University art and theatre programs at predominantly white institutions often claim to be safe havens of artistic acceptance. Clouded by claims of ‘diversity’ and acceptance, many BFA arts programs and conservatories see themselves as exempt from racist practices and behavior. In reality, white supremacy is just as integral to the fabric of these programs as productions of Hamlet. Student artists are resisting their institutions and using their unique gifts to pave the way towards a more just arts education. Black students, Indigenous students, and students of color who have been harmed by this racist “BFA culture” are collaborating, taking action, and demanding change.
In addition to the pervasive whiteness and financial oppression often present within the superstructure of any predominantly white university, many experiences of racism and anti-Blackness are specific to drama school, ranging from unforgiving work schedules to classrooms that both inflict and exploit the students’ emotional trauma. As a white graduate of Boston University’s School of Theatre (BU), I witnessed and was complicit in this racist culture. To date, BU’s School of Theatre only has one full-time faculty member of color, and shows are often cast by tokenizing students of color, or casting white students in roles written for people of color. BU has a guaranteed casting policy which requires most students to perform in whatever show they are cast in each quarter, denying students their artistic agency.
Continue reading “Student Activists Call In Drama Programs Nationwide”
We live in a world that makes us love what we should fear and fear what we should love. Thank the galaxy for plays like Borealis that take risks to help us remember that we are our own bounty. We are exactly what we need. Continue reading “Borealis: How Far Will You Go for Family”
Bertolt Brecht’s Fear & Misery in the Third Reich is a deeply chilling series of short plays detailing life in Hitler’s Germany. Director Josh Sobel’s well-curated presentation of these vignets captures the immediacy of the fascist threat including: the dissemination of propaganda, attacks on free speech, the dismantling of the justice system and state sanctioned hate crimes. Continue reading “‘Fear & Misery in the Third Reich’ Revives Brecht’s Urgent Call to Action”
Can you offer help to those who don’t ask for it? This is the central question of Calamity West’s Hinter, now in its world premiere at Steep Theatre. Directed by Brad DeFabo Akin, the play takes as its subject the unsolved murders of the Gruber family on the isolated Hinterkaifeck farm in 1922 Bavaria. Continue reading “Calamity West’s ‘Hinter’ Combines Comedy and Suspense with a Dose of Social Commentary”
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.
Continue reading “‘The Light’ At the New Colony Is Rallying Cry for Radical Love”
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.
Continue reading “Rescripted Recognized: 2017 in Review”
Victory Gardens Theater and Teatro Vista’s co-production of Fade, by Tanya Saracho, directed by Sandra Marquez is a compelling journey through class, race, and ambition. Marquez’s finely tuned direction enriches Saracho’s nuanced approach to the heightened and complicated world of power that these characters navigate. Continue reading “‘Fade’ Explores A Poignant Friendship Where Race But Not Class Intersect”
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”
In today’s world that is seemingly fraught with violence and carnivalesque politics, Sylvester: or the Wicked Uncle at Lifeline is a shockingly refreshing piece. It deals mainly in the language of love, and portrays it as a game, complete with a massive game board set reminiscent of Chutes and Ladders designed by Alan Donahue. Dorothy Milne, director of this production and Artistic Director at Lifeline, delivers a show that ultimately delights the heart. Continue reading “‘Sylvester: or the Wicked Uncle’ is a Romantic Delight”
When Barbara Lhota learned of Russell Stamm’s 1940s comic strip, The Invisible Scarlet O’Neil, she felt compelled to revive the title character. The comic, which ran for sixteen years in the now defunct Chicago Times, featured one of the first female superheroes, predating Wonder Woman by a year. It struck the playwright as both appropriate and ironic that Scarlet’s superpower is invisibility. In a way familiar to many women, Scarlet leverages the advantage of being unseen. Under the cloak of her invisibility, she aids the vulnerable, while in her professional life as a reporter she fights alongside her compatriots for visibility and recognition. Lhota’s stage version is a perfect fit for Babes with Blades, a company devoted to using stage combat to tell women’s stories. The show, currently running at The Factory Theater, is fun and fresh while invoking the spirit of the period. Continue reading ““The Invisible Scarlet O’Neill” is a Fun, Feminist Revival of a Classic Comic Book Heroine”