The following is a response and public statement from Artistic Director of Northlight Theatre, BJ Jones. There have been concerns shared from the artistic community on the composition of the cast, see local casting director Lavina Jadhwani’s editorial here. Rescripted encourages artists to respond to discussion generated by our website, in the hopes of facilitating a more open dialogue between institutions and artists. As noted below, the conversation will continue with a panel in late January co-hosted by Jessica Thebus and Aaron Todd Douglas. Continue reading “Northlight Theatre’s Artistic Director Statement on ‘Book of Will’”
This week Editor-In-Chief Regina Victor sat down with notable fight choreographer, dancer, and actor Almanya Narula to discuss the art of stage combat, her history as a performance artist in Bollywood and the United States, and what the field needs now. Victor and Narula first met on the set of Ricardo Gamboa’s Brujos. Victor was impressed by Narula’s ability to design impressive combat that was easily taught in a short time frame, as well as the vast career Narula has cultivated in a male-dominated industry. Continue reading “Fists Up: An Interview with Fight Choreographer & Actor Almanya Narula”
“Casting should be diverse. Shakespeare is meant for everyone.”
This simple statement, written atop the casting breakdown of Lauren Gunderson’s new play, THE BOOK OF WILL at Northlight Theatre, filled me with so much hope.
I am a woman of color who regularly directs Shakespeare and regularly encounters pushback when trying to convince producers and audiences that the words people often assume were written primarily for white, cis, able-bodied men can be shared by, well, everyone. That’s why I was so moved by Gunderson’s sentiment and so excited by the casting announcements made by the Denver Center and Oregon Shakespeare Festival regarding this play. (The world premiere in Denver included two South Asian actors — my desi heart soared!!) My heart sank, however, when I saw the casting announcement of a local company, Northlight Theatre, which included an all white cast and production team. Nevertheless, I attended the production in hopes of learning something new about this play and the world of William Shakespeare. I wanted to keep an open mind. And honestly — I wanted to support my friends. Continue reading “‘Book of Will’ Fails to Diversify The Bard”
The Key: Young Critics Mentorship Program brings students to various productions around Chicago, teaching them about arts criticism as they try their hand at writing reviews. The opinions of the students are their own; we workshop the pieces in seminar every other week, and then they edit their reviews before publication. This week we are sharing their second round of reviews on The Heavens Are Hung in Black at Shattered Globe Theatre, which closed Oct. 21st, and Two Mile Hollow at First Floor Theater which closed Nov 4th. Workshopped and Edited by co-facilitators Regina Victor and Oliver Sava.
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”
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’”
Author’s note: I attended two different “versions” of Taylor Mac’s A 24-Decade History of Popular Music at The Curran on Sunday September 24 and at Stanford’s Bing Concert Hall on Wednesday September 27. This review compares the two audience experiences of “Chapter IV” and “Abridged Version” respectively.
What makes a piece of theatre a phenomenon? What turns it from instance to event? Driven by conscious and subconscious hope that their art goes the analog equivalent of viral, artists create art everyday from fine to pop, traditional to technological. Artistic organizations do this, as do artist teams. Most of it never becomes an event. Theatre that does may do so incidentally, and in cases like the Broadway productions of ANGELS IN AMERICA, RENT and HAMILTON, deliberately. Continue reading “Rhapsody in Blue Eyeliner: Taylor Mac’s ‘A 24-Decade History of Popular Music’”
The Key: Young Critics Mentorship Program brings students to various productions around Chicago, teaching them about arts criticism as they try their hand at writing reviews. The opinions of the students are their own; we workshop the pieces in seminar every other week, and then they edit their reviews before publication. This week we are sharing their first submissions on Steppenwolf Theatre Company’s The Crucible. Workshopped and Edited by co-facilitators Regina Victor and Oliver Sava. Continue reading “Key Reviews: ‘The Crucible’”
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’”