Welcome to Jesus at American Theater Company is best described as a cross between “The Blind Side” and “Get Out”. I went to see it the day before Halloween and enjoyed quite a few jump scares. Will Davis’ direction is astounding as usual. When his directing style is at its peak, as I feel it is in this production, actors are comfortable enough to play and create within the seemingly choreographed production. As in a dance piece, Davis’ productions work well when you can sense the ensemble and they share an awareness of each other. Continue reading “Football and White Supremacy Take a Spooky Turn in ‘Welcome to Jesus’”
Author’s note: I attended two different “versions” of Taylor Mac’s A 24-Decade History of Popular Music at The Curran on Sunday September 24 and at Stanford’s Bing Concert Hall on Wednesday September 27. This review compares the two audience experiences of “Chapter IV” and “Abridged Version” respectively.
What makes a piece of theatre a phenomenon? What turns it from instance to event? Driven by conscious and subconscious hope that their art goes the analog equivalent of viral, artists create art everyday from fine to pop, traditional to technological. Artistic organizations do this, as do artist teams. Most of it never becomes an event. Theatre that does may do so incidentally, and in cases like the Broadway productions of ANGELS IN AMERICA, RENT and HAMILTON, deliberately. Continue reading “Rhapsody in Blue Eyeliner: Taylor Mac’s ‘A 24-Decade History of Popular Music’”
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. This week we are sharing their first submissions on Steppenwolf Theatre Company’s The Crucible. Workshopped and Edited by co-facilitators Regina Victor and Oliver Sava. Continue reading “Key Reviews: ‘The Crucible’”
Thomas and Sally at Marin Theatre Company opened October 3rd, preceded by a lot of controversy, and dredged up painful conversations about consent, slavery, and falsified history. The risqué marketing art (pictured above), was the initial catalyst for this conversation, with many noting Sally depicted with a wry smile in seemingly full makeup in contrast with Jefferson’s sober historical portrait. That, coupled with the controversial subject matter and playwright Thomas Bradshaw at the helm, caught the public’s eye. Continue reading “‘Thomas and Sally’ at Marin Theatre Company Questions Victims and Consent”
Ricardo Gamboa’s Meet Juan(ito) Doe at Free Street Theater, co-directed by Gamboa and Ana Velazquez, is a success as one of the most innovative community engaged theatre pieces we will see this season. Gamboa received a Joyce award of $50,000 “to produce community-based programming, procure a performance space within the community, and provide equitable pay to the artists involved in the collaboration.”
In today’s world that is seemingly fraught with violence and carnivalesque politics, Sylvester: or the Wicked Uncle at Lifeline is a shockingly refreshing piece. It deals mainly in the language of love, and portrays it as a game, complete with a massive game board set reminiscent of Chutes and Ladders designed by Alan Donahue. Dorothy Milne, director of this production and Artistic Director at Lifeline, delivers a show that ultimately delights the heart. Continue reading “‘Sylvester: or the Wicked Uncle’ is a Romantic Delight”
In a gallery at The Metropolitan Museum of Art Henry (Francis Guinan) guards Rembrandt’s Aristotle Contemplating a Bust of Homer. If it really depicts Aristotle at all. Henry is partial to the argument Rembrandt may have substituted the Greek painter Apelles in the philosopher’s place as an affront to the wealthy Italian who commissioned it. Were artists the true philosophers in Rembrandt’s opinion? For Henry, a scholarly man who has spent his life studying paintings and loving a poet, this seems about right. So begins Jessica Dickey’s funny and touching play, The Rembrandt, now enjoying its Chicago premiere at Steppenwolf Theatre in an elegantly designed production directed by Hallie Gordon.
If you’ve studied the American Theater, chances are you’ve heard of Arthur Miller, the King of Kitchen Sink Realism. Trust me when I say, Ivo Van Hove’s A View From The Bridge is not your mother’s Arthur Miller. There isn’t a sink in sight. In fact all unnecessary props, down to certain actor’s shoes, have been eliminated. This actor-driven production features a square set with dark-colored benches and a white floor, designed by Jan Versweyveld. Audience sits on either side of the stage, meaning the actors are playing to a house that’s three-quarters in the round. It feels like a boxing ring with only one entrance and exit upstage, which adds to the feeling of being trapped in the space. Continue reading “The Consequences of Fake Allyship in ‘A View From the Bridge’”
(Featured image: Obsessive Eye Photography)
Walkabout Theater just finished a tour of their their newest devised piece, A Persephone Pageant. My children and I caught the recent Chicago performance on the grassy lawn behind The University of Chicago’s Reva and David Logan Center for the Arts. The family friendly pageant, co-directed by Jessica Thebus and Thom Pasculli, incorporates original text by Sarah Ruhl and Morgan McNaught and features choreography by Kristina Isabelle, music by Mark Messing and puppets by K.T. Sivak and Jackie Valdez. The play updates the Demeter myth imagining Persephone as Water and Hades as Greed, remaking the story into a contemporary parable about climate change. Continue reading “Walkabout Theater’s ‘A Persephone Pageant’ Reimagines the Demeter Myth as a Parable About Climate Change”
Muthaland at 16th Street Theater is a one woman show written and performed by the talented Minita Gandhi. It’s a showcase for her dexterity and ability to create and inhabit characters we love, and characters who make our skin crawl, as she goes on a journey to her parents homeland. In 16th Street’s bare black box theatre, there is only one practical light onstage, and the rest of the show travels on in the darkness with Minita herself. She walks down the staircase through the audience carrying her suitcases to the practical standing lamp on stage. Little did we know she was carrying the world of the play in her arms. Continue reading “Identity, Heritage, and Growing up in ‘Muthaland’”