I entered The Edge Theater already wary. I was going into The Writer knowing nothing of the play except what the title tells me. That it’s about, well, a writer. A playwright.
Plays about plays tend to be didactic and masturbatory. Artists are so close to the subject that it renders the play incapable of complex analysis. As it turns out, masturbatory didacticism is intentionally the driving force of The Writer, and playwright Ella Hickson weaponizes these themes in such a way that complicates it further than other plays of the genre.
The Writer is about escapism. Continue reading “Steep Theatre’s ‘The Writer’ is a Surprising Escapist Meta Adventure”
Suspended in front of a blank white slate is a proscenium inside a proscenium (scenic, Andrew Boyce). Two men sit inside, each uniquely unpleasant, each reaching desperately to the other for an emotional connection. Hirst (Jeff Perry), the rich “man of letters” and owner of the decadent home, and Spooner (Mark Ulrich), a random man he met in a bar, proceed to engage in a battle of words. As the scene goes on, I become keenly aware Spooner is taking more than his fair share of the conversation. I seriously thought Spooner was going to grow horns at some point, he’s so whimsical it is hardly trustworthy, but it is fantastic to watch. As Spooner gets more animated, seemingly feeding on Hirst’s apathy, Hirst gets quieter, and harder to understand. I suddenly realize what is happening – he is extremely drunk and slowly shutting down.
Continue reading “The Devil’s in the Walls – No Man’s Land at Steppenwolf Theatre”
Steppenwolf Theatre Company’s new play development initiative, SCOUT will present A Virtual Reading of Mosque4Mosque by Omer Abbas Salem on Sunday, March 28th at 2pm CST. This free reading is the culmination of a 30-hour workshop process directed by Arti Ishak.
Mosque4Mosque follows Ibrahim, the average 30-something Queer Arab American Muslim. Normal job, quiet life, easy men. Between dodging reminders of how unmarried he is from his relentlessly caring immigrant mother and helping raise his smart, popular, hijabi cheerleading sister, Ibrahim has always found comfort sinking into the background. But when his mother sees a glimpse of what could be his first real relationship, she feels compelled to take Ibrahim’s future into her own hands by seeking out the perfect man for him to marry. Mosque4Mosque is a comedy about a normal Muslim American family that asks us to wrestle with what we believe normal to be.
“I wrote Mosque4Mosque to reimagine my experience with family, religion, and being queer. I also wanted to create a world in which Arab artists felt proud to exist, because I can’t tell you how often I’ve felt ashamed by what passes for our representation. I can’t thank Steppenwolf enough for the support and opportunity to uplift our voices and begin correcting a wrong in American theater.” – Playwright, Omer Abbas Salem. Continue reading “Mosque4Mosque SCOUT Presentation Sets a New Standard at Steppenwolf”
Stop Kiss by Diana Son is the story of two young women, Sara (Kylie Anderson) and Callie (Flavia Pallozzi), living in New York in the late nineties. Each scene in the play alternates between two timelines; half of the scenes depict Sara and Callie as they meet for the first time, develop a friendship, and then slowly realize that their friendship might be something much deeper, lovelier, and more serious than they initially thought. Other scenes depict a near future where Sara is attacked by a violent man after her and Callie’s first kiss, in an act of homophobic violence. Callie must deal with the various reactions of friends, family, police, and the news media, while still struggling with her evolving feelings for Sara.
Stop Kiss is a play about the dichotomy of being queer; its very structure is a contrast between discovering the joy and freedom of stepping away from societal norms, and the pain caused by an unjust society which punishes that discovery at every turn. Director Kanomé Jones has put together an ensemble that understands this dichotomy on a visceral level, with the result that this collaboration between Pride Films and Plays and Arc Theatre touched something deep within my little queer heart in a way that no show in recent memory has.
Continue reading “‘Stop Kiss’ (Pride Films and Plays and Arc Theatre) Illustrates the Duality of Queer Life”
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.
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”
“When you know your name, you should hang on to it, for unless it is noted down and remembered, it will die when you die.”
–Toni Morrison, Song of Solomon
Courtney Berringers was a drag queen who lived and died in Albany, Georgia, and Terry Guest is here to tell her tale. Far from being a somber affair, At The Wake of a Dead Drag Queen is the end-of-summer celebration of life and femme power you didn’t know you needed. Continue reading “‘At the Wake of a Dead Drag Queen’ is an End-of-Summer Queer Celebration of Life”
Head Over Heels, infused with the classic pop hits of The Go-Go’s as well as original music, has instantly become a musical theater standard. Based on the pastoral prose-poem The Arcadia by Sir Philip Sidney, this jubilant and thoroughly modern piece of theater delights and entertains on a grand scale. Replete with powerhouse songs, dance numbers, and an engaging story, Kokandy Productions’ Head Over Heels is a must-see summer musical. Continue reading “The Human Experience Rings True in Passionate Fairytale ‘Head Over Heels’”
Now and Then is a musical gay love story that tells the tale of one relationship between two men, Greg and Daniel, over forty years. Three different pairs of actors play the two men at different points in their lives: Will Fulgintini and Benjamin Walton play the young Dan and Greg when they’re first meeting in college; Alex Smith and Carl Herzog play the couple in their thirties, as the relationship has grown stale and must be saved; and Skip Sams and Dennis Manning play the couple in their sixties, having reached a steady equilibrium in the relationship, which is challenged by Greg’s battle with cancer. Continue reading “‘Now and Then,’ Paints A Queer Love Story”
Luxuriously outfitted with delightful costumes by Shawn Quinlan, GRINDR THE OPERA at Pride Films and Plays follows the trials and tribulations of four gay men looking for love and/or no strings attached sex on the web. Their search invokes the siren Grindr, who guides the men through their journey of lust. A regal Bruno Rivera plays the goddess Grindr, narrating the tale through countless costume changes and wondrously soaring arias, with the help of her dazzling sidekicks Occulto (Andrew Flynn) and Dilectus (Brandon Krisko). Continue reading “Cheeky Arias Drive A Queer Love Revolution in ‘GRINDR THE OPERA’”