Black Lives, Black Words is an artistic movement that began in Chicago but has since had events in two continents, three countries, and seven cities. Producer and playwright Reginald Edmund began this venture with Executive Producer Simeilia Hodge-Dallaway in 2015, prompting playwrights and spoken word artists to respond to the question “do black lives matter?”
Lisa Kron’s 2010 play In the Wake, produced by The Comrades at the Greenhouse Theater, revisits the political events of 2000-2005 beginning with the Supreme Court decision in Bush vs. Gore. In the Wake is concerned with the ways American liberals, especially privileged white coastal liberals, develop blind spots that prevent them from fully understanding the life circumstances that might cause a person to cultivate a conservative viewpoint. This is a timely subject in the wake of Trump’s rise to power, although the play predates it. The play makes important points about the state of American political discourse though it is somewhat weighted down by an unwieldy structure.
About Face Youth Theatre Ensemble’s Brave Like Them is an exciting and dynamic exploration of cultural movements and gender expression infused with feminist punk. The show is entirely devised and performed by the members of the About Face Youth Theatre Ensemble and co-directed by About Face’s Education and Outreach Director Ali Hoefnagel and Education Coordinator Kieran Kredell. The script was well-written, and memorable, especially impressive because the age range for the ensemble that devised it is 13-23 years old. The play takes place in the Riot Grrl movement of the 1990s, an underground punk feminist movement that originated Washington state, credited with being the beginning of third wave feminism. Famous bands that came out of that era include Bikini Kill, Bratmobile, and Sleater-Kinney. Brave Like Them takes us to Washington state in that era, and investigates both the successes of the movement but also the racial and class discrepancies – most of the voices of this movement were middle class, white cisgender women. Continue reading “About Face Youth Ensemble’s ‘Brave Like Them’: Explosive, Feminist, and Unapologetically Queer”
In a video interview on The Factory Theater website, Artistic Director Scott OKen says of the genesis of his latest play, Fight City, “I wanted to turn the current gender politics around… [and] I wanted to do an action play…that has a real kickass female police force that beat each other up with sticks.” This is exactly what Fight City delivers in the form of a clever comedy that satirizes standard sexist tropes within the action genre. Continue reading “Fisticuffs and Feminism in The Factory Theater’s ‘Fight City’”
The premise of the well-known American drama The Glass Menagerie by Tennessee Williams centers around single mother Amanda Wingfield, her oldest son Tom, and his little sister Laura who have found themselves in a financial squeeze since only Tom is able to work. Out of desperation, Amanda decides to try and set Laura up with a “gentleman caller,” a man from Tom’s work named Jim. What differs in this production is the centering of people of color and women in the casting of the play, a point of artistic pride for director Lisa Portes. Amanda and Laura’s predicament doesn’t come across as the result of a debutante who doesn’t believe women should toil, but rather a societal limitation imposed by the times (the play is set in St. Louis in 1937). This increased my empathy for these characters ten-fold. Continue reading “Remembering Romance Under The Setting Sun in ‘The Glass Menagerie’”
Rescripted’s Staff sat down to talk with Marketing Director Sara Waugh about the role of a marketing director, their relationship to critics, and tactics for both good and ‘unfavorable’ press. Continue reading “Marin Theatre Company’s Sara Waugh on her Role as a Marketing Director and Navigating Press and Critic Relationships”
By Monty Cole
Let me set the scene.
A couple of weeks ago, Antoinette Nwandu’s Pass Over opened at Steppenwolf Theatre Company in Chicago and rocked the city – folks are still holding on to anything sturdy. Nwandu’s Beckettian take on the plight of the American Black man drops Moses (Jon Michael Hill) and Kitch (Julian Parker) on a lifted cement street corner in an unnamed city. A street light hangs over them like Waiting for Godot’s infamous tree, and beyond that lies a black void.
The play isn’t easy. Antoinette Nwandu has written fiercely brilliant dialogue saturated with ebonics and “niggas” spun into its vernacular. The word is used so much that the one white character in the play points out his discomfort with the frequency of the word. Now might be a good time to mention that I’m a Black Chicago-based director. Hi. Continue reading “‘Pass Over’ and the Chicago Theatre Aesthetic”
Grandeur, a play by Han Ong produced by Magic Theatre in San Francisco, is an intimate play about a larger than life performer, Gil Scott-Heron. A black writer, poet, performer and political activist, Scott- Heron is famous for being the “Godfather of Rap”. His words and his songs have been sampled over and over, by Salt-N-Pepa, Kanye, Common, Kendrick Lamar, Drake, Rihanna and that’s only the tip of the iceberg. His influence on rap and hip hop as as artforms and as tools of political expression cannot be overstated. This play takes place in a single afternoon after his final album release I’m New Here, 40 years after his heyday, and many years into a crippling crack addiction. Grandeur is playwright Han Ong’s return to the stage after a sixteen-year absence. One of youngest recipients of the MacArthur Genius Grant,his talent shines through in this nimble and absorbing play. It’s a tour de force for Carl Lumbly who plays Gil Scott-Heron with a sharpness and a humor that stings and entertains. And yet, fourteen months ago when I was a member of the Magic Theatre Literary committee, I read the play and had strong reservations. Continue reading “Gil Scott-Heron’s “Grandeur” is Eclipsed by Addiction”
(Photo Copyright: Michael Brosilow)
Bright Half Life at About Face Theatre directed by Kiera Fromm is an elegant exploration of queer love and the quirks of relationships. A two-person play penned by Tanya Barfield, Bright Half Life centers around the intertwined lives of two women, Erica (Elizabeth Ledo) and Vicky (Patrese D. McClain). The play jumps back and forth through time to tell us the story of Vicky and Erica’s decades long love affair, from their first encounter at the job where Vicky is the only black female supervisor, to the marriages of their children. Fromm’s direction and Barfield’s sequence of events made it clear from the beginning that this love would be complicated and messy, that it would end and perhaps begin again. But whether or not they see a happy ending almost doesn’t matter. Bright Half Life believes that it’s not about the result, it’s about the journey. Continue reading “Love and Talent Burn Fiercely in ‘Bright Half Life’”
(Photo Credit: Austin D. Oie)
By Regina Victor
Before I embark on writing the review for We’re Gonna Die, written by Young Jean Lee and directed by Josh Sobel for Haven Theatre company, I have to explain the circumstances under which I am seeing and writing about this show. I am writing this review on the way home from my grandfather’s funeral. A few hours before opening curtain for We’re Gonna Die on May 7th, 2017, my grandfather died. I wasn’t sure I was going to make it to the show that evening.
I am so glad I got there. Continue reading “‘We’re Gonna Die’ at Haven Theatre Electrifies Audiences”