The Key: Young Critics Mentorship Program is back with this year’s Multimedia Edition. After a class session with Vulture staff writer Angelica Jade Bastien, we encouraged our students to write about any piece of art that was not live theatre. The topics chosen range from the legacy of Breaking Bad in media, to the Joffrey Ballet’s Jane Eyre, to William Tyler’s album cover art. Finding your passion is a key component of a sustainable career in arts journalism! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. The viewpoints of the authors are entirely their own. The Key is co-facilitated by Oliver Sava and Regina Victor.
Ada Alozie, Breaking Bad: “When Breaking Bad was airing, it was hard to escape the personification of Walter White as an anti-hero: the word critics used to describe a white man with nebulous ethics, involved in shady (albeit) criminal activity. The anti-hero felt like it was everywhere in the early 2010s. I accepted the anti-hero label without thought when I was younger. As I was rewatching the series now, I couldn’t help thinking why the word anti-hero had been used to describe this character when it was so clear to me that Walter White was a straight-up villain.” – Read Ada Alozie’s full critique and learn more about the author! Continue reading “Key Reviews: Multimedia Edition”
The Key: Young Critics Mentorship Program is back for our third year, and with a new format! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. The third show of our session was Hope: Part II of a Mexican Trilogy produced by Teatro Vista at The Den Theatre. Read selections from each critic below, and click through to their author profiles to read the full critique and learn more about them! The Key is co-facilitated by Regina Victor and Oliver Sava.
Hannah Antman: “Directors Bruce and Gutierrez landed some evocative and heartfelt moments. Hope is a true period piece, in the sense that it showcases the past in order to illuminate something about our world today. I found Betty’s deep fear of the atomic bomb to be especially prescient, reflecting many young people’s current fears about climate change – in 1961 or 2019, being a teenager comes with the threat of the world ending. As an extension of that fear, Betty (excellently portrayed by Caraballo), has a series of imagined phone calls between herself and JFK (and later, Fidel Castro). I found these fantasy phone calls to be particularly compelling, and I wish the rest of the play delved as deep in its theatrical risk-taking.” – Read Hannah Antman’s full critique and learn more about the author! Continue reading “Key Reviews: ‘Hope: Part II of a Mexican Trilogy’”
The Key: Young Critics Mentorship Program is back for our third year, and with a new format! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. The first show of our session was The Brothers Size at Steppenwolf for Young Adults. Read selections from each young critic below, and click through to their author profiles to read the full critique and learn more about them! The Key is co-facilitated by Regina Victor and Oliver Sava.
Yiwen Wu: “Present, but invisible. For over 2.3 million imprisoned Americans, their life and struggle against the profound racial and social-class biases in our criminal justice system are often overlooked. At Steppenwolf for Young Adults, Tarell Alvin McCraney’s poetically thrilling The Brothers Size strives to confront the brutal legacy of incarceration, through a tender story of brotherhood and love–how the intimate ties that bind us together can free us in a world that fails to be free.” – Read Yiwen Wu’s full critique and learn more about the author! Continue reading “Key Reviews: The Brothers Size”
What if King George had commissioned Shakespeare to write a play about the Gunpowder Plot?
It’s a fascinating question, and Equivocation at Idle Muse has the answer. After all, the famed Catholic plot to assassinate King James I happened in 1605, right around the time when William’s plays were at the height of popularity — as a mashup, it’s an entertaining and slightly scandalous idea that immediately grabs your attention. Playwright Bill Cain does a marvelous job of grounding the dialogue in the speech and politics of the era, such that the slowly unfolding conspiracy is both heightened and believable. The structure here is complex, interfolding, and lovely. Director Evan Jackson keeps things moving nicely; characters speak quickly and cleverly, taking us through emotional beats with efficiency and flair. There are lots of long scenes that could easily have dragged, but each one has a distinctive shape and feels like a journey through a big, empty house with lots of fascinating rooms. Continue reading “‘Equivocation’ at Idle Muse Theatre Company, and the Purpose of Art in Times of Tyranny”
Rescripted is thrilled to announce the third session of The Key: Young Critics Mentorship Program, September 25 – December 4 and hosted for the second year at Steppenwolf Theater, 1650 N. Halsted. Regina Victor, founder of the online arts journalism platform Rescripted, and entertainment critic Oliver Sava created the 10-week training program for Chicago youth in arts criticism. In league with The Chicago Inclusion Project, The Key has successfully held two sessions, educating young writers on the skills and industry knowledge needed to pursue careers in arts criticism. Alumni of The Key have written for outlets like Chicago Reader, Howlround, The Windy City Times, and Rescripted.
Continue reading “Rescripted Announces Third Session of The Key: Young Critics Mentorship Program”
Weaving together hints of noir, small town angst, and overwhelming structures of power, Cloudgate Theatre’s production of Strange Heart Beating is a powerful play with a magical feel to it. Written by Kristin Idaszak, Strange Heart Beating tells the story of two best friends. One, Leeny (Leah Raidt) is a local single mother whose daughter disappears and is murdered one summer. The other, Teeny ( Jyreika Guest) , is the sheriff of the town and one of the few Black people in town. Narrated by the town lake ( Stephanie Shum ) who is intimately familiar with the town’s histories of violence. Strange Heart Beating makes thoughtful connections between individual and systemic violence, without feeling narrow or didactic. Continue reading “Nature Reckons with Power, History, and Violence in ‘Strange Heart Beating’”
The Theatre Communications Group Conference took place on June 4-8th, and for the first time ever they included an arts journalism track. My conference journey began with co-facilitating a session with Brian Herrera of the Sol Project titled “What is a Theater Review(er) Good For? A Critical Look at the Role of Journalism in Theatre Today.” This session was a lab that took place before the official start of the conference, and was a three hour round table discussion. In addition to the obvious title question, we chose to investigate what our present relationship to reviewers was, and try to shape what it could be. This article is an attempt to summarize these rich and invigorating hours of conversation. Continue reading “TCG Conference Coverage 2019: What is a Review(er) Good For?”
Haven Theatre and About Face Theatre partnered on The Total Bent, producing a stellar production depicting a strained relationship between a Black father and son clashing on modes of survival and music. Directed by the stellar Lili-Anne Brown and written by frequent Tony Award winning collaborators Stew and Heidi Rodewald, this immersive musical is an expressionistic homage to Black bodies, the LGBTQ community, and freedom. Continue reading “The Gospel Truth in ‘The Total Bent’”
Broken Nose Theatre’s production of Girl in the Red Corner by Stephen Spotswood brings the long and complicated relationship women have with rage to the mat. Newly free from an abusive relationship yet trapped in her mother’s house, the now unemployed Halo (Elise Marie Davis) steps into a mixed martial arts gym for the first time. Under the expertise of her trainer, Halo discovers a new passion that allows her to break away from the family drama constantly at her heels. Elizabeth Laidlaw directs the Midwest premiere of Spotswood’s script, and the result is a ferocious heroine’s journey. Continue reading “‘Girl in the Red Corner’ at Broken Nose Theatre”
A Gentleman’s Guide to Love and Murder, by Robert L. Freedman and Steven Lutvak, takes place in London at the turn of the 20th century, and concerns the adventures of middle-class stockbroker Monty Navarro (Andrés Enriquez) — who, upon learning that his recently deceased mother was disinherited from the obscenely wealthy D’Ysquith family (all played by Matt Crowle), sets out to murder his relatives as revenge. And also so that he can, not uncoincidentally, become next in line to be the Earl of Highhurst. Continue reading “A Gentleman’s Guide to Love and Murder is Rib-Cracking Fun”