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’”
Ms. Blakk For President is a world premiere play performed at Steppenwolf Theatre, co-written and directed by Tina Landau and written by Tarell Alvin McCraney. The show is about Chicago’s very own LGBTQ activist Terence Alan Smith, better known as the drag queen Joan Jett Blakk, who decided to run a political campaign with Act Up and Queer Nation to bring visibility to the Gay community in crisis during the 90s. It’s a pretty unknown story to someone, like me, who was born in the very late 1990s without context on figures who are often censored in our pop culture. Steppenwolf’s lobby dramaturgy does a great job with filling the atmosphere and historical context about the show. The dramaturgy display (Polly Hubbard) is filled with an engaging Chicago timeline that traces Joan Jett Blakk and the AIDS crisis from the 1970s to present today. There are also a few art installations and a memorial to Marsha P. Johnson. Continue reading “Pride is the Prerogative in ‘Ms. Blakk For President’ at Steppenwolf Theatre”
Mike Pence Sex Dream by Dan Giles at First Floor Theatre, directed by Hutch Pimentel, is a sometimes ruckus sometimes sobering depiction of the weight of capitalism and cancel culture in the face of animal cruelty and neoliberalism. A mouthful right? And yet, it’s shaping up to be one of the hottest, realest show of the season. Continue reading “‘Mike Pence Sex Dream’ Takes Morality for a Wild Ride”
“I know my heart, and have studied mankind; I am not made like anyone I have been acquainted with, perhaps like no one in existence; if not better, I at least claim originality, and whether Nature did wisely in breaking the mould with which she formed me, can only be determined after having read this work.”
– Jean-Jacques Rousseau, Confessions (1782)
Queer people, folks who defy expectations and bring vital complexity to life simply by being, have always existed. In every part of the world, wherever there were people, there were also queer people. How these ancestors are remembered, if at all, is a matter of who is telling their story. Directed by Elizabeth Swanson, I Know My Own Heart is drawn from the life of Anne Lister, an early 19th century British landowner and traveller, and told in her words. It is a ritual of remembering. Continue reading “Queer Regency Reigns in ‘I Know My Own Heart’ at Pride Films and Plays”