Bess Wohl’s Small Mouth Sounds, directed by Shade Murray at A Red Orchid Theatre, is set at a silent retreat. Four strangers and one couple, have gathered to learn from an unseen guru (Meighan Gerachis) heard only through the loudspeaker system at the retreat center. As these characters camp out on the shores of a wooded lake coping with bug bites and bears, they reflect, communicate and seek inner peace. Continue reading “‘Small Mouth Sounds,’ A Tender, Introspective Comedy”
Calamity West has written a play set in a near future so plausible it feels as though we’re already, inescapably, locked into it. Produced by the Jackalope Theatre Company, In the Canyon begins in 2007 with Hope (Liz Sharpe) and her dud of a boyfriend, Doug, (Andrew Burden Swanson) on the afternoon they’ve ended an unintentional pregnancy. It’s a rational decision made by an ordinary woman, but this choice sets off a lifelong chain of events that carries us all the way to 2067. As we leapfrog from decade to decade in each subsequent scene, we watch America dismantled by patriarchal nationalist fervor. Mother earth rebels.
We live in a world that makes us love what we should fear and fear what we should love. Thank the galaxy for plays like Borealis that take risks to help us remember that we are our own bounty. We are exactly what we need. Continue reading “Borealis: How Far Will You Go for Family”
Rajiv Joseph’s GUARDS AT THE TAJ, currently in its Chicago premiere at Steppenwolf Theatre, and masterfully directed by Amy Morton, is as much a meditation on the soul’s need for beauty as it is a study of the mechanisms of tyranny. It’s 1648 in the city of Agra. Humayun and Babur are guarding the walled city-within-a-city where the Taj Mahal is being constructed. The all-powerful Mughal emperor Shah Jahan, in mourning for his wife Mumtaz Mahal, has commissioned the most beautiful building in the world. At dawn he will finally reveal it. Will these two young men turn and steal a glimpse? This begins a cascade of questions about the bodily costs of exercising free will versus the psychological costs of suppressing it. Continue reading “Guards at the Taj: A Tale of Tyranny, Trauma and Resistance”
The Light Fantastic combines Ike Holter’s brilliantly funny writing with formidable production design that makes the play, directed by Gus Menary, work on several levels. It’s a deliciously spooky thriller with a reverse Faustian twist. It’s an endearing romantic comedy. It a clever send-up of horror genre tropes (I likely missed five references for every one that I caught). And it offers up a refreshingly empowering narrative that hinges on female agency as opposed to the female helplessness the genre has long relied upon. The play also has a strong moral point of view as it touches on subjects as wide ranging as bullying, homophobia, taking advantage of your friends and the grave error of ignoring your mother’s phone calls. On a more philosophical level this play is about characters asserting the right to face death on their own terms as they grapple with Kantian questions of moral duty. Continue reading “Ike Holter’s ‘The Light Fantastic’ is Horror-Comedy at its Smartest”
Set in Chicago, the play centers on the arrival of Razi Gol (Salar Ardebili) to his sister’s apartment in Uptown, right off of the Lawrence CTA Red Line. Soraya (Catherine Dildilian), Razi’s sister, has been in the United States for more than a decade after leaving her family in Shiraz, Iran to attend school and lives with her white Irish-American husband Chuck (Joshua K. Volkers). Continue reading “The Spectacle of Suffering in ‘Through the Elevated Line’”
What is wrong with white critics? I really want to know. Have you all lost your mind?? When critic Katy Walsh took a loss and set a dignified example for why the n-word is hurtful, apologized, and extricated herself from criticism to learn, were you listening?
In the space of a singular calendar year, we have had two white Chicago critics use the n-word in a review. Yesterday Justin Hayford put this sentence in a review of Court Theatre’s Guess Who’s Coming to Dinner and legitimately thought it was a good idea: “At worst, it will leave him with a cracked skull, tormented children, and a wife who’ll come to believe he’s nothing but a n*gger.” (This is censored, the uncensored photo is below.) Now, I don’t know if Hayford wanted to get into a fight when he published this review, but I am a non-violent person and when I first read this sentence I was ready to throw hands. I immediately talked to some artists working on the play to get their thoughts. Continue reading “Dear White Critics: Please Stop Using the N-Word”
In his playwright’s note for Kingdom, Michael Allen Harris says, “Much of the popular queer media and scholarship focuses on queerness from a white, middle class, and urban context. And so, I took this play ‘home.’” The play, directed by Kanomé Jones, was developed in house as part of Broken Nose Theatre’s new play development program, The Paper Trail. Kingdom is romantic comedy with a touch of family drama. It centers around Henry (Watson Swift) and Arthur (Christopher McMorris), a gay black couple in their seventies, their lesbian niece Phaedra (RjW Mays) and their grown son, Alex (Michael Mejia-Beal). Continue reading “‘Kingdom’ is a Portrait of a Gay Happily Ever After”
Simply stepping into First Floor Theater’s Dontrell, Who Kissed The Sea is already a theatrical experience unto its own, to say nothing of the magnetic performance to follow. Director Chika Ike’s vision for the play is immediately palpable, and impresses upon audience members from the very first moment that they are entering what will become sacred ground. The inventive and highly successful scenic design of Eleanor Kahn and associate designer Samantha Myers immediately compels the audience to look up, down, and all around them. With Viking and Adinkra symbols adorning the walls of the theater, as well as the scattered pieces of shattered wood that encapsulate the audience, the space evokes a reverent spirituality. Each of the symbols has a meaning, and cast a net of wishes, intentions, and hopes around the playing space. As for the wood, one’s mind goes instantly to the memory of the ships that carried slaves from West Africa to North America. As the house lights drop, and we enter the poetic world of playwright Nathan Alan Davis, the promise of the space unfolds. Continue reading “‘Dontrell, Who Kissed the Sea’ Is a Beautiful Invitation to Heal”
Chisa Hutchinson’s intimate four character drama Surely Goodness and Mercy at Redtwist Theatre takes on the difficult subject of child abuse and makes children its heroes. During a month when we are seeing young people in the news rising up to speak out against violence it’s inspiring to see the story of a young boy who is able to escape the violence in his own home while doing good for others. Continue reading “‘Surely Goodness and Mercy’ Showcases A Young Boy’s Staggering Act of Love”