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 “White Critics: Please Stop Using the N-Word”
CHICAGO (September 8, 2017) – Greenhouse Theater Center’s Artistic Director Jacob Harvey is pleased to announce The Key: Young Critics Mentorship Program, a training program for Chicago youth in arts criticism created by national online arts platform Rescripted, The Chicago Inclusion Project and entertainment critic Oliver Sava and hosted by the Greenhouse. Launching this fall, the ten-week initiative for youth ages 16 – 20 will include arts criticism workshops and lectures with the program’s creators, as well as guest speakers from all facets of the Chicago theater community. Students will attend Chicago theater productions throughout the fall season, write original critiques, undergo one-on-one editing sessions and create personal blogs to host their writing portfolio and multimedia reviews. Select critiques will also be published on Rescripted.
Continue reading “Rescripted Announces ‘The Key: Young Critics Mentorship Program’”
By Monty Cole
Let me set the scene.
A couple of weeks ago, Antoinette Nwandu’s Pass Over opened at Steppenwolf Theatre Company in Chicago and rocked the city – folks are still holding on to anything sturdy. Nwandu’s Beckettian take on the plight of the American Black man drops Moses (Jon Michael Hill) and Kitch (Julian Parker) on a lifted cement street corner in an unnamed city. A street light hangs over them like Waiting for Godot’s infamous tree, and beyond that lies a black void.
The play isn’t easy. Antoinette Nwandu has written fiercely brilliant dialogue saturated with ebonics and “niggas” spun into its vernacular. The word is used so much that the one white character in the play points out his discomfort with the frequency of the word. Now might be a good time to mention that I’m a Black Chicago-based director. Hi. Continue reading “‘Pass Over’ and the Chicago Theatre Aesthetic”