P.Y.G. or the Mis-Edumacation of Dorian Belle is a comedy all about race and pop culture. Jackalope’s latest show written by Tearrance Arvelle Chisolm and directed by Lili-Anne Brown follows three figures navigating a satirical version of the pop music industry. Dorian Belle (Garrett Young) is a white pop star looking to make his image a little “tougher”. Petty Young Goons (P.Y.G.) are an up and coming rap duo who have been hired to teach Dorian about hip hop, despite their own inner conflicts about it. The whole affair is wrapped up tightly as a reality tv show. The show is energetic and funny while also wading deep into questions about authenticity and appropriation. Continue reading “Satire, or The Double Consciousness of the Black Artist in ‘P.Y.G.’ at Jackalope Theatre”
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”
Calamity West has written a play set in a near future so plausible it feels as though we’re already, inescapably, locked into it. Produced by the Jackalope Theatre Company, In the Canyon begins in 2007 with Hope (Liz Sharpe) and her dud of a boyfriend, Doug, (Andrew Burden Swanson) on the afternoon they’ve ended an unintentional pregnancy. It’s a rational decision made by an ordinary woman, but this choice sets off a lifelong chain of events that carries us all the way to 2067. As we leapfrog from decade to decade in each subsequent scene, we watch America dismantled by patriarchal nationalist fervor. Mother earth rebels.
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”