Lifeline Theatre’s musical adaptation of Jon Klassen’s children’s book, We Found a Hat, shows a friendship put to the test. The play, adapted by Jessica Wright Buha and directed by Manny Tamayo follows two turtles, Sizi (Amanda Roeder) and Kai (Terry Bell), on a journey from their summer habitat to their winter burrow. To get there they must traverse a perilous desert. A meddling Cactus (Scott Sawa) makes a bet with the optimistic Sun (Gabriella Fernandez) that he can drive a wedge between these close friends. The setup has echoes of the devil betting God he can throw Job off his goodness game. The turtles unwittingly fall victim to this mean-spirited social experiment designed for The Cactus’s entertainment. The Cactus, personified as a menacing cowboy with a southern drawl and an excessively large hat, takes off said hat and leaves it in the path of the turtles, jumpstarting the conflict of the play. Continue reading “‘We Found a Hat’ Takes the Wisdom of Sharing to the Preschool Crowd”
Get to know Lonnae Hickman, a recent Alumni of The Key Young Critics Mentorship Program! Each writer wrote a multimedia review about a piece of pop culture currently capturing their imagination that you can read at the end of Lonnae’s profile. We’d like to thank Angelica Jade Bastien at Vulture for sharing her insights on media reviewing with us. Check out more of Lonnae and her cohort’s writing in our Key Reviews section!
Name: Lonnae Hickman
City/State: Originally from Milwaukee, WI, but now in Chicago, IL
Racial / Ethnic Identity: Black/Native American
Gender Identity and Sexual Orientation: Cis Queer Woman
Why do you want to write for Rescripted?:
I want to write for Rescripted because I’m dedicated to reviewing all types of theatre, not just the ones in the loop. Rescripted’s mission is working on giving honest and appropriate reviews for shows that are normally left out – shows that I believe are fundamental to Chicago and the theatre world. Continue reading “Meet The Keys – Lonnae Hickman”
The Revolutionists by Lauren Gunderson directed by Denise Yvette Serna is a necessary reflection on the role of femmes creating potent social change. In 2016, Donald J. Trump was elected President , becoming one of the most powerful men in the world. Of those who voted, 53% of white women backed Donald J. Trump over Hillary Clinton, preferring to advance a conservative agenda despite Trump’s well-documented history of violence against women, lack of political experience, and overall vile behavior. Since the election, many have been trying to dissect and understand just what happened in the 2016 election. The most effective analyses point a finger at the insidious nature of white supremacy, capitalism, and patriarchy as they manifest in the American oligarchic democratic experiment. Within this context, The Revolutionists play deftly points at the ways in which #whitefeminism continues to miss the mark, and it offers all femmes a hefty dose of hope and encouragement to continue fighting systems of oppression. Continue reading “‘The Revolutionists’ is A Rush of Hope for Femmes Who Fight”
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”
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’”