Wally World, written by Issac Gómez and co-directed by Lili-Anne Brown, is a two act radio play produced by Steppenwolf Theatre. The show revolves around employees at the fictional superstore Wally World (akin to another actual large corporation with a similar name), who face the complicated tension and stress of having to work on Christmas Eve. While the store continues to be in complete chaos on the front end, things behind the scenes are just as bad if not worse as the store manager’s position of power is threatened and challenged throughout the hard workdays.
Wally World tries to give the realistic perspective of what it’s like for employees of a large company to be working over the holidays… least to say, it’s not ideal. If you’ve ever been forced to work retail during the holidays, this show is certain to bring memories flooding back. Beyond a reach for authenticity in what it’s like to work retail for a large corporation, this play seeks to ask poignant questions about capitalism, activism, harassment, white supremacy, and labor exhaustion. Wally World’s ideals are similar to other plays like Lynn Nottage’s Sweat or any similar “kitchen sink drama” that involves a variety of diverse characters who get chances to shine in beautifully written monologues about their internal struggles.
Continue reading “REVIEW: ‘Wally World’ at Steppenwolf Meditates on Capitalism at Christmastime”
It is no secret that Steppenwolf Theater Company is one of my artistic homes in Chicago. When the news came out about Brooke Flanagan’s appointment for Executive Director, and David Schmitz’s departure to OSF, I was excited and disappointed all at once. David deserves an excellent opportunity such as this, and Brooke seemed highly qualified for the job, but there had been no job search for the Executive Leadership position.
Once during my fellowship at Steppenwolf, Anna told me she saw my value to the institution, and to our field, in my ability ask the hard questions. With that in mind, I made a phone call, at first asking for a conversation, which became an interview.
Rarely do our leaders seize an opportunity to tell the truth. When controversial decisions are made, I often ask arts leaders if they will sit down and speak to me about their decision-making process. They will always speak to me off the record, for my own education as an aspiring artistic leader. When it comes to going on the record? To date, every single leader has said no. Until now.
On May 27th, we spoke at length about not only Brooke’s transition, but her own transition into the position of Artistic Director, board relationships, racial inequity, the mysterious career “pipeline,” and police violence against Black people. The world has already changed so much since then. I encourage you to read this in its totality. This is a rare offering of truth, and I hope it invites other leaders to be more transparent in their processes. My questions are in bold, all other responses are Anna’s unedited thoughts. Continue reading “Behind The Curtain: Anna D. Shapiro Speaks About Steppenwolf’s Executive Leadership Transition, Board Relationships, the Pandemic, and the Epidemic of Racism”
Dance Nation, written by Clare Barron and directed by Lee Sunday Evans, captures the sweet, strange and uncomfortable aspects of growing up in and surviving the world of competitive tween dance, as we follow the adventures of six young girls preparing for a national tournament. A finalist for the 2019 Pulitzer Prize, the play received its world premiere at Playwrights Horizons in 2018 and ran at the Almeida Theatre in London before coming to Steppenwolf for its regional premiere.
Armed with a multi-generational cast and a healthy dose of whimsy, this production succeeds in telling this story in a way that required the magic of a theatre. It invokes imagination, is anything but expected, and in this way subverts the classic coming of age story into something as weird, messy, and wonderful as actual puberty. The dances are less literal and more figurative, capturing each character’s essence. One that stood out in particular perfectly captures the importance of ‘dance face’, and puts it up front and center with the assistance of some impeccable tech. Transformative lighting by Heather Gilbert moves us seamlessly through time and space, guiding the audience along a non-linear plot. Sound design by Mikhail Fiksel perfectly underscores each dance, monologue, and transition; movement and sound feel intertwined into a well choreographed dance piece.
Continue reading “‘Dance Nation’ at Steppenwolf Theatre Captures the Whimsical Terror of Tween Angst”
Sibling rivalry and resentment is the golden thread that runs through Sam Shepard’s classic play, True West. What begins as a standard tale of bickering between the Golden Child and the Black Sheep quickly takes a hard left turn when we realize that this Black Sheep may be mentally disturbed and harboring violent tendencies. Namir Smallwood plays an arrestingly intense Lee, toggling with ease between a playful and jovial energy and a cold, detached dominance without a moment’s notice. His presence as an aloof angry drunk drives this play, bringing a kinetic element of fear and excitement to an otherwise pedestrian moment. Breaking away from the tenor of Malkovich’s intense performance in the 1984 film, Smallwood’s portrayal of the grifter is still creepy but also somewhat charming and endearing, which helps contextualize why his brother simply wouldn’t call the police on sight. Continue reading “‘True West’ at Steppenwolf Honors the Classic and Shows Shepard a New Frontier”
Ms. Blakk For President is a world premiere play performed at Steppenwolf Theatre, co-written and directed by Tina Landau and written by Tarell Alvin McCraney. The show is about Chicago’s very own LGBTQ activist Terence Alan Smith, better known as the drag queen Joan Jett Blakk, who decided to run a political campaign with Act Up and Queer Nation to bring visibility to the Gay community in crisis during the 90s. It’s a pretty unknown story to someone, like me, who was born in the very late 1990s without context on figures who are often censored in our pop culture. Steppenwolf’s lobby dramaturgy does a great job with filling the atmosphere and historical context about the show. The dramaturgy display (Polly Hubbard) is filled with an engaging Chicago timeline that traces Joan Jett Blakk and the AIDS crisis from the 1970s to present today. There are also a few art installations and a memorial to Marsha P. Johnson. Continue reading “Pride is the Prerogative in ‘Ms. Blakk For President’ at Steppenwolf Theatre”
Ni una mas. Ni una mas. Ni una mas.
La Ruta- written by Isaac Gomez and directed by Steppenwolf Ensemble member, Sandra Marquez- takes place 20 years ago, yet this story is full of similarities to the world in which we now live. Here in the United States, we have the Me Too Movement. Latin America has the Ni Una Mas Movement.
Isaac Gomez’s La Ruta follows femicide (the deliberate killing of women because they are women) in Cuidad Juárez. It is important to note that femicide is a global reality that isn’t unique to Mexico. Since the early 1990’s, thousands of women have disappeared without a trace in Juárez. Continue reading “La Ruta – Ni Una Mas (Not One More)”
These are the second 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 The Curious Incident of the Dog in the Night-Time at Firebrand Theatre in collaboration with Timeline Theatre below! Continue reading “Key Reviews: The Curious Incident of the Dog in the Night-Time”
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”
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”