**Please note: Pronouns used in direct reference to character are the pronouns the characters use. This may or may not match the pronouns of the actor portraying the character. Pronouns used in direct reference to the actor are the pronouns the actor uses according to the program.**
If you are looking for a hilarious and exciting new work that is feminist and delightfully queer, look no further than The Lady Demands Satisfaction a farce written by Arthur Jolly and directed by Morgan Manasa. This play deservedly won the Bi-Annual Joining Sword and Pen playwriting competition Babes with Blades holds to encourage the writing and development of plays that feature women’s stories center stage. This one hits that mark loud and proud. Continue reading “Babes with Blades Serves Feminist Farce in ‘The Lady Demands Satisfaction’”
Regina Victor of Rescripted asked Emma Couling to sit down and chat with Rescripted about her growth as a writer over the past year, and what ensued was a badass conversation. Emma Couling is a freelance arts writer who contributes to Rescripted, you can read more about her work here.
How did you become a critic?
I never actively decided I wanted to be a critic. I didn’t even identify as a writer until two years ago. That summer, I had this experience where twice in one week, two different strangers groped me while I was going about living my life. And in that same week, The Reader published their exposé on Profiles Theatre Company. Continue reading “Rescripted Reveal: Arts Writer Emma Couling Will F*ck You Up”
What does getting older mean when you’re a woman? In a world trying to stay youthful, Linda Wilde wants to embrace the opposite. Linda tells a story not often heard. The lights go up and you’re already a part of the show, the breaking of the fourth wall yanks the audience into this UK drama as Wilde tries to convince her colleagues that aging is natural and therefore something to embrace, but in this day and age (pun intended) the people want to stay supple. Continue reading “‘Linda’ Subverts Society’s Expectations for Women”
You may remember my last article in what must now become a series, Dear White Critics: Stop Using the N-Word, when Justin Hayford decided racial slurs were appropriate for a theatre column. Yesterday, Ben Brantley of the New York Times decided it was appropriate to make a joke out of the unveiling of a trans character’s pronouns in the new Broadway musical Head Over Heels’. The character? Oracle and non-binary plural narrator Pythio, portrayed by drag performer Peppermint, who is a trans woman. What’s notable is that it’s the first time a trans actor has ever created a principle role in a Broadway show, and that Pythio is one of a handful of genderqueer characters ever seen on Broadway. Therefore, as a critic, one might think Brantley would use this opportunity to celebrate that fact. Alas, instead he decided to say this: Continue reading “Dear White Critics: Stop Being Transphobic!”
There is a moment in the television show “Community” where a white girl says, “I can excuse racism but I draw the line at animal cruelty.” It’s one of the most succinct jabs at the tendency and ability of privileged white folks to dismiss the pain and oppression of their fellow human beings in favor of appearing “progressive” in other ways. And I couldn’t stop thinking about that quote as I was watching Kristiana Rae Colón’s “Tilikum” — the world premiere currently running at Sideshow Theatre Company. Continue reading “Kristiana Rae Colón’s ‘Tilikum’ Reflects Humanity’s Misguided Priorities”
Monty Cole’s Hamlet is a technicolor reinvigoration of Shakespeare’s tragedy and a powerful call to action. Continue reading “A Vibrant, Technicolor ‘Hamlet’ Helmed by Monty Cole”
The Displaced by Isaac Gomez is going into the final weekend of a phenomenal run at Haven Theatre this Friday. Gomez is a versatile writer who is using this script to explore the theme of home and gentrification with a razor sharp wit and a lot of terror. The play opens with a young couple moving into a fixer upper apartment in Pilsen and trying to unpack. Marisa (Karen Rodriguez) is a young artist who takes her work very seriously and yet her rent is paid by her hard working parents. Lev (Rashaad Hall) is her sweet boyfriend who is working as a server but can’t quite make enough money to make ends meet. The absence of money creates a rift in their relationship that is quite relatable. Part of the myth of adulthood is having the income to establish our own space, something unachievable for many millennials and a conversation that we don’t have enough. Continue reading “Isaac Gomez’s ‘The Displaced’: A Gentrification Horror Story”
This piece was co-written by Chicago actor/director Wardell Julius Clark and Regina Victor.
Father Comes Home From The Wars opened at the Goodman Theatre in what can only be categorized as a seismic explosion of a production, excellent on all fronts. Continue reading “‘Father Comes Home From the Wars’ and an Absent Freedom”
For Youth Inquiry’s (FYI) world premiere multidisciplinary performance This Boat Called My Body was created by a team of devisors and youth who have shared their abortion stories with the Illinois Caucus for Adolescent Health (ICAH). The play invites audience members to sail with Jane, played by Elena Victoria Feliz, as she navigates the troubled waters of seeking an abortion at 16. This play loudly and publicly confronts the stigma around abortions as well as the clinical, legislative and personal challenges and hurdles that young people face along the way. Continue reading “For Youth Inquiry’s ‘This Boat Called My Body’”