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A Critical Response of ‘Language Rooms’ at Broken Nose 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”

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A Hard-Earned Hope in ‘How I Learned to Drive’

How I Learned to Drive by Paula Vogel is a series of recollections and rememberings from the perspective of a grown woman who was sexually abused by her uncle throughout her childhood. Presented by Raven Theatre Company, the character known as “L’il Bit” – a name she hates to be called – narrates her journey along with a chorus of three people. Together they chronicle L’il Bit coming to terms with her trauma and her complex feelings about her uncle and family. Throughout the performance, the narrator grapples with forgiveness, desire, fear, dependence, trust and love. There is never a question that her uncle is a pedophile with a pattern of abusive behavior who groomed and manipulated her (and perhaps her cousin) for his own erotic and emotional satisfaction. Continue reading “A Hard-Earned Hope in ‘How I Learned to Drive’”