Tedium and Other Sensations, as featured in the Chicago International Puppet Theater Festival, is the product of a massive collaboration. Mocrep, The Neo-Futurists, and Theater Oobleck converge to explore and adapt the written work of Chicago playwright, Mickle Maher. The result, a two-part event that left me questioning everything I know about time, food, and theatre. Continue reading “‘Tedium and Other Sensations’ – Chicago International Puppet Theater Festival”
“I know my heart, and have studied mankind; I am not made like anyone I have been acquainted with, perhaps like no one in existence; if not better, I at least claim originality, and whether Nature did wisely in breaking the mould with which she formed me, can only be determined after having read this work.”
– Jean-Jacques Rousseau, Confessions (1782)
Queer people, folks who defy expectations and bring vital complexity to life simply by being, have always existed. In every part of the world, wherever there were people, there were also queer people. How these ancestors are remembered, if at all, is a matter of who is telling their story. Directed by Elizabeth Swanson, I Know My Own Heart is drawn from the life of Anne Lister, an early 19th century British landowner and traveller, and told in her words. It is a ritual of remembering. Continue reading “Queer Regency Reigns in ‘I Know My Own Heart’ at Pride Films and Plays”
Lifeline Theatre’s musical adaptation of Jon Klassen’s children’s book, We Found a Hat, shows a friendship put to the test. The play, adapted by Jessica Wright Buha and directed by Manny Tamayo follows two turtles, Sizi (Amanda Roeder) and Kai (Terry Bell), on a journey from their summer habitat to their winter burrow. To get there they must traverse a perilous desert. A meddling Cactus (Scott Sawa) makes a bet with the optimistic Sun (Gabriella Fernandez) that he can drive a wedge between these close friends. The setup has echoes of the devil betting God he can throw Job off his goodness game. The turtles unwittingly fall victim to this mean-spirited social experiment designed for The Cactus’s entertainment. The Cactus, personified as a menacing cowboy with a southern drawl and an excessively large hat, takes off said hat and leaves it in the path of the turtles, jumpstarting the conflict of the play. Continue reading “‘We Found a Hat’ Takes the Wisdom of Sharing to the Preschool Crowd”
Evil Dead: The Musical written by George Reinblatt produced by Black Button Eyes at the Pride Arts center feels unlike many theatrical experiences I’ve had before. It’s directed by Black Button Eyes production’s leading director Ed Rutherford, who knows how to stage the supernatural. The patrons coming in were all buzzing full of energy, excited to be sitting in the splatter zone. Some were wearing safety glasses to protect themselves from fake blood while others had on all white, prepared to embrace the messiness of the show, as rock music blared through the speakers. Continue reading “‘Evil Dead: The Musical’ is a Whirlwind of Camp and Horror”
Let me start off by saying how happy I am that City Lit Theatre is doing Fuente Ovejuna by Lope de Vega. I love this script, I’ve always loved this script, and all of me wishes that it was done more. A huge booming “THANK YOU” to City Lit and director Terry McCabe for taking on their own adaptation of a painfully underproduced classic. From Spain’s golden age of drama, Fuente Ovejuna is Lope de Vega’s best-known work. A village revolts against a predatory authoritarian who uses his military and religious “power” to justify and prey upon the women of the rural town. The revolutionaries in this story are the women, which is particularly refreshing once you remember that the script was first published in 1619. This play has everything: love, war, drama, humor, history, and relevance. Continue reading “‘Fuente Ovejuna’ at City Lit Revisits a Different Kind of Golden Age”
Get to know Elon Sloan, a recent Alumni of The Key Young Critics Mentorship Program! Each writer wrote a multimedia review about a piece of pop culture currently capturing their imagination that you can read at the end of Elon’s profile. We’d like to thank Angelica Jade Bastien at Vulture for sharing her insights on media reviewing with us. Check out more of Elon and their cohort’s writing in our Key Reviews section!
Name: Elon Sloan
City/State: I grew up in Oak Park, Il, but now I live in Chicago
Racial / Ethnic Identity: Black and Nigerian-American
Gender Identity and Sexual Orientation: Queer Enby
Why do you want to write for Rescripted?: I love that Rescripted gives artists a chance to create a dialogue about one another’s work. Taking conversations that might only happen between theatre professionals or artists and making them public and accessible invites people to think about criticism in a whole new way. I also love that Rescripted writes about the shows and artists that otherwise might not get the spotlight. Continue reading “Meet The Keys – Elon Sloan”
This year in Chicago Theatre has been tumultuous yet full of so much growth. 2018 saw communities coming together like never before, with the Latinx Theatre Commons‘ Carnaval of New Latinx Works and the Alliance of Latinx Theatre Artists’ Awards.
We said goodbye to American Theatre Company, under the brief yet highly significant Will Davis’ leadership. His work pushing the boundaries of gender and casting still reverberates throughout this city. New leadership has arisen in the form of Andrew Cutler, Amanda Fink, and Eric Gerard, at Black Box Acting Company as they take over the mantle from Audrey Francis and Laura Hooper. Continue reading “Rescripted Recognized: Year In Review 2018”
Ni una mas. Ni una mas. Ni una mas.
La Ruta- written by Isaac Gomez and directed by Steppenwolf Ensemble member, Sandra Marquez- takes place 20 years ago, yet this story is full of similarities to the world in which we now live. Here in the United States, we have the Me Too Movement. Latin America has the Ni Una Mas Movement.
Isaac Gomez’s La Ruta follows femicide (the deliberate killing of women because they are women) in Cuidad Juárez. It is important to note that femicide is a global reality that isn’t unique to Mexico. Since the early 1990’s, thousands of women have disappeared without a trace in Juárez. Continue reading “La Ruta – Ni Una Mas (Not One More)”
Get to know Sierra Carlson, a recent Alumni of The Key Young Critics Mentorship Program! Each writer wrote a multimedia review about a piece of pop culture currently capturing their imagination that you can read at the end of Sierra’s profile. We’d like to thank Angelica Jade Bastien at Vulture for sharing her insights on media reviewing with us. Check out more of Sierra and her cohort’s writing in our Key Reviews section!
Name: Sierra Carlson
City/State: Chicago, IL
Racial / Ethnic Identity: White
Gender Identity and Sexual Orientation: Female, Hetero
Why do you want to write for Rescripted?: I want to write for Rescripted because I want to support a platform for socially-conscious culture writing that questions the status quo and celebrates the revolutionary. Continue reading “Meet The Keys – Sierra Carlson”
Get to know Lonnae Hickman, a recent Alumni of The Key Young Critics Mentorship Program! Each writer wrote a multimedia review about a piece of pop culture currently capturing their imagination that you can read at the end of Lonnae’s profile. We’d like to thank Angelica Jade Bastien at Vulture for sharing her insights on media reviewing with us. Check out more of Lonnae and her cohort’s writing in our Key Reviews section!
Name: Lonnae Hickman
City/State: Originally from Milwaukee, WI, but now in Chicago, IL
Racial / Ethnic Identity: Black/Native American
Gender Identity and Sexual Orientation: Cis Queer Woman
Why do you want to write for Rescripted?:
I want to write for Rescripted because I’m dedicated to reviewing all types of theatre, not just the ones in the loop. Rescripted’s mission is working on giving honest and appropriate reviews for shows that are normally left out – shows that I believe are fundamental to Chicago and the theatre world. Continue reading “Meet The Keys – Lonnae Hickman”