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”
Chisa Hutchinson’s intimate four character drama Surely Goodness and Mercy at Redtwist Theatre takes on the difficult subject of child abuse and makes children its heroes. During a month when we are seeing young people in the news rising up to speak out against violence it’s inspiring to see the story of a young boy who is able to escape the violence in his own home while doing good for others. Continue reading “‘Surely Goodness and Mercy’ Showcases A Young Boy’s Staggering Act of Love”
Note: The pronouns of the characters were used for this review, they do not necessarily reflect the pronouns of the artists.
We’re Gonna Be Okay at American Theater Company by Basil Kreimendahl directed by Will Davis perfectly captures what it feels like to be living in the midst of a crisis. In our current political climate, no matter which side of the debate you find yourself on, there is an undeniable sense of panic as we try to hold on to a life that feels like it’s trying to run away from us. America, a land of unlimited possibility, and paralyzing fear. In Will Davis’ production, that fear is palpable, but it is also accompanied by laughter, love, and hope. Continue reading “‘We’re Gonna Be Okay’ Makes Sense of Crisis”
Montauciel Takes Flight at Lifeline celebrates science and the spirit of invention. You know a children’s show is successful if the kids are singing the songs on the car ride home. The charming original musical Montauciel Takes Flight, by James E. Grote (book) and Russell J. Coutinho (music and lyrics), directed by Aileen McGroddy, is based on the true story of the first living creatures to ride in a hot air balloon. The play tells the story of the Montgolfier brothers, paper manufacturers in 1783 France who launched a balloon containing a duck, a rooster and a sheep named Montauciel, a name that means “climb-to-the-sky.” The balloon and its animal occupants landed safely after traveling over two miles, ushering in a new era of manned flight. Continue reading “‘Montauciel Takes Flight’ Makes Science Soar at Lifeline Theatre”
In one of the most dramatically effective moments of Loy Webb’s, The Light, Genesis (Tiffany Oglesby) describes to her fiancé, Rashad (Jeffery Owen Freelon Jr.), how black women have been socialized to believe they have just two options in the wake of trauma: be strong or fall apart. In response, Rashad suggests he can carry some of that burden and offers his love as “option three.” With this Webb embarks on illuminating not only a series of important emotional truths but also some serious political ones. But, as the play’s title would suggest, for all its weighty content, at its heart this play is an uplifting character driven romance.
Continue reading “‘The Light’ At the New Colony Is Rallying Cry for Radical Love”
The Key: Young Critics Mentorship Program brings students to various productions around Chicago, teaching them about arts criticism as they try their hand at writing reviews. The opinions of the students are their own; we workshop the pieces in seminar every other week, and then they edit their reviews before publication. These reviews from our Fall session are edited by Oliver Sava and Regina Victor
The fact that somehow the existence of female sexuality is still up for debate is almost impressive in how narrow-minded it is. Not enough has been sad about the epidemic of “hysteria” in the 1800’s. The fact that a legitimate medical diagnosis was given to women who were experiencing the wide spectrum of basic human emotion and no longer living up to men’s expectations is nearly laughable. And yet, as off the wall as it sounds, it should only come as a shock to someone who hasn’t picked up a newspaper in the past month. Continue reading “Key Reviews: ‘In the Next Room, or The Vibrator Play’”
This has been an incredible year for the team at Rescripted. As we embark on 2018, we’d like to take some time to revisit not only some theatre highlights of the year, but accomplishments we have made as an organization in our first six months! The plays mentioned below are honored as Rescripted Recognized, productions that were memorable for their cultural standouts, for their artistic achievements, for their strong performances, and in some cases even for their controversies.
Continue reading “Rescripted Recognized: 2017 in Review”
This review is written by Logan McCullom, an alumni of The Key: Young Critics Mentorship Program.
Stumbling through the seemingly unending crowds and stairs that make up Steppenwolf’s theatre, I was frazzled and bewildered by how many folks I saw waiting to be seated for the opening night of BLKS. At first glance I found the title to be easy and not very enticing at all, but it was quickly redeemed as I saw the set. Like the title would prove to be, it was comprised of… well… everything. There was no shortage of couches, there were even couches on the walls! Set designer Sibyl Wickersheimer draped long blue curtains on the stage, making distinct isolations that served as different rooms within the same stage. It was messy, chaotic, a perfect representation of life on your own, and I loved it. Continue reading “Aziza Barnes’ ‘BLKS’ Gets Up Close and Personal”