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”
On the surface, Lifeline Theatre’s comedic, musical adaptation of Bunnicula is a fun family event that will have adults and young folks chuckling at animated characters and fun choreography the entire time. On a deeper level, Bunnicula is the story of a family that punishes and pathologizes one of its own members because they do not understand him. Continue reading “‘Bunnicula’ at Lifeline Theatre”
This Bitter Earth by Harrison David Rivers and directed by Mihkail Burke is currently running at About Face Theatre. This two person show follows an interracial gay couple through the most agonizing police violence events of our time. It is a treat to witness the gifted Sheldon Brown return to the stage again after an impressive turn in the Shipment. Especially in a role that is all about taking risks and attempting to live life to the fullest. Continue reading “The Scope of Blackness in ‘This Bitter Earth’”
These are the third 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 Crumbs from the Table of Joy at Raven Theatre below! Continue reading “Key Reviews: Revolution in ‘Crumbs From the Table of Joy’”
The production of Gypsy by Porchlight at the Ruth Page Center for the Arts, represents the very best of musical theatre. Most older musicals rarely stand the test of time in terms of content, their stories often saddled with the most cringeworthy stereotypes and one-dimensional female characters. In contrast, Gypsy, originally written in 1957, may have been is ahead-of-its time. Inspired by a true story about an ex-stripper turned stage-mom, it still pushes boundaries even in 2018. Pair that with a sophisticated book and lyrics by powerhouse duo Sondheim and Laurents, and a megawatt star like E. Faye Butler, and you’ve got yourself one hell of a show. Continue reading “E. Faye Butler Shines in a Megawatt ‘Gypsy’”
This review was penned by one of our current writers in The Key: Young Critics Mentorship Program. They are able to sign up for additional shows to grow their criticism portfolio with us. Read The Key Reviews from Fall 2018 here.
Upon reading the synopsis, many would wonder if Fun Harmless Warmachine is the play we need right now. It’s the tale of the supposed “nice guy,” a gamer working a job he hates in a world where the words of women leave him baffled and angry. With this formula in mind, it is not too hard to believe Tom gets sucked into a toxic online community, known as the Order of the Sword, which first functions as a digital place of refuge, a place to confide in like-minded gamers. This story is based on #Gamergate, a notable controversy you should look up before the show—though the program offers a list of videogame definitions to fill in some of the blanks. Continue reading “Male Fragility Fuels The Explosive ‘Fun Harmless Warmachine’”
Did you know the Jeff Awards were last Monday? If so, you’re already doing better than me. When I returned from working on Pipeline at Indiana Repertory Theatre, I said to a few friends I was planning on going to the Jeffs, which I thought was next Monday (today). I then had a quiet night in my home, scrolling through Facebook, reading scripts and hanging out with my cat, when my friend came over. “Hey!” She said, wine and cheese in hand – how any good friend should arrive at your door – “My boyfriend is at the Jeffs so he won’t be home for a while!” At this point, imagine me, going to the sunken place à la Daniel Kaluuya in Get Out. Continue reading “How I Missed The Jeff Awards, or, The Misrepresentation of the Chicago Theatre Community”
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”
Review by Hannah Herrera Greenspan
Spanish Translation by Claudia Quesada
Power. Ambition. Corruption. Blood. Pain. In the round. Español. A live chicken. Need I say more?
I had the absolute delight to witness a brilliant adaptation of Macbeth, conceived by Juan Carrillo and Antonio Zúñiga, directed by Carrillo, of Los Colochos Teatro. This six-year old theatre company based in Mexico City, is committed to, “…a quality, critical, and national theater.” Los Colochos Teatro genuinely values the exchange of thoughts about the work. After the performance, Juan Carrillo asked audience members to share our thoughts with the company, good, bad, over social media, or face to face. Quite different from American theatre-where we leave the conversation to the discretion of the critic. Los Colochos wants to start a conversation with its audience members. How refreshing is that? Continue reading “Mendoza – No se Olvide (We Will Not Forget)”