Drury Lane’s Ambitious, Entertaining ‘Matilda’ Leans Toward the Chaotic

I love Matilda. Specifically the musical which I’ve seen twice on the West End, which is why I was so excited to review Drury Lane’s production directed by Mitch Sebastian. Part of my love comes from nostalgia as I grew up watching the 1996 movie and reading Roald Dahl’s classic novel. The other part of my admiration for Matilda comes from the fact that Roald Dahl wasn’t afraid to tackle tough issues in his books, and this musical doesn’t shy away from those issues either, unlike the 1996 movie. The show themes range from revenge, abuse, power hierarchies, loneliness, trauma, and the loss of adolescence. Continue reading “Drury Lane’s Ambitious, Entertaining ‘Matilda’ Leans Toward the Chaotic”

‘Girl in the Red Corner’ at Broken Nose Theatre

Broken Nose Theatre’s production of Girl in the Red Corner by Stephen Spotswood brings the long and complicated relationship women have with rage to the mat. Newly free from an abusive relationship yet trapped in her mother’s house, the now unemployed Halo (Elise Marie Davis) steps into a mixed martial arts gym for the first time. Under the expertise of her trainer, Halo discovers a new passion that allows her to break away from the family drama constantly at her heels. Elizabeth Laidlaw directs the Midwest premiere of Spotswood’s script, and the result is a ferocious heroine’s journey. Continue reading “‘Girl in the Red Corner’ at Broken Nose Theatre”

A Gentleman’s Guide to Love and Murder is Rib-Cracking Fun

A Gentleman’s Guide to Love and Murder, by Robert L. Freedman and Steven Lutvak, takes place in London at the turn of the 20th century, and concerns the adventures of middle-class stockbroker Monty Navarro (Andrés Enriquez) — who, upon learning that his recently deceased mother was disinherited from the obscenely wealthy D’Ysquith family (all played by Matt Crowle), sets out to murder his relatives as revenge. And also so that he can, not uncoincidentally, become next in line to be the Earl of Highhurst. Continue reading “A Gentleman’s Guide to Love and Murder is Rib-Cracking Fun”

A Vital and Gritty ‘In The Blood’ at Red Tape Theatre

Red Tape Theatre performs In the Blood by Suzan-Lori Parks at The Ready in Ravenswood. The theatre is a narrow strip covered in graffiti. It’s fresh, and I can tell because the scent of paint is unmistakable. Among this jumble of tags, the word “SLUT” screams in a bright pink that adds to the cruelty of the word. Hester (Jyreika Guest) is a downtrodden mother of five who has made the space under an overpass her home, a home now defaced with this vile word she has no way of reading. It is under this bridge where Hester cares for her children and is cared for by no one. Continue reading “A Vital and Gritty ‘In The Blood’ at Red Tape Theatre”

‘We Found a Hat’ Takes the Wisdom of Sharing to the Preschool Crowd

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”

Meet The Keys – Elon Sloan

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

Age: 24

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”

Ike Holter’s ‘The Light Fantastic’ is Horror-Comedy at its Smartest

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”

Reinvention and Catastrophe Thrill in ‘Girl Found’

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’”

‘Suddenly Last Summer’ and the Myth of the Man

Editor’s Note: This is a guest contribution by local performer Julian Terrell Otis.  Originally these comments were posted on social media, then further expanded with our editors to become a review posted on our site. We are interested in the viewpoint of the artist, and what they have to say about the work coming out of their community. If you are a Chicago artist interested in contributing to Rescripted, please e-mail us at rescriptedreviews@gmail.com, we want to hear from you!

Catherine: “Is that what love is? Using people? And maybe that’s what hate is – not being able to use people.”

It was incredible to watch Suddenly Last Summer at Raven Theatre. I would highly recommend it. To be honest, my experience with Tennessee Williams is limited. I often feel the narrative to be out of touch because of the lofty language, the whiteness, the exposition about class issues that are distanced from current audiences by time, and in a way, it’s petty. But hey that’s the drama of life! Raven’s production is thoughtful and the audience is invited to be a fly on the wall in a very personal family matter regarding mental illness, sex, control, and money. The stakes ride high as the characters navigate their own desires. The setting transforms from a Louisiana estate to some sort of metaphorical jungle where the most vicious creatures that inhabit it are the (white) humans.

The casting reflects that interesting power dynamic. On opening night, the audience was invited into the world of the play through the eyes of the black gaze. In this performance Miss Foxhill was played by Song Marshall, though the role is usually played by Janyce Caraballo. The caretakers Miss Foxhill and Sister Felicity (played by Ayanna Bria Bakari) provide regularity to the upended lives of this ultra wealthy family in crisis. Marshall’s and Bakari’s performances elevate quotidien tasks to epic proportions.The women of color hear the foul words and see the ambition, and I feel their unending struggle to keep these white people in check.  One gets the feeling that Miss Foxhill’s job might be on the line if the daiquiri isn’t made just right and Sis. Felicity may actually fear that bodily harm may come to her from her charge, Catherine (played by Grayson Heyl). One cigarette burn would be too many for me. Yet these women endure because circumstances necessitate it.  Continue reading “‘Suddenly Last Summer’ and the Myth of the Man”

Dear White Critics: Please Stop Using the N-Word

What is wrong with white critics? I really want to know. Have you all lost your mind?? When critic Katy Walsh took a loss and set a dignified example for why the n-word is hurtful, apologized, and extricated herself from criticism to learn, were you listening?

In the space of a singular calendar year, we have had two white Chicago critics use the n-word in a review. Yesterday Justin Hayford put this sentence in a review of Court Theatre’s Guess Who’s Coming to Dinner and legitimately thought it was a good idea: “At worst, it will leave him with a cracked skull, tormented children, and a wife who’ll come to believe he’s nothing but a n*gger.” (This is censored, the uncensored photo is below.) Now, I don’t know if Hayford wanted to get into a fight when he published this review, but I am a non-violent person and when I first read this sentence I was ready to throw hands. I immediately talked to some artists working on the play to get their thoughts. Continue reading “Dear White Critics: Please Stop Using the N-Word”