This has been an incredible year for the team at Rescripted. As we embark on 2018, we’d like to take some time to revisit not only some theatre highlights of the year, but accomplishments we have made as an organization in our first six months! The plays mentioned below are honored as Rescripted Recognized, productions that were memorable for their cultural standouts, for their artistic achievements, for their strong performances, and in some cases even for their controversies.
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’”
Thomas and Sally at Marin Theatre Company opened October 3rd, preceded by a lot of controversy, and dredged up painful conversations about consent, slavery, and falsified history. The risqué marketing art (pictured above), was the initial catalyst for this conversation, with many noting Sally depicted with a wry smile in seemingly full makeup in contrast with Jefferson’s sober historical portrait. That, coupled with the controversial subject matter and playwright Thomas Bradshaw at the helm, caught the public’s eye. Continue reading “‘Thomas and Sally’ at Marin Theatre Company Questions Victims and Consent”
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’”