Boys Like That: How two ‘West Side Story’ adaptations are perpetuating harassment and assault

CONTENT WARNING: This article contains descriptions of sexual harassment and assault. 

Like the state of 2020, no one could have predicted the show that would mark this year would be West Side Story. To some, it refers to the Ivo van Hove-helmed Broadway revival. Van Hove made drastic cuts from the original, which tracks with his reputation for re-imagining classics. These included eliminating Maria’s only solo, “I Feel Pretty,” and the quintessential “Somewhere” ballet (buh-bye Jerome Robbins) while compressing the three-hour musical into one act. Van Hove also added multi-racial actors, but sent mixed messaging by casting them as the Jets, originally intended to be white. He brought on choreographer Sergio Trujillo and ballet dancer Patricia Delgado for consultation to make the dance more “authentically Latino”, but only after the cast requested it. Did I mention there were also cameras?

Another recent adaptation that had the theatre community on its heels was Steven Spielberg’s film penned by Tony Kushner (Angels in America) still scheduled to premiere this December. Boasting the film debut of many young talents including newcomer Rachel Zegler as Maria and Ariana DeBose (Summer: The Donna Summer Musical, Hamilton) as Anita, it has come with a lot of buzz.

Continue reading “Boys Like That: How two ‘West Side Story’ adaptations are perpetuating harassment and assault”

Where is the Vision? A Future Without Artistic Directors

In the future, art is not created it is produced.

In the future, there are no questions, only answers.

In the future, diversity is a statistic and not an ethic.

In the future, budgeting decisions rule out artistic ones.

In the future, our audiences remain predominantly white, and privileged.

In the future, theatre is solely a product for entertainment.

In the future, every Story You See will be the Story You Just Saw Only Better and More Diverse.

In the future, judgement replaces empathy.

In the future, artistic vision is a business plan.

This future is not so distant.

“We are at the precipice. Everything in our society could change tomorrow, simply because it cannot sustain its way of being any longer. How are we envisioning that future, in the arts and beyond? At Rescripted we are envisioning an empathetic future, driven by advocacy and dialogue, rather than this present cycle of trauma and fear.”Regina Victor, Letter From the Editor: Artistic Visions for 2020. December 31, 2019.

We are experiencing a vital shift in the landscape of American Theatre that requires our attention. We cannot afford to look away for another moment. Do you know who determines your future?  Continue reading “Where is the Vision? A Future Without Artistic Directors”

Court Theatre’s ‘Radio Golf’ Rings True Today

It’s 1997 in the Hill District of Pittsburgh at Court Theatre and Harmond Wilks (Allen Gilmore) is running for Mayor. Radio Golf transforms the Court Theatre  into an authentic depiction of a small office and its’ surroundings. The detail remains strong from the graffiti on the billboards to the discoloration in the ceilings. This set makes me feel at home in a place I’ve never visited, the raw attention to detail really captures the true essence of places we hear about but never see, such as the parking lot or infamous Aunt Ester’s home. Continue reading “Court Theatre’s ‘Radio Golf’ Rings True Today”

Nostalgia Consumes in a Fiery ‘Buried Child’

“I thought I was dying but I  just lost my voice.” – Tilden, Sam Shepard’s Buried Child.

This line perfectly describes the devastating loneliness that reverberates throughout Sam Shephard’s Buried Child, currently playing at Writers Theatre. The large house is empty at top of show except for the elderly Dodge (Larry Yando) who is coughing and watching TV all alone as rain falls outside. Dodge looks up at the roof to listen to the rain, which is wonderful because there is no roof in the living room of Jack Magaw’s set. In fact, the entire front of the home is excavated like an ancient archaeological site, preserved so we can see the relics inside. Adding to this jagged, exposed feeling is a massive crack that runs through the middle of the floor. Largely ignored by the family that resides in the house, I could not help but notice that the two outsiders in the play either noticed or tripped over the crack. Continue reading “Nostalgia Consumes in a Fiery ‘Buried Child’”