In his playwright’s note for Kingdom, Michael Allen Harris says, “Much of the popular queer media and scholarship focuses on queerness from a white, middle class, and urban context. And so, I took this play ‘home.’” The play, directed by Kanomé Jones, was developed in house as part of Broken Nose Theatre’s new play development program, The Paper Trail. Kingdom is romantic comedy with a touch of family drama. It centers around Henry (Watson Swift) and Arthur (Christopher McMorris), a gay black couple in their seventies, their lesbian niece Phaedra (RjW Mays) and their grown son, Alex (Michael Mejia-Beal). Continue reading “‘Kingdom’ is a Portrait of a Gay Happily Ever After”
Simply stepping into First Floor Theater’s Dontrell, Who Kissed The Sea is already a theatrical experience unto its own, to say nothing of the magnetic performance to follow. Director Chika Ike’s vision for the play is immediately palpable, and impresses upon audience members from the very first moment that they are entering what will become sacred ground. The inventive and highly successful scenic design of Eleanor Kahn and associate designer Samantha Myers immediately compels the audience to look up, down, and all around them. With Viking and Adinkra symbols adorning the walls of the theater, as well as the scattered pieces of shattered wood that encapsulate the audience, the space evokes a reverent spirituality. Each of the symbols has a meaning, and cast a net of wishes, intentions, and hopes around the playing space. As for the wood, one’s mind goes instantly to the memory of the ships that carried slaves from West Africa to North America. As the house lights drop, and we enter the poetic world of playwright Nathan Alan Davis, the promise of the space unfolds. Continue reading “‘Dontrell, Who Kissed the Sea’ Is a Beautiful Invitation to Heal”
Chisa Hutchinson’s intimate four character drama Surely Goodness and Mercy at Redtwist Theatre takes on the difficult subject of child abuse and makes children its heroes. During a month when we are seeing young people in the news rising up to speak out against violence it’s inspiring to see the story of a young boy who is able to escape the violence in his own home while doing good for others. Continue reading “‘Surely Goodness and Mercy’ Showcases A Young Boy’s Staggering Act of Love”
Skeleton Crew, the final play in Dominique Morisseau’s Detroit trilogy, just finished its run at Northlight Theatre, directed by Ron OJ Parson. The play is set during the economic crisis of 2008 in the breakroom of one of the last small autoparts plants standing. This is highly skilled work and the men and women who do it are proud, and proudly union. But their jobs and way of life are hanging by a thread. Faye (Jacqueline Williams) has had a thirty-nine year career doing every manner of job in the factory. She’s also union rep as well as unofficial matriarch. Faye mothers her two young coworkers, Dez (Bernard Gilbert) and Shanita (AnJi White) with a mix of deadpan humor and straight talk. Their unit manager, Reggie (Kelvin Roston Jr.) is torn between trying to save his worker’s jobs and trying to prepare them for the inevitable. When factories are closing unions have little leverage and Faye’s lifelong relationship with Reggie complicates her ability to be the best union rep she can as things get more and more desperate. Continue reading “‘Skeleton Crew’ Revisits the Financial Crisis on a Factory Floor”
Note: The pronouns of the characters were used for this review, they do not necessarily reflect the pronouns of the artists.
We’re Gonna Be Okay at American Theater Company by Basil Kreimendahl directed by Will Davis perfectly captures what it feels like to be living in the midst of a crisis. In our current political climate, no matter which side of the debate you find yourself on, there is an undeniable sense of panic as we try to hold on to a life that feels like it’s trying to run away from us. America, a land of unlimited possibility, and paralyzing fear. In Will Davis’ production, that fear is palpable, but it is also accompanied by laughter, love, and hope. Continue reading “‘We’re Gonna Be Okay’ Makes Sense of Crisis”
Playwright Lloyd Suh has a unique gift for explicating the beautiful and excruciating nuances of parent-child relationships. The world premiere of his new play, Franklinland, directed by Chika Ike at Jackalope, offers a witty and playful reimagining of the relationship between Benjamin Franklin and his son, William. The story centers on pivotal moments in the Franklins’ fraught relationship during the years leading up to and after the American revolution. As we race through time we see William grow from a young man eager for his father’s approval, to a wounded and alienated adult bent on opposing him, though maybe not wholeheartedly. It’s complicated.
Montauciel Takes Flight at Lifeline celebrates science and the spirit of invention. You know a children’s show is successful if the kids are singing the songs on the car ride home. The charming original musical Montauciel Takes Flight, by James E. Grote (book) and Russell J. Coutinho (music and lyrics), directed by Aileen McGroddy, is based on the true story of the first living creatures to ride in a hot air balloon. The play tells the story of the Montgolfier brothers, paper manufacturers in 1783 France who launched a balloon containing a duck, a rooster and a sheep named Montauciel, a name that means “climb-to-the-sky.” The balloon and its animal occupants landed safely after traveling over two miles, ushering in a new era of manned flight. Continue reading “‘Montauciel Takes Flight’ Makes Science Soar at Lifeline Theatre”
In one of the most dramatically effective moments of Loy Webb’s, The Light, Genesis (Tiffany Oglesby) describes to her fiancé, Rashad (Jeffery Owen Freelon Jr.), how black women have been socialized to believe they have just two options in the wake of trauma: be strong or fall apart. In response, Rashad suggests he can carry some of that burden and offers his love as “option three.” With this Webb embarks on illuminating not only a series of important emotional truths but also some serious political ones. But, as the play’s title would suggest, for all its weighty content, at its heart this play is an uplifting character driven romance.
This has been an incredible year for the team at Rescripted. As we embark on 2018, we’d like to take some time to revisit not only some theatre highlights of the year, but accomplishments we have made as an organization in our first six months! The plays mentioned below are honored as Rescripted Recognized, productions that were memorable for their cultural standouts, for their artistic achievements, for their strong performances, and in some cases even for their controversies.
This review is written by Logan McCullom, an alumni of The Key: Young Critics Mentorship Program.
Stumbling through the seemingly unending crowds and stairs that make up Steppenwolf’s theatre, I was frazzled and bewildered by how many folks I saw waiting to be seated for the opening night of BLKS. At first glance I found the title to be easy and not very enticing at all, but it was quickly redeemed as I saw the set. Like the title would prove to be, it was comprised of… well… everything. There was no shortage of couches, there were even couches on the walls! Set designer Sibyl Wickersheimer draped long blue curtains on the stage, making distinct isolations that served as different rooms within the same stage. It was messy, chaotic, a perfect representation of life on your own, and I loved it. Continue reading “Aziza Barnes’ ‘BLKS’ Gets Up Close and Personal”