Ownership vs. Authorship: The Responsibility of the Storyteller in ‘Kiss’

Damascus 2014. 

What images come to mind? This city and year may feel distant to an American audience, especially one quietly observing the opening moments of Haven’s production of Kiss at The Den. Whatever your mind conjured about Damascus, you’ll soon forget this context or question it. Written by Guillermo Calderón, the play follows two couples attempting to hang out with their weekend soaps. But their lives quickly descend into a soap opera of their own. And we watch, amused by the apparent drama and familiar music underscoring moments of cliché passion and momentary rejection (sound design and original music Jeffrey Levin).  Continue reading “Ownership vs. Authorship: The Responsibility of the Storyteller in ‘Kiss’”

Nature Reckons with Power, History, and Violence in ‘Strange Heart Beating’

Weaving together hints of noir, small town angst, and overwhelming structures of power, Cloudgate Theatre’s production of Strange Heart Beating is a powerful play with a magical feel to it. Written by Kristin Idaszak, Strange Heart Beating tells the story of two best friends. One, Leeny (Leah Raidt) is a local single mother whose daughter disappears and is murdered one summer. The other, Teeny ( Jyreika Guest) , is the sheriff of the town and one of the few Black people in town. Narrated by the town lake ( Stephanie Shum ) who is intimately familiar with the town’s histories of violence. Strange Heart Beating makes thoughtful connections between individual and systemic violence, without feeling narrow or didactic. Continue reading “Nature Reckons with Power, History, and Violence in ‘Strange Heart Beating’”

‘Ada and The Engine’ Doesn’t Get Where It’s Going

Ada and The Engine by Lauren Gunderson retells the life of feminist hero Ada Lovelace, often called the first computer programmer, as a romance. The play weaves a love story between Lovelace, played by Brooklyn Hébert, and Charles Babbage (Rich Holton) who invented two hypothetical machines capable of taking commands to solve mathematical problems as computers do now. It also explores how Ada may have been haunted by the life her father Lord Byron (John LaFlamboy) lived, especially how his absence and philandering affected her relationship with her mother. Continue reading “‘Ada and The Engine’ Doesn’t Get Where It’s Going”

‘The Undeniable Sound of Right Now’ is a Nostalgia Trip That Doesn’t Reach its Destination

The Undeniable Sound of Right Now by Laura Eason is not about the present. “Now” in the play’s title refers to Chicago in 1992. Grunge is spreading across the country and House Music shakes nightclubs with its electric tune. Hank’s Bar was the place to be during the 70s wave of Rock n’ Roll, but in 1992 “Now” and “Then” clash within the walls of this cultural relic. BJ Jones directs the Chicago premiere at Raven Theatre and this project on paper promises something worthwhile. The final product, however, is unsatisfying. Continue reading “‘The Undeniable Sound of Right Now’ is a Nostalgia Trip That Doesn’t Reach its Destination”

Pontifications on Pregnancy in ‘The Crowd You’re In With’

The Crowd You’re In With at AstonRep takes place on an evocative set designed by Jeremiah Barr, the deck and backyard of a rundown suburban house that is set out for a 4th of July barbecue. Small accents, like deck chairs, fairy lights, and a tacky tablecloth, create a very lived-in feel. The lighting from Samantha Barr is atmospheric and welcoming; the yellow light from inside spills out through a screen door, and the fading blue ambience captures the feeling of a warm summer evening quite well.

We open at the barbecue of married couple Jasper (Martin Diaz-Valdes) and Melinda (Sara Pavlak McGuire) — consisting of another mid-thirties couple, the pregnant Windsong (Maggie Antonijevic) and the slightly obnoxious Dan (Nick Freed), the older married couple and landlords who live upstairs, Tom and Karen (Javier Carmona and Lynne Baker), and their single musician friend Darcy (Erin O’Brien). As it is slowly revealed that Jasper and Melinda are trying to get pregnant, the conversation turns to the subject of why some people choose to have kids, and why some don’t. Continue reading “Pontifications on Pregnancy in ‘The Crowd You’re In With’”

I’m Not Crying, You’re Crying!: The Edifice of Self in Next to Normal at Writers Theatre

I don’t need to tell you how good of a musical Next to Normal is; it won a Pulitzer. Nor is it a surprise that Tony-winning director David Cromer has created a masterful evening of small and terrifyingly intimate moments with a deft, spare, and nuanced hand. Instead, I’d like to focus on why this show had me weeping uncontrollably for most of its second act, and how I think it got there.

For those unfamiliar, Next to Normal is the story of the suburban, middle-class, normal-seeming Goodman family. Our central character, Diana (Keely Vasquez), struggles to live her adult life while dealing with severe and often crippling bipolar disorder. Her husband Dan (David Schlumpf) and teenage kids Natalie and Gabe (Kyrie Courter and Liam Oh), meanwhile, must deal with the side effects of Diana’s dysfunction. Continue reading “I’m Not Crying, You’re Crying!: The Edifice of Self in Next to Normal at Writers Theatre”

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”

Fear and Loathing in “Language Rooms” at Broken Nose Theatre

* Read Lucas’ reflection on this review in ‘A Critical Response to Language Rooms’

“Don’t be a stranger.” Like much of Yussef El Guindi’s darkly comedic Language Rooms, presented by Broken Nose Theatre, this common phrase is suddenly unsettling. Within the blank foreboding walls of a CIA blacksite, the familiar is made unfamiliar, and the mundane, dangerous. Director Kaiser Zaki Ahmed and his team mine El Guindi’s interrogation of islamophobia in a post 9/11 United States. The result is a potent examination of the current dark night of the soul in which the U.S. and its people presently find themselves. Continue reading “Fear and Loathing in “Language Rooms” at Broken Nose Theatre”

Porchlight Music Theatre’s ‘A Chorus Line’ Has Some Big Dance Shoes to Fill

In 1975, A Chorus Line introduced a show-biz musical with a new perspective to the Broadway theatre canon. Since then it has been a staple in theatre songbooks across the country. Inspired by true stories, A Chorus Line is the day in the life of a Broadway audition where 16 dancers leave it all on the stage for one of eight coveted positions. Public schools, community theaters, and the largest performance halls have all had boxes of golden tuxedos sent through their doors for that one final show-stopping number. Director Brenda Didier is no stranger to the phenomenon. In Porchlight Theatre’s program for their production of A Chorus Line, Didier wrote that “once A Chorus Line has become a part of your life, it stays with you.” I have to agree. Wholeheartedly. Every production of A Chorus Line is both building off and working against that relationship the audience already has with this musical. Porchlight Theatre’s production gets lost somewhere in the middle and is a shadow of that one singular sensation. Continue reading “Porchlight Music Theatre’s ‘A Chorus Line’ Has Some Big Dance Shoes to Fill”

‘Corona’ Shines Bright at Otherworld Theatre Company

Elizabeth Ann Michaela Keel’s Corona takes place on a beautiful set designed by Hannah Beaudry; squarish, obsidian walls, accented with vibrantly lit-up panels that shine with different garish colors throughout. A raised white dais, which looks equal parts marble and futuristic, rises from the stage’s middle and invokes our collective idea of what a starship bridge looks like without mimicking it outright. In addition, right away we are treated to brilliant projections and lighting design from Claire Sangster; the contrast of the black set with monochromatic floods of blue, or pink, or orange create a lovely, spooky, and (pardon the pun) otherworldly feel. In director Tiffany Keane Schaefer’s production, the back wall and side panels show projections of stars and nebulae as they slowly drift by. Continue reading “‘Corona’ Shines Bright at Otherworld Theatre Company”