Red Tape Theatre performs In the Blood by Suzan-Lori Parks at The Ready in Ravenswood. The theatre is a narrow strip covered in graffiti. It’s fresh, and I can tell because the scent of paint is unmistakable. Among this jumble of tags, the word “SLUT” screams in a bright pink that adds to the cruelty of the word. Hester (Jyreika Guest) is a downtrodden mother of five who has made the space under an overpass her home, a home now defaced with this vile word she has no way of reading. It is under this bridge where Hester cares for her children and is cared for by no one. Continue reading “A Vital and Gritty ‘In The Blood’ at Red Tape Theatre”
Lifeline Theatre’s musical adaptation of Jon Klassen’s children’s book, We Found a Hat, shows a friendship put to the test. The play, adapted by Jessica Wright Buha and directed by Manny Tamayo follows two turtles, Sizi (Amanda Roeder) and Kai (Terry Bell), on a journey from their summer habitat to their winter burrow. To get there they must traverse a perilous desert. A meddling Cactus (Scott Sawa) makes a bet with the optimistic Sun (Gabriella Fernandez) that he can drive a wedge between these close friends. The setup has echoes of the devil betting God he can throw Job off his goodness game. The turtles unwittingly fall victim to this mean-spirited social experiment designed for The Cactus’s entertainment. The Cactus, personified as a menacing cowboy with a southern drawl and an excessively large hat, takes off said hat and leaves it in the path of the turtles, jumpstarting the conflict of the play. Continue reading “‘We Found a Hat’ Takes the Wisdom of Sharing to the Preschool Crowd”
Our present moment invites more conversations than ever about the kind of world we want to live in and whether the behaviors of our predecessors is worth emulating. Dada Woof Papa Hot, Peter Parnell’s rather absurdly named play, asks some very straightforward questions about American home life and the value of the nuclear family. The playwright uses the lens of sets of two sets of gay dads who have young children in the same school. They decide to be couple friends and try to use their bond to navigate fatherhood and their relationships together. Continue reading “‘Dada Woof Papa Hot,’ a Family Drama at About Face Theatre”
Let me start off by saying how happy I am that City Lit Theatre is doing Fuente Ovejuna by Lope de Vega. I love this script, I’ve always loved this script, and all of me wishes that it was done more. A huge booming “THANK YOU” to City Lit and director Terry McCabe for taking on their own adaptation of a painfully underproduced classic. From Spain’s golden age of drama, Fuente Ovejuna is Lope de Vega’s best-known work. A village revolts against a predatory authoritarian who uses his military and religious “power” to justify and prey upon the women of the rural town. The revolutionaries in this story are the women, which is particularly refreshing once you remember that the script was first published in 1619. This play has everything: love, war, drama, humor, history, and relevance. Continue reading “‘Fuente Ovejuna’ at City Lit Revisits a Different Kind of Golden Age”
Strawdog Theatre is always a lovely space to walk into; I’m a sucker for small, intimate blackboxes, and the alley seating and soft music playing as you file into Little Women, produced by Brown Paper Box Co., is quite calming. The set (designed by Jeremy Hollis) is simple and straightforward in all the right ways, with just a few leather trunks serving as both scenery and furniture. On the ceiling and by both entrances are panels of darkened wood that are evocative of 1800’s New England architecture while remaining unobtrusive. Continue reading “Love, Life, and Loss: ‘Little Women’ at Brown Paper Box Co. is a Balm for Troubled Times”
Get to know Elon Sloan, a recent Alumni of The Key Young Critics Mentorship Program! Each writer wrote a multimedia review about a piece of pop culture currently capturing their imagination that you can read at the end of Elon’s profile. We’d like to thank Angelica Jade Bastien at Vulture for sharing her insights on media reviewing with us. Check out more of Elon and their cohort’s writing in our Key Reviews section!
Name: Elon Sloan
City/State: I grew up in Oak Park, Il, but now I live in Chicago
Racial / Ethnic Identity: Black and Nigerian-American
Gender Identity and Sexual Orientation: Queer Enby
Why do you want to write for Rescripted?: I love that Rescripted gives artists a chance to create a dialogue about one another’s work. Taking conversations that might only happen between theatre professionals or artists and making them public and accessible invites people to think about criticism in a whole new way. I also love that Rescripted writes about the shows and artists that otherwise might not get the spotlight. Continue reading “Meet The Keys – Elon Sloan”
This year in Chicago Theatre has been tumultuous yet full of so much growth. 2018 saw communities coming together like never before, with the Latinx Theatre Commons‘ Carnaval of New Latinx Works and the Alliance of Latinx Theatre Artists’ Awards.
We said goodbye to American Theatre Company, under the brief yet highly significant Will Davis’ leadership. His work pushing the boundaries of gender and casting still reverberates throughout this city. New leadership has arisen in the form of Andrew Cutler, Amanda Fink, and Eric Gerard, at Black Box Acting Company as they take over the mantle from Audrey Francis and Laura Hooper. Continue reading “Rescripted Recognized: Year In Review 2018”
Get to know Yasmin Zacaria Mikhaiel, a recent Alumni of The Key Young Critics Mentorship Program! Each writer wrote a multimedia review about a piece of pop culture currently capturing their imagination that you can read at the end of Yasmin’s profile. We’d like to thank Angelica Jade Bastien at Vulture for sharing her insights on media reviewing with us. Check out more of Yasmin and her cohort’s writing in our Key Reviews section!
What, in your opinion, is the purpose of arts criticism?: Arts criticism is the way by which the ephemeral production of artists can be stamped into a place and time for posterity. By writing on the arts, we are creating a separate cannon that serves to document the who, what, where, when, how, and why of art for the present and future. Though criticism is viewed as assessing the quality of the work, it should also aim to root the production in our world. This means writing on the artists and acknowledging their social locations, their personal lenses. Continue reading “Meet The Keys – Yasmin Zacaria Mikhaiel”
These are the fourth set of reviews from this year’s The Key: Young Critics Mentorship Program. Members of this cohort are: Sierra Carlson, Yasmin Mikhaiel, Aaron Lockman, Elon Sloan, and Lonnae Hickman. All reviews are workshopped and edited by co-facilitators Oliver Sava and Regina Victor. Check out their reviews of Rightlynd at Victory Gardens Theater below!
Continue reading “Key Reviews: ‘Rightlynd’ at Victory Gardens Theater”
The Dark at The Top of The Stairs by William Inge holds a universal theme– life is hard, love is hard, but if you have the right people it’s all worth it. Directed by Jerell Henderson, it focuses on a family of four; a begrudged father, an abiding yet willful mother, the bratty younger brother and his closed off sister. We live in their home, more specifically their living room, for the entirety of this three-act production, it is littered with decor bringing an added authenticity to every moment (set design Sam Rausch). Continue reading “‘The Dark At The Top of The Stairs’ Challenges Life, Love and Companionship”