield each other from harm is a theme established early. As the dangers around her multiply, we watch Lela transform from an innocent child into a determined and courageous woman. For his part, Chmelik plays a host of villains, each fully fleshed out, each differently evil. Written by the British playwright Cordelia Lynn when she was just twenty-six, Lela is original in every way. Lynn speaks the unspeakable and holds us all accountable.
I won’t describe or summarize the story because much of its dramatic value is in its surprises. We never know what’s about to happen and, like Lela, we feel powerless to stop the cascade of horrors that unfold as she recounts her story. I’ve never felt so much real fear, rage and despair in the theater. A big part of it was knowing, more than a play, what happens to Lela is happening to to girls and women around the world every day.
Lela examines the way women become casualties of war showing how their stories are coopted, their voices silenced and their abuse marginalized. The narrative style creates the experience of being inside the head of a women who has internalized the narrative of her abusers along side the truth of her lived experience. This gives the audience an opportunity to experience the cognitive dissonance that results from trauma. The tone of Robin Witt’s direction creates jarring juxtapositions between the events that happen to Lela and the way she describes them. Lela uses a range of coping techniques from detachment, to rationalization, to minimizing, to self-blame. All the time as her underlying grief, rage and pain are straining to be let out. By the time Lela hits its crescendo and the playwright allows her character to enact a desperately longed for moment of confrontation all the air goes out of the room.
The space has been transformed into an intimate café with limited cabaret style seating and the actors perform on raised platforms above our heads. The action happens around the audience so we’re immersed and therefore implicated in Lela’s predicament. All the design elements seamlessly support this atmosphere of fear and claustrophobia.
I must end with a really big trigger warning here. There is graphic sexual violence both portrayed and discussed. This play deals plainly with some of the darkest subject matter I’ve ever heard onstage. Lela explicates the economic and political circumstances of war and how they enable the exploitation of women. Lynn’s story also reveals the tragic irony of how third party “liberating” and “peacekeeping” forces in conflict zones participate in crimes against women. No, Cordelia Lynn’s play isn’t easy to watch, but it is essential.
BIAS ALERT: Cruz and I know each other from Something Marvelous and have bonded over having children around the same age. Likewise, I know Peter Moore, Steep’s Artistic Director, because our kids were in the same class and I’ve submitted my work to his literary department. All this just means I was already a fan of the theater and of Cruz before I went to see this play.
Extended through September 16th!
Director – Robin Witt*
Stage Manager – Lauren Lassus**
Set Design – Joe Schermoly
Lighting Design – Brandon Wardell**
Sound Design – Thomas Dixon**
Costume Design – Jessica Kuehnau Wardell
Prop Design – Maria DeFabo**
Fight Choreography – Christina Gorman
Dramaturg – Carina Abbaticchio
Assistant Directors – Michael Rogerson & Isabel Perry
Production Manager – Julia Siple*
*Denotes Steep Company Member
**Denotes Steep Artistic Associate
Everything I’ve seen by the Neo-Futurists has always had an inherent sense of vulnerability and a fearless raw honesty which always allows me leave the show knowing the performers intimately. Their new venture, boldly titled The Food Show and created by Dan Kerr-Hobert, is no different . Performed in Metropolitan Brewing’s warehouse in Avondale, the Neos have transformed the warehouse into a badass kitchen stocked with all of the things you might need and have created an a night of adventure structured around a menu. When the audience enters the space, the writer-performers come up and ask everyone about their food allergies, because no one is trying to die tonight. Though unfortunately not everyone gets to eat throughout the night, everyone does get a complimentary beer (which if you’re lucky enough to get an orange slice during the night, I recommend putting it in the beer for a lovely, refreshing summer drink) .
Lisa Kron’s 2010 play In the Wake, produced by The Comrades at the Greenhouse Theater, revisits the political events of 2000-2005 beginning with the Supreme Court decision in Bush vs. Gore. In the Wake is concerned with the ways American liberals, especially privileged white coastal liberals, develop blind spots that prevent them from fully understanding the life circumstances that might cause a person to cultivate a conservative viewpoint. This is a timely subject in the wake of Trump’s rise to power, although the play predates it. The play makes important points about the state of American political discourse though it is somewhat weighted down by an unwieldy structure.
About Face Youth Theatre Ensemble’s Brave Like Them is an exciting and dynamic exploration of cultural movements and gender expression infused with feminist punk. The show is entirely devised and performed by the members of the About Face Youth Theatre Ensemble and co-directed by About Face’s Education and Outreach Director Ali Hoefnagel and Education Coordinator Kieran Kredell. The script was well-written, and memorable, especially impressive because the age range for the ensemble that devised it is 13-23 years old. The play takes place in the Riot Grrl movement of the 1990s, an underground punk feminist movement that originated Washington state, credited with being the beginning of third wave feminism. Famous bands that came out of that era include Bikini Kill, Bratmobile, and Sleater-Kinney. Brave Like Them takes us to Washington state in that era, and investigates both the successes of the movement but also the racial and class discrepancies – most of the voices of this movement were middle class, white cisgender women. Continue reading “About Face Youth Ensemble’s ‘Brave Like Them’: Explosive, Feminist, and Unapologetically Queer”
In a video interview on The Factory Theater website, Artistic Director Scott OKen says of the genesis of his latest play, Fight City, “I wanted to turn the current gender politics around… [and] I wanted to do an action play…that has a real kickass female police force that beat each other up with sticks.” This is exactly what Fight City delivers in the form of a clever comedy that satirizes standard sexist tropes within the action genre. Continue reading “Fisticuffs and Feminism in The Factory Theater’s ‘Fight City’”
(Photo Copyright: Michael Brosilow)
Bright Half Life at About Face Theatre directed by Kiera Fromm is an elegant exploration of queer love and the quirks of relationships. A two-person play penned by Tanya Barfield, Bright Half Life centers around the intertwined lives of two women, Erica (Elizabeth Ledo) and Vicky (Patrese D. McClain). The play jumps back and forth through time to tell us the story of Vicky and Erica’s decades long love affair, from their first encounter at the job where Vicky is the only black female supervisor, to the marriages of their children. Fromm’s direction and Barfield’s sequence of events made it clear from the beginning that this love would be complicated and messy, that it would end and perhaps begin again. But whether or not they see a happy ending almost doesn’t matter. Bright Half Life believes that it’s not about the result, it’s about the journey. Continue reading “Love and Talent Burn Fiercely in ‘Bright Half Life’”
(Photo Credit: Austin D. Oie)
By Regina Victor
Before I embark on writing the review for We’re Gonna Die, written by Young Jean Lee and directed by Josh Sobel for Haven Theatre company, I have to explain the circumstances under which I am seeing and writing about this show. I am writing this review on the way home from my grandfather’s funeral. A few hours before opening curtain for We’re Gonna Die on May 7th, 2017, my grandfather died. I wasn’t sure I was going to make it to the show that evening.
I am so glad I got there. Continue reading “‘We’re Gonna Die’ at Haven Theatre Electrifies Audiences”