The Key: Young Critics Mentorship Program is back for our third year, and with a new format! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. The first show of our session was The Brothers Size at Steppenwolf for Young Adults. Read selections from each young critic below, and click through to their author profiles to read the full critique and learn more about them! The Key is co-facilitated by Regina Victor and Oliver Sava.
Yiwen Wu: “Present, but invisible. For over 2.3 million imprisoned Americans, their life and struggle against the profound racial and social-class biases in our criminal justice system are often overlooked. At Steppenwolf for Young Adults, Tarell Alvin McCraney’s poetically thrilling The Brothers Size strives to confront the brutal legacy of incarceration, through a tender story of brotherhood and love–how the intimate ties that bind us together can free us in a world that fails to be free.” – Read Yiwen Wu’s full critique and learn more about the author! Continue reading “Key Reviews: The Brothers Size”
As Sundown, Yellow Moon opens, two sisters in their twenties, Ray (Liz Chidester) and Joey (Diana Coates), have returned to their small hometown in Tennessee to support their father, Tom (Will Casey), as his life seems to be falling apart following his divorce. Ray is undergoing a bit of a reckoning herself after quitting her job — and Joey, petrified at the thought of leaving the country for a foreign study, takes comfort in long runs in the woods late at night.
The script from Rachel Bonds is extremely character-driven; there is not much plot to be found. I have heard some criticism calling this show a bit meandering and slow — which I can’t refute, exactly, except to say that slowness can soar to great heights when done with intention, and I found it absolutely sublime here. Director Cody Estle has managed to craft an evening of enthralling, intimate moments with attention and care, such that Sundown, Yellow Moon feels engrossing and urgent despite its quietness, and stillness.
Continue reading “‘Sundown, Yellow Moon’ at Raven Theatre Exudes a Warm, Comforting Glow”
Tony Award winning play Oslo is a partially fictional account of the events between the Palestinian Liberation Organization (PLO) and Israeli officials leading up to the signing of the Oslo Accords in 1993, dramatized for the stage by J.T. Rogers. Currently receiving its Chicago premiere, it initially premiered Off-Broadway in June 2016 directed by Bartlett Sher at the Lincoln Center. The original cast then moved to Broadway to reprise their roles in April 2017 receiving awards and acclaim from New York Critics, Outer Critics, Drama Desk, Drama League, Lucille Lortel, Obie awards and other nominations along the way.
Timeline’s highly anticipated co-production of Oslo with Broadway in Chicago seems to fit perfectly with its mission to present stories inspired by history that connect with today’s social and political issues. As a production, it aimed to explore sociologist Terje Rod-Larsen’s theory that trusting in each others’ inherent humanity and building interpersonal human connection is the only basis for healthy debate, and potentially peacemaking. The lobby display as well as a program insert provided a historical guide to the Palestinian-Israeli conflict, while a huge column scribbled with sharpie responses asked audience members to participate in the conversation Timeline chose to center: “How do you resolve conflict?” Continue reading “‘Oslo’ at Timeline Theatre Muddles the Message of Peacemaking”
What if King George had commissioned Shakespeare to write a play about the Gunpowder Plot?
It’s a fascinating question, and Equivocation at Idle Muse has the answer. After all, the famed Catholic plot to assassinate King James I happened in 1605, right around the time when William’s plays were at the height of popularity — as a mashup, it’s an entertaining and slightly scandalous idea that immediately grabs your attention. Playwright Bill Cain does a marvelous job of grounding the dialogue in the speech and politics of the era, such that the slowly unfolding conspiracy is both heightened and believable. The structure here is complex, interfolding, and lovely. Director Evan Jackson keeps things moving nicely; characters speak quickly and cleverly, taking us through emotional beats with efficiency and flair. There are lots of long scenes that could easily have dragged, but each one has a distinctive shape and feels like a journey through a big, empty house with lots of fascinating rooms. Continue reading “‘Equivocation’ at Idle Muse Theatre Company, and the Purpose of Art in Times of Tyranny”
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.
Continue reading “Rescripted Announces Third Session of The Key: Young Critics Mentorship Program”
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’”
Paula Vogel’s Indecent now playing at Victory Gardens begins with the cast of performers sitting upstage, almost blending into the set that transports you to an old Broadway style house, outlined with bright lights similar to a marquee. Upon first glance, the set appears to be a deep mahogany. But once the house lights go down, and the stage lights come up, the set is a cool cinder block grey. When the cast rises, ashes gush from the insides of their coats, hauntingly reflecting and foreshadowing the persecution Jews have faced. This opening image is so beautiful, it’s almost dream-like and sets the tone for the rest that will follow. Continue reading “‘Indecent’ A True Story of Breaking Artistic Barriers from 1900s-Present”
The Factory Theater knows that sometimes we need to escape from the heaviness of the world, and producing a play like The Adventures of Spirit Force Five seemed like the pep rally we needed. The program contains a director’s note by Spenser Davis highlighting the inspiration for this show: the spirit of the 90’s. Saturday morning cartoons, bright music, and brighter colors of millenial youth where everything looked spun from sugar and anything was possible. As a 90’s kid fatigued by the brutal Nationalist landscape where families are torn apart, children are in cages, and there seems like no way out, I was thirsty for it. These shows and movies raised us to be our own heroes and well, we just need a reminder of how to do that every once in awhile to keep up the fight. Continue reading “Flossyfluff: ‘Spirit Force Five’ at Factory Theater”
The Light Fantastic combines Ike Holter’s brilliantly funny writing with formidable production design that makes the play, directed by Gus Menary, work on several levels. It’s a deliciously spooky thriller with a reverse Faustian twist. It’s an endearing romantic comedy. It a clever send-up of horror genre tropes (I likely missed five references for every one that I caught). And it offers up a refreshingly empowering narrative that hinges on female agency as opposed to the female helplessness the genre has long relied upon. The play also has a strong moral point of view as it touches on subjects as wide ranging as bullying, homophobia, taking advantage of your friends and the grave error of ignoring your mother’s phone calls. On a more philosophical level this play is about characters asserting the right to face death on their own terms as they grapple with Kantian questions of moral duty. Continue reading “Ike Holter’s ‘The Light Fantastic’ is Horror-Comedy at its Smartest”
This review is penned by Logan McCullom, alumni of The Key: Young Critics Mentorship Program.
The lights had not been up for more than five minutes and already I knew this play was something else, something that was not being advertised, of course. Something dark. I find it hard to produce an effective horror play, and while Girl Found at Idle Muse is not one, it certainly had the potential to be because of its tendency to chill and thrill. Girl Found kept me on the edge of my seat as I tried to decipher what was not said but meant, and what was not felt but forgotten. Continue reading “Reinvention and Catastrophe Thrill in ‘Girl Found’”