Editor’s Note: Three members of the Chicago dance community, Alyssa Gregory, Erin Kilmurray, and Nora Sharp approached Rescripted with a community-minded approach to celebrating the quality of Chicago’s dance world in 2019. The survey and its results were compiled in an effort by these folks to ensure all of the pieces lifted up by their community could be mentioned. We have so enjoyed embarking on this journey with them and learning more about the dance community by celebrating them. We hope you will too.
Alyssa, Erin, and Nora: As Best-Of 2019 lists rolled out, we found ourselves reflecting on what kind of work receives recognition, whose voice has a say in selecting such highlights, what those chosen works signify, and through the lens of what platforms. How do these lists impact the broad and varied dance communities that call Chicago home? Honestly, what even is Chicago live dance performance? Continue reading “Celebrating 2019 Chicago Dance: A Community Sourced List”
2019 was by no means an easy year, and yet so much progress was made in our artistic community both on and offstage. The Rightlynd Saga reached completion in the same year Lori Lightfoot was elected. Abuse was unearthed and community solutions provided, systemic changes are underway on many levels, as the energy of organizations like Not in Our House and ChiTac drive our individual work. As Editor for Rescripted, I laid out my Visions for 2020. This article is about looking back, and celebrating where we came from one last time. Below you will find the 10 Rescripted Recognized shows selected by our critics, and a new addition for this year – Rescripted Raves. There is too much great work in the city to limit it to ten shows, and there you will find the other projects that brought us joy or moved the conversation forward. Happy 2020!
Red Rex at Steep Theatre. Directed by Jonathan Berry, written by Ike Holter. “Ike Holter’s Red Rex takes a deep dive into the underbelly of making theatre in Chicago, and a brave ensemble of people at Steep Theatre rose to the challenge. The sixth play in the Rightlynd Saga directed by Jonathan Berry gets its name from the fictional theatre company at the center of the narrative, Red Rex Theatre Company. After almost a decade of relatively mediocre production, Red Rex has recently taken up residence in the abandoned former home of the Three Lord Gang – one of many easter eggs from the rest of the Rightlynd Universe (the RU, you know, like MCU).” – Regina Victor, Editor In ChiefContinue reading “Rescripted Recognized – 2019 Edition”
The Key: Young Critics Mentorship Program is back with this year’s Multimedia Edition. After a class session with Vulture staff writer Angelica Jade Bastien, we encouraged our students to write about any piece of art that was not live theatre. The topics chosen range from the legacy of Breaking Bad in media, to the Joffrey Ballet’s Jane Eyre, to William Tyler’s album cover art. Finding your passion is a key component of a sustainable career in arts journalism! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. The viewpoints of the authors are entirely their own. The Key is co-facilitated by Oliver Sava and Regina Victor.
Ada Alozie, Breaking Bad: “When Breaking Bad was airing, it was hard to escape the personification of Walter White as an anti-hero: the word critics used to describe a white man with nebulous ethics, involved in shady (albeit) criminal activity. The anti-hero felt like it waseverywhere in the early 2010s. I accepted the anti-hero label without thought when I was younger. As I was rewatching the series now, I couldn’t help thinking why the word anti-hero had been used to describe this character when it was so clear to me that Walter White was a straight-up villain.” – Read Ada Alozie’s full critique and learn more about the author! Continue reading “Key Reviews: Multimedia Edition”
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 third show of our session was Hope: Part II of a Mexican Trilogy produced by Teatro Vista at The Den Theatre. Read selections from each 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.
Hannah Antman: “Directors Bruce and Gutierrez landed some evocative and heartfelt moments. Hope is a true period piece, in the sense that it showcases the past in order to illuminate something about our world today. I found Betty’s deep fear of the atomic bomb to be especially prescient, reflecting many young people’s current fears about climate change – in 1961 or 2019, being a teenager comes with the threat of the world ending. As an extension of that fear, Betty (excellently portrayed by Caraballo), has a series of imagined phone calls between herself and JFK (and later, Fidel Castro). I found these fantasy phone calls to be particularly compelling, and I wish the rest of the play delved as deep in its theatrical risk-taking.” – Read Hannah Antman’s full critique and learn more about the author! Continue reading “Key Reviews: ‘Hope: Part II of a Mexican Trilogy’”
Sugar in our Wounds by Donja R. Love at First Floor Theater is nestled in the upstairs of the Den Theatre, a space designed by Joy Ahn to hold its audience tightly through the events of the play. Seemingly endless branches that source from an ancient tree glow from within, arching over the space as if to say come closer, I have a story in my roots. If you listen closely, Sam Clapp’s sound design will have you thinking you hear the ancestors murmuring to you as the wind whistles through the branches. Continue reading “‘Sugar in our Wounds,’ an Ode to Black Love in a Time of Great Pain”
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.
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 TheChicago 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.
The Gift Theatre’s world premiere of Wolf Play by Hansol Jung is a close up look at the politics of adoption and their personal impact on the children and families involved. Wolf Play follows a short period of time in the life of an adopted boy (Dan Lin), billed as “Wolf”, but variably called “Peter” and “Jeenu”. When the boy is re-homed with a biracial lesbian couple after being adopted from Korea by a white straight couple, he leans into his identity as an abandoned wolf for guidance and comfort. The present day wolf narrates his story, and embodies the child wolf through a Bunraku-style puppet (Stephanie Diaz). As new family tensions and power dynamics unfurl around the wolf in his new environment we watch him adjust and calculate. Continue reading “‘Wolf Play’ Raises the Complexities of Adoption”
Volta is Cirque Du Soleil’s newest touring show that is based on the theme of embracing differences, social media isolation, and finding sparks of childhood magic.
Circuses have a long and exploited history, especially in America. Yet, Cirque is all the fun of the circus made sophisticated and without the guilt. It probably why it’s still one of the few lasting circus-like traveling shows. I have nostalgia towards the circus and big top events. I crave the spectacle and audience engagement that the circus provides, but not the elephant and horse animal abuse from touring circus’ like Barnum and Bailey or The Ringling Brothers. Not to mention, the added danger of performers working with hungry and wild animals, which resulted in the closing of many circus’ in the 1990s and 2000s. I wasn’t disappointed with Volta, because it’s more than just a “circus”. Cirque Du Soleil’s marketing of being beyond a “circus” has become a rising trend in spectacle performances. Continue reading “‘Volta’ is Cirque Du Soleil’s Mysterious and Exciting Adventure at Soldier Field”
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”