The Factory Theater knows that sometimes we need to escape from the heaviness of the world, and producing a play like The Adventures of Spirit Force Five seemed like the pep rally we needed. The program contains a director’s note by Spenser Davis highlighting the inspiration for this show: the spirit of the 90’s. Saturday morning cartoons, bright music, and brighter colors of millenial youth where everything looked spun from sugar and anything was possible. As a 90’s kid fatigued by the brutal Nationalist landscape where families are torn apart, children are in cages, and there seems like no way out, I was thirsty for it. These shows and movies raised us to be our own heroes and well, we just need a reminder of how to do that every once in awhile to keep up the fight. Continue reading “Flossyfluff: ‘Spirit Force Five’ at Factory Theater”
There is a moment in the television show “Community” where a white girl says, “I can excuse racism but I draw the line at animal cruelty.” It’s one of the most succinct jabs at the tendency and ability of privileged white folks to dismiss the pain and oppression of their fellow human beings in favor of appearing “progressive” in other ways. And I couldn’t stop thinking about that quote as I was watching Kristiana Rae Colón’s “Tilikum” — the world premiere currently running at Sideshow Theatre Company. Continue reading “Kristiana Rae Colón’s ‘Tilikum’ Reflects Humanity’s Misguided Priorities”
This piece was co-written by Chicago actor/director Wardell Julius Clark and Regina Victor.
Father Comes Home From The Wars opened at the Goodman Theatre in what can only be categorized as a seismic explosion of a production, excellent on all fronts. Continue reading “‘Father Comes Home From the Wars’ and an Absent Freedom”
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”
“I thought I was dying but I just lost my voice.” – Tilden, Sam Shepard’s Buried Child.
This line perfectly describes the devastating loneliness that reverberates throughout Sam Shephard’s Buried Child, currently playing at Writers Theatre. The large house is empty at top of show except for the elderly Dodge (Larry Yando) who is coughing and watching TV all alone as rain falls outside. Dodge looks up at the roof to listen to the rain, which is wonderful because there is no roof in the living room of Jack Magaw’s set. In fact, the entire front of the home is excavated like an ancient archaeological site, preserved so we can see the relics inside. Adding to this jagged, exposed feeling is a massive crack that runs through the middle of the floor. Largely ignored by the family that resides in the house, I could not help but notice that the two outsiders in the play either noticed or tripped over the crack. Continue reading “Nostalgia Consumes in a Fiery ‘Buried Child’”
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 firstname.lastname@example.org, 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”
Steppenwolf’s Fellowship Cohort Presents: Crafting a Cohort
Monday, April 30 at 7pm.
Free Community Event Explores the Question, “How do we, as POC and queer artists create space for ourselves in institutions where we are often ‘the only one’?”
CHICAGO (April 24, 2018) –Steppenwolf Theatre Company’s 2017/18 Multicultural Fellows are proud to present Crafting a Cohort, a free event that aims to unite people of color and members of the queer community (POC/Queer Folx) in various levels of theatre career tracks by providing a space for discussion and connection. This event is curated by the 2017/18 Steppenwolf Multicultural Fellows cohort. The Steppenwolf Professional Leadership Program Fellowship is for early-career people of color working in various theatre disciplines and provides paid professional development opportunities both in and out of Steppenwolf Theatre. Jackie Taylor, Executive Artistic Director of Black Ensemble Theatre, will deliver the keynote address. This event takes place on Monday, April 30th from 7-9pm at the Merle Reskin Garage (1624 N. Halsted St.). Admission is free and snacks and drinks will be provided. RSVP by clicking here. Continue reading “Steppenwolf Fellows Present: Crafting a Cohort”
Set in Chicago, the play centers on the arrival of Razi Gol (Salar Ardebili) to his sister’s apartment in Uptown, right off of the Lawrence CTA Red Line. Soraya (Catherine Dildilian), Razi’s sister, has been in the United States for more than a decade after leaving her family in Shiraz, Iran to attend school and lives with her white Irish-American husband Chuck (Joshua K. Volkers). Continue reading “The Spectacle of Suffering in ‘Through the Elevated Line’”
The energy at the Neo-Futurarium holds a lot of history for Chicago audiences and just being in a space where you’ve come to expect the unexpected generates anticipation. A Story Told in Seven Fights begins with a comic teaser fight in the lobby as the audience is waiting to be ushered into the theater. This cold open establishes the show’s major theme: the relationship between performer and performance. The show, a devised work created by Trevor Dawkins and directed by Tony Santiago, explores the explosive birth of Dadaism and its later clash with Surrealism. The throughline is an exploration of what founders contribute to a movement. The play asks: at what point does a movement become bigger than its founding vision and, perhaps also, at what point does a movement morph into something entirely different? Continue reading “‘A Story Told in Seven Fights’ Investigates the Neo-Futurists Founding Myths”
Simply stepping into First Floor Theater’s Dontrell, Who Kissed The Sea is already a theatrical experience unto its own, to say nothing of the magnetic performance to follow. Director Chika Ike’s vision for the play is immediately palpable, and impresses upon audience members from the very first moment that they are entering what will become sacred ground. The inventive and highly successful scenic design of Eleanor Kahn and associate designer Samantha Myers immediately compels the audience to look up, down, and all around them. With Viking and Adinkra symbols adorning the walls of the theater, as well as the scattered pieces of shattered wood that encapsulate the audience, the space evokes a reverent spirituality. Each of the symbols has a meaning, and cast a net of wishes, intentions, and hopes around the playing space. As for the wood, one’s mind goes instantly to the memory of the ships that carried slaves from West Africa to North America. As the house lights drop, and we enter the poetic world of playwright Nathan Alan Davis, the promise of the space unfolds. Continue reading “‘Dontrell, Who Kissed the Sea’ Is a Beautiful Invitation to Heal”