Federico García Lorca’s rural tragedy Yerma, is a deeply poetic exploration of a country woman’s isolation in mid-1930s Spain, and offers a cutting and emotional critique of Spanish Catholic Orthodoxy while the specter of Franco’s fascism looms; Lorca would be assassinated by Franco’s fascist supporters two years after the premiere of Yerma in his home province of Granada. Theatre Y and Red Tape’s co-production of a new English translation, adapted by ensemble member Héctor Álvarez and directed by Max Truax, is a confusing and perhaps unsuccessful update on Lorca’s classic text. Continue reading “A New Translation of ‘Yerma’ Misses the Point”
Welcome to Jesus at American Theater Company is best described as a cross between “The Blind Side” and “Get Out”. I went to see it the day before Halloween and enjoyed quite a few jump scares. Will Davis’ direction is astounding as usual. When his directing style is at its peak, as I feel it is in this production, actors are comfortable enough to play and create within the seemingly choreographed production. As in a dance piece, Davis’ productions work well when you can sense the ensemble and they share an awareness of each other. Continue reading “Football and White Supremacy Take a Spooky Turn in ‘Welcome to Jesus’”
Ayad Akhtar’s The Invisible Hand opens with a disarming juxtaposition. Nick (Joel Reitsma), an American banker, is being held for ransom under grim conditions in a cell somewhere in Pakistan. Surveying the scene, we brace for the worst, but instead we are party to an unexpectedly friendly conversation between Nick and Dar (Anand Bhatt), the guard charged with watching him. Nick has been trading his professional expertise for better treatment. Moments later, Dar’s superior, Bashir (Owais Ahmed) bursts in abruptly upending the power dynamic, setting the tone for a play full of danger and disquieting reversals.
Continue reading “Money and the Power It Wields Guide the Riveting ‘Invisible Hand’”
When does a truth become a lie?
That is the question posed by Steppenwolf for Young Adults’ 17/18 season, a question that we are invited to grapple with in Arthur Miller’s The Crucible, directed by Jonathan Berry. Brimming with talent, Steppenwolf’s production offers a heart-pounding and potent take on a familiar piece of theatre, whose themes comment sharply on many aspects of our current political climate.
Ricardo Gamboa’s Meet Juan(ito) Doe at Free Street Theater, co-directed by Gamboa and Ana Velazquez, is a success as one of the most innovative community engaged theatre pieces we will see this season. Gamboa received a Joyce award of $50,000 “to produce community-based programming, procure a performance space within the community, and provide equitable pay to the artists involved in the collaboration.”
In a gallery at The Metropolitan Museum of Art Henry (Francis Guinan) guards Rembrandt’s Aristotle Contemplating a Bust of Homer. If it really depicts Aristotle at all. Henry is partial to the argument Rembrandt may have substituted the Greek painter Apelles in the philosopher’s place as an affront to the wealthy Italian who commissioned it. Were artists the true philosophers in Rembrandt’s opinion? For Henry, a scholarly man who has spent his life studying paintings and loving a poet, this seems about right. So begins Jessica Dickey’s funny and touching play, The Rembrandt, now enjoying its Chicago premiere at Steppenwolf Theatre in an elegantly designed production directed by Hallie Gordon.
If you’ve studied the American Theater, chances are you’ve heard of Arthur Miller, the King of Kitchen Sink Realism. Trust me when I say, Ivo Van Hove’s A View From The Bridge is not your mother’s Arthur Miller. There isn’t a sink in sight. In fact all unnecessary props, down to certain actor’s shoes, have been eliminated. This actor-driven production features a square set with dark-colored benches and a white floor, designed by Jan Versweyveld. Audience sits on either side of the stage, meaning the actors are playing to a house that’s three-quarters in the round. It feels like a boxing ring with only one entrance and exit upstage, which adds to the feeling of being trapped in the space. Continue reading “The Consequences of Fake Allyship in ‘A View From the Bridge’”
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) .