I am not a journalist nor should you settle for me.
On April 15th, Lowell Thomas released a statement citing his reasons for his resignation under duress at Steppenwolf and the theatre community shared it across all social media platforms. No major media outlets paid attention. Two weeks later, on Tuesday April 27th, I compiled an article that included large excerpts of artist statements that had been made individually by Lowell Thomas and Isaac Gomez. The only person who amplified it was Chris Jones, who said Rescripted, aka I, was calling for divestment and dissent, a mischaracterization of the piece as a whole. The hot take is that I am apparently, inciting a riot (I am not). We will unpack how dangerous this is to say about a group of people of color another time.
Continue reading “Your Journalists Are Failing You”
“When it became clear that our ensemble member Mary Ann Thebus’ consistent retention of the script was challenging due to side-effects from medication, we chose to see it as an opportunity to remind ourselves and Chicago what makes us who we are.” – an excerpt from The Gift Theatre Company program insert.
Dear White Critics,
We’re baaaaaaack. Much like Johnny in The Shining y’all don’t know how to quit. This is the third installment in “Dear White Critics,” the series that never should have been, and unfortunately it focuses on a couple of beloved Chicago critics who each made a really offensive judgement call in different ways. Doubt presented by the Gift Theatre is a formidable production, please see my full review of that enthralling piece of theatre by clicking here. Many critics enjoyed the show, but some critics decided to focus on the fact that Mary Ann Thebus was holding a script for her performance due to a side-effect of medication that made memorization difficult. Then a storm of ageism, sexism, and ableism was unleashed on Chicago courtesy of primarily Chris Jones at the Chicago Tribune. Continue reading “Dear White Critics: I ‘Doubt’ You Meant to be Ableist…”
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”