The Key: Young Critics Mentorship Program is back with our fifth set of reviews, and this set is all about Hoodoo Love at Raven Theatre! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. Read selections from each critic below, and click through to their author profiles to read the full critique and learn more about them! The Key is co-facilitated by Regina Victor and Oliver Sava.
Alisa Boland: “Hoodoo Love, directed by Wardell Julius Clark at Raven Theatre, adds a bit of extra enchantment to Katori Hall’s debut script, a cocktail of blues singing, conjure, and inevitable tragedy. Set in Memphis, Katori Hall’s play follows Toulou an aspiring singer, played with spirit and tenderness by Martasia Jones. The young country girl turns to the supernatural help of her friendly, grandmotherly neighbor and hoodoo practitioner Candylady (played by the audience favourite, Shariba Rivers) to hold down her lover Ace (Matthew James Elam), a restless blues artist. The situation is further complicated by the arrival of Toulou’s older brother Jib (Christopher Wayland Jones), a preacher with a wolfish eye and an appetite for unholy, distilled spirits.” – Read Alisa Boland’s full critique and learn more about the author! Continue reading “Key Reviews: ‘Hoodoo Love’ at Raven Theatre”
I Am Going To Die Alone, and I Am Not Afraid: A Furious History of the Holocaust, Prop Thtr’s newest devised play, crafts tales of the Holocaust with scenes, songs, and lectures. The Ensemble, directed by Anna Gelman, weaves these stories in and out of each other toward an inevitable collision. Some sections of this vignette-style performance are stronger than others, but the overarching consistency is found in the community on stage. The Ensemble reminds us that there is power in togetherness. When misused, that power is distorted and destructive. When cared, for that power is revolutionary.
Continue reading “Prop Thtr’s ‘I Am Going To Die Alone, and I Am Not Afraid’ Shares Stories of Love, Loss, and Resistance”
The Key: Young Critics Mentorship Program is back with this year’s Multimedia Edition. After a class session with Vulture staff writer Angelica Jade Bastien, we encouraged our students to write about any piece of art that was not live theatre. The topics chosen range from the legacy of Breaking Bad in media, to the Joffrey Ballet’s Jane Eyre, to William Tyler’s album cover art. Finding your passion is a key component of a sustainable career in arts journalism! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. The viewpoints of the authors are entirely their own. The Key is co-facilitated by Oliver Sava and Regina Victor.
Ada Alozie, Breaking Bad: “When Breaking Bad was airing, it was hard to escape the personification of Walter White as an anti-hero: the word critics used to describe a white man with nebulous ethics, involved in shady (albeit) criminal activity. The anti-hero felt like it was everywhere in the early 2010s. I accepted the anti-hero label without thought when I was younger. As I was rewatching the series now, I couldn’t help thinking why the word anti-hero had been used to describe this character when it was so clear to me that Walter White was a straight-up villain.” – Read Ada Alozie’s full critique and learn more about the author! Continue reading “Key Reviews: Multimedia Edition”
Patsy Cline is comfort, love, and heartbreak. Her music charms you, wraps you in a blanket and slips you a little whiskey. In Firebrand Theatre’s production of Always… Patsy Cline, Houstonite Loiuse Seger knows this experience all too well. Louise is drawn to Patsy Cline, and on one fateful night, the two meet and forge a friendship that lasts the rest of Patsy Cline’s life. This is the story of a single incredible night when two women found a bit of themselves in each other and director Brigitte Ditmars invites the audience to find themselves in a country song.
Continue reading “Firebrand Theatre Pays Tribute with Always… Patsy Cline”
Packing at About Face Theatre is a solo piece written and performed by Scott Bradley, and directed by Chay Yew. It is mostly autobiographical, as Scott tells his personal story of growing up in rural Iowa, discovering he was gay, dealing with bullying and abuse, living through the AIDS crisis of the 80’s, and continuing to struggle with depression, anxiety, and addiction, until present day. Despite the many dark moments, “Packing” is an empowering story: Scott writes with a deft and clever voice, and an eye towards themes of strength, persistence, and overcoming hardship.
Continue reading “‘Packing’ at About Face Theatre is an Enthralling Queer Autobiography”
P.Y.G. or the Mis-Edumacation of Dorian Belle is a comedy all about race and pop culture. Jackalope’s latest show written by Tearrance Arvelle Chisolm and directed by Lili-Anne Brown follows three figures navigating a satirical version of the pop music industry. Dorian Belle (Garrett Young) is a white pop star looking to make his image a little “tougher”. Petty Young Goons (P.Y.G.) are an up and coming rap duo who have been hired to teach Dorian about hip hop, despite their own inner conflicts about it. The whole affair is wrapped up tightly as a reality tv show. The show is energetic and funny while also wading deep into questions about authenticity and appropriation. Continue reading “Satire, or The Double Consciousness of the Black Artist in ‘P.Y.G.’ at Jackalope Theatre”
The Key: Young Critics Mentorship Program is back for our third year, and with a new format! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. The third show of our session was Hope: Part II of a Mexican Trilogy produced by Teatro Vista at The Den Theatre. Read selections from each critic below, and click through to their author profiles to read the full critique and learn more about them! The Key is co-facilitated by Regina Victor and Oliver Sava.
Hannah Antman: “Directors Bruce and Gutierrez landed some evocative and heartfelt moments. Hope is a true period piece, in the sense that it showcases the past in order to illuminate something about our world today. I found Betty’s deep fear of the atomic bomb to be especially prescient, reflecting many young people’s current fears about climate change – in 1961 or 2019, being a teenager comes with the threat of the world ending. As an extension of that fear, Betty (excellently portrayed by Caraballo), has a series of imagined phone calls between herself and JFK (and later, Fidel Castro). I found these fantasy phone calls to be particularly compelling, and I wish the rest of the play delved as deep in its theatrical risk-taking.” – Read Hannah Antman’s full critique and learn more about the author! Continue reading “Key Reviews: ‘Hope: Part II of a Mexican Trilogy’”
Kentucky begins with Hiro (Emjoy Gavino), a young New York professional, as she plans her first trip home to her small Kentucky town in years. Hiro’s abusive father (Paul D’Addario) has kept her away, but she is making an exception to travel home for her sister’s wedding. Or rather, as she reveals to her therapist (Ana Silva) in the opening scene, to sabotage her sister’s wedding; she believes that 22-year-old Sophie (Hannah Toriumi) is far too young to make such a decision. Throughout her journey, Hiro is serenaded by a Greek chorus of sorts, played by Ana Silva and Maryam Abdi, who alternate between singing about the events and playing background characters.
The tone here hews heightened and comedic despite the serious issues explored in the script; director Chika Ike has managed to weave together the two extremes quite well. Kentucky at The Gift Theatre is a delightful comic romp wrapped around a heart-rending family drama, that asks pressing questions about the long game of self-identity, and breaking cycles of abuse.
Continue reading “‘Kentucky’ at the Gift Theatre Takes You on a Hilarious and Devastating Journey Back Home Again”
When you purchase your ticket for Broken Bone Bathtub, the confirmation email you receive will contain directions not to any specific theater, but rather to a residential building somewhere in Chicago. The venue changes from night to night, ensuring that no show is exactly the same.
Upon arrival at the third-floor apartment in Rogers Park where the evening’s entertainment was to take place, we were ushered into a living room which served as a sort of theater lobby. When the performance was about to start, we were asked to arrange ourselves by height. Carefully, methodically, the producer and usher arranged us in the bathroom around the bathtub, where performer Siobhan O’Loughlin sat fully nude, her only costume some bubbly suds and a dash of glittery blue eyelid makeup. We sat on stools and boxes, packed in like Tetris pieces — one patron was seated on the closed toilet seat. When we were ready to start, Siobhan raised her head and began to speak quite suddenly, without preamble. She spoke with such an easy familiarity that it seemed less like the start of a show, and more like jumping into a fascinating conversation that is already clipping along at a good pace by the time you start to pay attention.
Continue reading “‘Broken Bone Bathtub’ is a Spare, Straightforward, and Entrancing Piece of Immersive Theatre”
Sunset Boulevard, the famous film turned musical sensation, places the Golden Age of cinema on the stage. This Andrew Lloyd Webber musical, with lyrics and book by Don Black and Christopher Hampton, adapts the film by Billy Wilder into a stirring operetta. This production in particular left me humming the dramatic themes on my way back to the train. Directed by Artistic Director Michael Weber, Porchlight Music Theatre’s Sunset Boulevard features stunning design, an incredibly skilled cast, and a muddled narrative that loses the most memorable line from the film during the final moments of the musical.
Continue reading “Porchlight Music Theatre’s Sunset Boulevard Remembers Golden Age Glamor but Forgets the Horror “