Rescripted is thrilled to announce the third session of The Key: Young Critics Mentorship Program, September 25 – December 4 and hosted for the second year at Steppenwolf Theater, 1650 N. Halsted. Regina Victor, founder of the online arts journalism platform Rescripted, and entertainment critic Oliver Sava created the 10-week training program for Chicago youth in arts criticism. In league with The Chicago Inclusion Project, The Key has successfully held two sessions, educating young writers on the skills and industry knowledge needed to pursue careers in arts criticism. Alumni of The Key have written for outlets like Chicago Reader, Howlround, The Windy City Times, and Rescripted.
What images come to mind? This city and year may feel distant to an American audience, especially one quietly observing the opening moments of Haven’s production of Kiss at The Den. Whatever your mind conjured about Damascus, you’ll soon forget this context or question it. Written by Guillermo Calderón, the play follows two couples attempting to hang out with their weekend soaps. But their lives quickly descend into a soap opera of their own. And we watch, amused by the apparent drama and familiar music underscoring moments of cliché passion and momentary rejection (sound design and original music Jeffrey Levin). Continue reading “Ownership vs. Authorship: The Responsibility of the Storyteller in ‘Kiss’”
Weaving together hints of noir, small town angst, and overwhelming structures of power, Cloudgate Theatre’s production of Strange Heart Beating is a powerful play with a magical feel to it. Written by Kristin Idaszak, Strange Heart Beating tells the story of two best friends. One, Leeny (Leah Raidt) is a local single mother whose daughter disappears and is murdered one summer. The other, Teeny ( Jyreika Guest) , is the sheriff of the town and one of the few Black people in town. Narrated by the town lake ( Stephanie Shum ) who is intimately familiar with the town’s histories of violence. Strange Heart Beating makes thoughtful connections between individual and systemic violence, without feeling narrow or didactic. Continue reading “Nature Reckons with Power, History, and Violence in ‘Strange Heart Beating’”
The Gift Theatre’s world premiere of Wolf Play by Hansol Jung is a close up look at the politics of adoption and their personal impact on the children and families involved. Wolf Play follows a short period of time in the life of an adopted boy (Dan Lin), billed as “Wolf”, but variably called “Peter” and “Jeenu”. When the boy is re-homed with a biracial lesbian couple after being adopted from Korea by a white straight couple, he leans into his identity as an abandoned wolf for guidance and comfort. The present day wolf narrates his story, and embodies the child wolf through a Bunraku-style puppet (Stephanie Diaz). As new family tensions and power dynamics unfurl around the wolf in his new environment we watch him adjust and calculate. Continue reading “‘Wolf Play’ Raises the Complexities of Adoption”
I don’t need to tell you how good of a musical Next to Normal is; it won a Pulitzer. Nor is it a surprise that Tony-winning director David Cromer has created a masterful evening of small and terrifyingly intimate moments with a deft, spare, and nuanced hand. Instead, I’d like to focus on why this show had me weeping uncontrollably for most of its second act, and how I think it got there.
For those unfamiliar, Next to Normal is the story of the suburban, middle-class, normal-seeming Goodman family. Our central character, Diana (Keely Vasquez), struggles to live her adult life while dealing with severe and often crippling bipolar disorder. Her husband Dan (David Schlumpf) and teenage kids Natalie and Gabe (Kyrie Courter and Liam Oh), meanwhile, must deal with the side effects of Diana’s dysfunction. Continue reading “I’m Not Crying, You’re Crying!: The Edifice of Self in Next to Normal at Writers Theatre”
While preparing my review of Language Rooms for publication, I saw a post on Facebook from fellow Rescripted critic, dramaturg and writer Yasmin Zacaria Mikhael. Mikhael’s post led me to a second post from actor Arti Ishak, who has previously contributed to an article on Rescripted by Emma Couling. Both of these posts expressed the pain and frustration caused by this production of Language Rooms, and became catalysts for community discussion about the show, its implications and impact, as well as the response of the largely white group of critics that wrote about the show. In reading those discussions, and after reaching out to Mikhael and Ishak, it was clear that my initial response to the show was missing something. Continue reading “A Critical Response of ‘Language Rooms’ at Broken Nose Theatre”
“Don’t be a stranger.” Like much of Yussef El Guindi’s darkly comedic Language Rooms, presented by Broken Nose Theatre, this common phrase is suddenly unsettling. Within the blank foreboding walls of a CIA blacksite, the familiar is made unfamiliar, and the mundane, dangerous. Director Kaiser Zaki Ahmed and his team mine El Guindi’s interrogation of islamophobia in a post 9/11 United States. The result is a potent examination of the current dark night of the soul in which the U.S. and its people presently find themselves. Continue reading “Fear and Loathing in “Language Rooms” at Broken Nose Theatre”
In 1975, A Chorus Line introduced a show-biz musical with a new perspective to the Broadway theatre canon. Since then it has been a staple in theatre songbooks across the country. Inspired by true stories, A Chorus Line is the day in the life of a Broadway audition where 16 dancers leave it all on the stage for one of eight coveted positions. Public schools, community theaters, and the largest performance halls have all had boxes of golden tuxedos sent through their doors for that one final show-stopping number. Director Brenda Didier is no stranger to the phenomenon. In Porchlight Theatre’s program for their production of A Chorus Line, Didier wrote that “once A Chorus Line has become a part of your life, it stays with you.” I have to agree. Wholeheartedly. Every production of A Chorus Line is both building off and working against that relationship the audience already has with this musical. Porchlight Theatre’s production gets lost somewhere in the middle and is a shadow of that one singular sensation. Continue reading “Porchlight Music Theatre’s ‘A Chorus Line’ Has Some Big Dance Shoes to Fill”
Elizabeth Ann Michaela Keel’s Corona takes place on a beautiful set designed by Hannah Beaudry; squarish, obsidian walls, accented with vibrantly lit-up panels that shine with different garish colors throughout. A raised white dais, which looks equal parts marble and futuristic, rises from the stage’s middle and invokes our collective idea of what a starship bridge looks like without mimicking it outright. In addition, right away we are treated to brilliant projections and lighting design from Claire Sangster; the contrast of the black set with monochromatic floods of blue, or pink, or orange create a lovely, spooky, and (pardon the pun) otherworldly feel. In director Tiffany Keane Schaefer’s production, the back wall and side panels show projections of stars and nebulae as they slowly drift by. Continue reading “‘Corona’ Shines Bright at Otherworld Theatre Company”
For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf by Ntozake Shange is a vibrant tribute to the transitional power of the Black femme. The moment we step into the abandoned train station at Court Theatre, we know we are in a space full with the possibility of movement and growth. Directed by Seret Scott, who took over the role of Lady in Orange in the original Broadway production, this beautiful production moves with purpose. Continue reading “‘For Colored Girls’ at Court Theatre Leads us to the end of our own Rainbows”