Fire and Brimstone Outweigh ‘Doubt’ in Gift Theatre Production

From the first echoes of the imposing Michael Patrick Thornton’s voice bringing the devastatingly charming Father Flynn’s voice into the space (a charismatic Michael Patrick Thornton), we are submerged in a flickering Catholic Church. The first moments of Doubt by John Patrick Shanley produced by the Gift in Steppenwolf’s 1700 space caused the audience to be simultaneously reaffirmed and frightened by Flynn’s sermons. His tone suggests that if we just listen close enough we will avoid the temptations of which he speaks. The spectators are few, two nuns and a dignified Black woman, she is notably separated from the rest, seated between the nuns and the Father. This is an intentional choice by director John Gawlik, manifested by Mike Durst’s deft lighting, that would later prove relevant. Continue reading “Fire and Brimstone Outweigh ‘Doubt’ in Gift Theatre Production”

‘Mike Pence Sex Dream’ Takes Morality for a Wild Ride

Mike Pence Sex Dream by Dan Giles at First Floor Theatre, directed by Hutch Pimentel, is a sometimes ruckus sometimes sobering depiction of the weight of capitalism and cancel culture in the face of animal cruelty and neoliberalism. A mouthful right? And yet, it’s shaping up to be one of the hottest, realest show of the season. Continue reading “‘Mike Pence Sex Dream’ Takes Morality for a Wild Ride”

Dual Perspectives on Dutch Masters – Catey Sullivan x Yasmin Mikhaiel

Chicago has no shortage of incredible femme critics and Rescripted is thrilled to introduce the perspectives of two of the most incisive women writing on Chicago theatre. Yasmin Zacaria Mikhaiel is a former alumni of The Key and writer and Windy City Times, Scapi Mag, and Chicago Reader among others. Catey Sullivan has been reviewing theatre since 1992. She writes for the Sun-Times, the Chicago Reader and Crain’s Chicago. Read their reviews on Jackalope Theatre’s Dutch Masters below. Continue reading “Dual Perspectives on Dutch Masters – Catey Sullivan x Yasmin Mikhaiel”

‘Ma Rainey’s Black Bottom’ Vibrates with Joy and Simmering Rage

Ma Rainey’s Black Bottom at Writer’s Theatre vibrates violently with joy and simmering rage. Inspired by the life of the real-life black, queer, mother of the blues Ma Rainey (born Gertrude Pridgett,) August Wilson’s play tells the intimate story of a legend whose star is fading, and along with it, her ability to be seen by the larger world. Continue reading “‘Ma Rainey’s Black Bottom’ Vibrates with Joy and Simmering Rage”

It’s a Woman’s World in ‘A Doll’s House Part 2’

Picking up 15 years after Ibsen’s play ends, A Doll’s House Part 2 now playing at Steppenwolf and directed by Robin Witt opens with Nora, a wife and mother returning home to visit her family after abandoning them. Bucking the constraints of society, Nora (played with joyful gusto by Sandra Marquez) has less regrets than society would expect a deadbeat mother to have. The script by playwright Lucas Hnath is smartly written and the jokes zing as it muses on the nature of a woman’s lot in the world. When Marquez brassily rails: “Marriage is cruel and destroys women’s lives,” her words still have more than a whiff of taboo; a sentiment that has many notable exceptions, but can often be fact. Marriage in the strict traditional sense is quite simply a bad deal for women. Her unapologetic and firm assurance in her decision to leave creates a new and interesting lens for the stage. Continue reading “It’s a Woman’s World in ‘A Doll’s House Part 2’”

The Gospel Truth in ‘The Total Bent’

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’”

Everyone Is Not Who They Seem in ‘On Clover Road’

On Clover Road is a Chicago premiere play written by Steven Dietz, performed at American Blues Theater and directed by Halena Kays. On Clover Road demands the audience to consider how far they would go to save those they love, and those terrible moments when you discover someone is not who they said they were. Dietz’s play show centers a woman who believes she will be reunited with her daughter, but she has become a member of a dangerous cult. The following twist and turns will leave you on the edge of your seat. Continue reading “Everyone Is Not Who They Seem in ‘On Clover Road’”

‘Girl in the Red Corner’ at Broken Nose Theatre

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 is Rib-Cracking Fun

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”

Court Theatre’s ‘Photograph 51’ asks “What if?”

Dr. Rosalind Franklin in Anna Ziegler’s Photograph 51, is an exacting and brilliant scientist, one whose vital contributions to the world might have been all the more exciting had the field of science made room for her. Court Theatre’s production of Ziegler’s play is a stylish examination of the prejudice and misogyny that Dr. Franklin confronted while researching DNA at King’s College in London, England post World War II. Continue reading “Court Theatre’s ‘Photograph 51’ asks “What if?””