Goodman Theatre’s ‘Sweat’ Lays Bare the Passions of Working America

Sweat, written by Lynn Nottage, is a Pulitzer prize winner that focuses on race, debt in America, capitalism, and the working class. Director Ron OJ Parson’s production of Sweat at the Goodman is, at its core, about humanity, power, and the fight for survival. It’s about what will humanity do when they are pushed to the breaking point and worked like a dog. Sadly, the answer is not as black and white as it seems as Brucie states “you think they give a damn about you?”   Continue reading “Goodman Theatre’s ‘Sweat’ Lays Bare the Passions of Working America”

Heritage, History, and Comedy in ‘Remember The Alamo’

Remember the Alamo is a world premiere Neo-Lab original being performed at The Neo-Futurist Theatre. The show is created by Neo-Futurist ensemble member: Nick Hart and directed by Neo-Futurist Artistic director Kurt Chiang. This production promises its audience that they will help the actors fully recreate the Alamo battle. This show contains more than that, it also has themes of death, interesting facts about Phil Collins, and a narrative of what it’s like to be mixed-race in America through individual personal narratives. Continue reading “Heritage, History, and Comedy in ‘Remember The Alamo’”

‘2 Unfortunate 2 Travel’ Does Not Make The Journey

2 Unfortunate 2 Travel is a show by and for bleeding heart B.A. liberals raised on pop-culture. This devised work by director and adaptor Zach Weinberg takes Thomas Nashe’s novella The Unfortunate Traveler and brings the tale of a young man exploring the world into the post-Trump era. In this adaptation, protagonist Jack Wilton wants to relive his exploits across the globe through a variety show featuring a skilled group of women. Prop Thtr’s production of 2 Unfortunate 2 Travel caps off a 2-year workshop period and clearly wants to start a conversation. Despite several stand-out moments, the play leaves me more confused than conversive. Continue reading “‘2 Unfortunate 2 Travel’ Does Not Make The Journey”

Dear White Critics: I ‘Doubt’ You Meant to be Ableist…

“When it became clear that our ensemble member Mary Ann Thebus’ consistent retention of the script was challenging due to side-effects from medication, we chose to see it as an opportunity to remind ourselves and Chicago what makes us who we are.” – an excerpt from The Gift Theatre Company program insert.

Dear White Critics,

We’re baaaaaaack. Much like Johnny in The Shining y’all don’t know how to quit. This is the third installment in “Dear White Critics,” the series that never should have been, and unfortunately it focuses on a couple of beloved Chicago critics who each made a really offensive judgement call in different ways. Doubt presented by the Gift Theatre is a formidable production, please see my full review of that enthralling piece of theatre by clicking here. Many critics enjoyed the show, but some critics decided to focus on the fact that Mary Ann Thebus was holding a script for her performance due to a side-effect of medication that made memorization difficult. Then a storm of ageism, sexism, and ableism was unleashed on Chicago courtesy of primarily Chris Jones at the Chicago Tribune. Continue reading “Dear White Critics: I ‘Doubt’ You Meant to be Ableist…”

Fire and Brimstone Outweigh ‘Doubt’ in Gift Theatre Production

From the first echoes of the imposing Michael Patrick Thornton’s voice bringing the devastatingly charming Father Flynn’s voice into the space (a charismatic Michael Patrick Thornton), we are submerged in a flickering Catholic Church. The first moments of Doubt by John Patrick Shanley produced by the Gift in Steppenwolf’s 1700 space caused the audience to be simultaneously reaffirmed and frightened by Flynn’s sermons. His tone suggests that if we just listen close enough we will avoid the temptations of which he speaks. The spectators are few, two nuns and a dignified Black woman, she is notably separated from the rest, seated between the nuns and the Father. This is an intentional choice by director John Gawlik, manifested by Mike Durst’s deft lighting, that would later prove relevant. Continue reading “Fire and Brimstone Outweigh ‘Doubt’ in Gift Theatre Production”

‘The Man Who Was Thursday’ is a Pitch-Perfect Mix of Intrigue, Nostalgia, and Innovation

The Man Who Was Thursday is adapted from a novel originally published in 1908, but I went into it knowing nothing and I cannot recommend this approach enough. Currently running at Lifeline Theatre, The Man Who was Thursday is a lovely byzantine maze of subterfuge, false identities, and plot twists, and the less you know going in, the more fun you’ll have. Continue reading “‘The Man Who Was Thursday’ is a Pitch-Perfect Mix of Intrigue, Nostalgia, and Innovation”

‘Mike Pence Sex Dream’ Takes Morality for a Wild Ride

Mike Pence Sex Dream by Dan Giles at First Floor Theatre, directed by Hutch Pimentel, is a sometimes ruckus sometimes sobering depiction of the weight of capitalism and cancel culture in the face of animal cruelty and neoliberalism. A mouthful right? And yet, it’s shaping up to be one of the hottest, realest show of the season. Continue reading “‘Mike Pence Sex Dream’ Takes Morality for a Wild Ride”

Dual Perspectives on Dutch Masters – Catey Sullivan x Yasmin Mikhaiel

Chicago has no shortage of incredible femme critics and Rescripted is thrilled to introduce the perspectives of two of the most incisive women writing on Chicago theatre. Yasmin Zacaria Mikhaiel is a former alumni of The Key and writer and Windy City Times, Scapi Mag, and Chicago Reader among others. Catey Sullivan has been reviewing theatre since 1992. She writes for the Sun-Times, the Chicago Reader and Crain’s Chicago. Read their reviews on Jackalope Theatre’s Dutch Masters below. Continue reading “Dual Perspectives on Dutch Masters – Catey Sullivan x Yasmin Mikhaiel”

‘Ma Rainey’s Black Bottom’ Vibrates with Joy and Simmering Rage

Ma Rainey’s Black Bottom at Writer’s Theatre vibrates violently with joy and simmering rage. Inspired by the life of the real-life black, queer, mother of the blues Ma Rainey (born Gertrude Pridgett,) August Wilson’s play tells the intimate story of a legend whose star is fading, and along with it, her ability to be seen by the larger world. Continue reading “‘Ma Rainey’s Black Bottom’ Vibrates with Joy and Simmering Rage”

A Hard-Earned Hope in ‘How I Learned to Drive’

How I Learned to Drive by Paula Vogel is a series of recollections and rememberings from the perspective of a grown woman who was sexually abused by her uncle throughout her childhood. Presented by Raven Theatre Company, the character known as “L’il Bit” – a name she hates to be called – narrates her journey along with a chorus of three people. Together they chronicle L’il Bit coming to terms with her trauma and her complex feelings about her uncle and family. Throughout the performance, the narrator grapples with forgiveness, desire, fear, dependence, trust and love. There is never a question that her uncle is a pedophile with a pattern of abusive behavior who groomed and manipulated her (and perhaps her cousin) for his own erotic and emotional satisfaction. Continue reading “A Hard-Earned Hope in ‘How I Learned to Drive’”