Once Upon a Mattress is a 1959 musical comedy that presents a goofy reimagining of Hans Christian Andersen’s fairy tale “The Princess and the Pea.” It tells the love story between the adorably awkward (and misleadingly named) Prince Dauntless and the bombastic Princess Winnifred (or Fred to her friends), buoyed by a supporting cast of royals, nobles, and courtiers embroiled in various scandals, japes, and shenanigans. Being a comedy from the 50’s that covers topics of love and marriage, it’s no surprise that Once Upon a Mattress leans heavily on some outdated and reductive gender roles for its laughs. The smart way around this, which director Landree Fleming has employed to hilarious effect, is to lampoon and subvert those roles at every turn — primarily by showcasing a cast that is visibly and joyfully trans, non-binary, and queer.
2019 was by no means an easy year, and yet so much progress was made in our artistic community both on and offstage. The Rightlynd Saga reached completion in the same year Lori Lightfoot was elected. Abuse was unearthed and community solutions provided, systemic changes are underway on many levels, as the energy of organizations like Not in Our House and ChiTac drive our individual work. As Editor for Rescripted, I laid out my Visions for 2020. This article is about looking back, and celebrating where we came from one last time. Below you will find the 10 Rescripted Recognized shows selected by our critics, and a new addition for this year – Rescripted Raves. There is too much great work in the city to limit it to ten shows, and there you will find the other projects that brought us joy or moved the conversation forward. Happy 2020!
Red Rex at Steep Theatre. Directed by Jonathan Berry, written by Ike Holter. “Ike Holter’s Red Rex takes a deep dive into the underbelly of making theatre in Chicago, and a brave ensemble of people at Steep Theatre rose to the challenge. The sixth play in the Rightlynd Saga directed by Jonathan Berry gets its name from the fictional theatre company at the center of the narrative, Red Rex Theatre Company. After almost a decade of relatively mediocre production, Red Rex has recently taken up residence in the abandoned former home of the Three Lord Gang – one of many easter eggs from the rest of the Rightlynd Universe (the RU, you know, like MCU).” – Regina Victor, Editor In Chief Continue reading “Rescripted Recognized – 2019 Edition”
The bitter cold and the holiday season are both barreling into Chicago, and no one is immune from the overwhelming combination. In an effort to combat this special brand of wintry blues, Raven Theatre’s Cold Town/ Hotline: A Chicago Holiday Story takes it back to 1983, where a ragtag group of Chicagoans volunteer their time at a holiday hotline called the Yule Connection. Folks are invited to call in and chat about their seasonal stressors, but when one young caller makes an in-person visit, the team bands together to find a little connection of their own. Like a lot of holiday memories, this world premiere, written and directed by Eli Newell, has bursts of heartwarming holiday sentiment that break through a series of meandering moments.
The Key: Young Critics Mentorship Program is back with our fifth set of reviews, and this set is all about Hoodoo Love at Raven Theatre! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. Read selections from each 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.
Alisa Boland: “Hoodoo Love, directed by Wardell Julius Clark at Raven Theatre, adds a bit of extra enchantment to Katori Hall’s debut script, a cocktail of blues singing, conjure, and inevitable tragedy. Set in Memphis, Katori Hall’s play follows Toulou an aspiring singer, played with spirit and tenderness by Martasia Jones. The young country girl turns to the supernatural help of her friendly, grandmotherly neighbor and hoodoo practitioner Candylady (played by the audience favourite, Shariba Rivers) to hold down her lover Ace (Matthew James Elam), a restless blues artist. The situation is further complicated by the arrival of Toulou’s older brother Jib (Christopher Wayland Jones), a preacher with a wolfish eye and an appetite for unholy, distilled spirits.” – Read Alisa Boland’s full critique and learn more about the author! Continue reading “Key Reviews: ‘Hoodoo Love’ at Raven Theatre”
Invisible by Mary Bonnett, produced by Her Story Theater, seeks to complicate our contemporary understandings of the KKK, and their lasting impact on the relationship between racism and political power in the US. Directed by Cecille Keenan, the play focuses on a white couple, Mabel (Morgan Laurel Cohen) and Tom (Brad Harbaugh), who are well established in their small town of Mounds.
As a well respected man in town, Tom is naturally part of Mounds’ Ku Klux Klan chapter. Mabel, meanwhile has taken the role of an officer in Mounds’ newly formed branch of the Women’s KKK. Mabel, however, is something of a misfit and struggles to get along with the other two WKKK officers, despite her commitment to the KKK’s values of Christianity and domesticity. Across town, Jubal (Lisa McConnell), a Black artist and activist, lives with Ghost Girl (Maddy Fleming), an albino girl she found abandoned as a baby. When Mr. Stein (Richard Covotsky), a Jewish reporter from Chicago, travels through Mounds, tension builds and leads to death and destruction.
As Sundown, Yellow Moon opens, two sisters in their twenties, Ray (Liz Chidester) and Joey (Diana Coates), have returned to their small hometown in Tennessee to support their father, Tom (Will Casey), as his life seems to be falling apart following his divorce. Ray is undergoing a bit of a reckoning herself after quitting her job — and Joey, petrified at the thought of leaving the country for a foreign study, takes comfort in long runs in the woods late at night.
The script from Rachel Bonds is extremely character-driven; there is not much plot to be found. I have heard some criticism calling this show a bit meandering and slow — which I can’t refute, exactly, except to say that slowness can soar to great heights when done with intention, and I found it absolutely sublime here. Director Cody Estle has managed to craft an evening of enthralling, intimate moments with attention and care, such that Sundown, Yellow Moon feels engrossing and urgent despite its quietness, and stillness.
These are the first reviews from the second session of The Key: Young Critics Mentorship Program. This year’s cohort is 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 Caroline, or Change at Firebrand Theatre in collaboration with Timeline Theatre below!
Continue reading “Key Reviews: Caroline, Or Change”
We live in a world that makes us love what we should fear and fear what we should love. Thank the galaxy for plays like Borealis that take risks to help us remember that we are our own bounty. We are exactly what we need. Continue reading “Borealis: How Far Will You Go for Family”
Regina Victor of Rescripted asked Emma Couling to sit down and chat with Rescripted about her growth as a writer over the past year, and what ensued was a badass conversation. Emma Couling is a freelance arts writer who contributes to Rescripted, you can read more about her work here.
How did you become a critic?
I never actively decided I wanted to be a critic. I didn’t even identify as a writer until two years ago. That summer, I had this experience where twice in one week, two different strangers groped me while I was going about living my life. And in that same week, The Reader published their exposé on Profiles Theatre Company. Continue reading “Rescripted Reveal: Arts Writer Emma Couling Will F*ck You Up”
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”