Skeleton Crew, the final play in Dominique Morisseau’s Detroit trilogy, just finished its run at Northlight Theatre, directed by Ron OJ Parson. The play is set during the economic crisis of 2008 in the breakroom of one of the last small autoparts plants standing. This is highly skilled work and the men and women who do it are proud, and proudly union. But their jobs and way of life are hanging by a thread. Faye (Jacqueline Williams) has had a thirty-nine year career doing every manner of job in the factory. She’s also union rep as well as unofficial matriarch. Faye mothers her two young coworkers, Dez (Bernard Gilbert) and Shanita (AnJi White) with a mix of deadpan humor and straight talk. Their unit manager, Reggie (Kelvin Roston Jr.) is torn between trying to save his worker’s jobs and trying to prepare them for the inevitable. When factories are closing unions have little leverage and Faye’s lifelong relationship with Reggie complicates her ability to be the best union rep she can as things get more and more desperate. Continue reading “‘Skeleton Crew’ Revisits the Financial Crisis on a Factory Floor”
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”
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.
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.
I loved this show. To be absolutely honest I am not sure if I can provide a measured and calculated analysis of the strengths and weaknesses of Firebrand’s debut musical because the only thing that really comes to mind is that totally rocked. Continue reading “‘Lizzie’ Rocks Out at Firebrand: Key Reviews”
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”
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 second round of reviews on The Heavens Are Hung in Black at Shattered Globe Theatre, which closed Oct. 21st, and Two Mile Hollow at First Floor Theater which closed Nov 4th. Workshopped and Edited by co-facilitators Regina Victor and Oliver Sava.
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’”