Helmed by Director Kristina McCloskey and Associate Director Stephanie Mattos, Midsommer Flight’s Twelfth Night transforms the four lush showrooms of the Lincoln Park Conservatory into the land of Illyria, a world populated by guitar-strumming jesters, sword fighting pirates, foiled lovers, and capering drunks. This queer-af adaptation of one of Shakespeare’s most beloved comedies invites the audience to sing along to sea shanties, share asides with actors, and walk from room to room to explore as many as three simultaneously occurring plots.
A typical summary of Twelfth Night might go something like this: Viola, shipwrecked noblewoman, disguises herself as a man after being stranded in Illyria and separated from her identical twin Sebastian. However, the plot each audience member experiences will vary wildly depending on which of the simultaneously occurring scenes they end up watching. As director McCloskey says, “Audiences can enjoy the wide range of experiences as the characters would live them, meaning they will only have the perspectives of the characters they are following. Plots, secrets, and surprises will run amok — until the final scene when all is revealed and resolved.” I, for one, spent most of my time following the booze-soaked revels of side-character Sir Toby Belch (Grant Brown) and his clueless sidekick Sir Andrew Aguecheek (Lexy Hope Weixel).
Continue reading “Midsommer Flight’s Unabashedly Queer, Choose-Your-Own-Adventure Twelfth Night is a Delightful Feat of Whimsy”
Directed by Kathy Scambiatterra, the Artistic Home’s production of Sarah Ruhl’s Eurydice marks the end of the actor-centered company’s pandemic hiatus. Ruhl’s script breaks from most tellings of the classic Greek myth of Orpheus by adopting the perspective of Eurydice as it explores themes of grief, memory, and eternity. While the Artistic Home’s production captures the visual wonder and lyricism of Ruhl’s script, some elements of the production rob Euryidce’s choices of their stakes, making the show feel more like a string of impressionistic vignettes than a climactic narrative driven by an empowered heroine.
On the night of her wedding, Eurydice falls to her untimely death. As her husband Orpheus desperately searches for a way to resurrect his bride, in the Underworld, Eurydice reunites with her late father and struggles to piece together the details of her life. Karla Corona plays Eurydice with an exuberance that could read as childlike were it not tempered by her frankness, and the probing, inquisitive gaze of an old-soul. Corona’s Eurydice finds her perfect match in Javier Carmona’s Father, a tender and slow-spoken man full of understated humor. The two have remarkable stage chemistry: Corona’s Eurydice always full of questions or candid observations and Carmona’s Father ready to listen attentively and weigh in with a thoughtful opinion. Enhanced by Scambiatterra’s directorial choice to emphasize moments of humor and joy, the tenderness and delight in the scenes between the father and the daughter make for some of the most moving moments of the play.
Continue reading “The Artistic Home’s production of Ruhl’s Eurydice embraces the poetic stasis of limbo, for better and for worse”
Originally postponed from May 2020, Lavina Jadhwani’s The Sitayana (Or, How to Make an Exit) is a captivating retelling of the Ramayana which breaks from the original Sanskrit epic by centering Princess Sita rather than her husband Prince Ram. Directed by Reena Dutt and Produced by the East West Players, EnActe Arts, and Hypokrit Productions, this one-woman show dares to be as joyful as it is probing, and to explore the question: can a loving partnership survive the demands and expectations of idealized womanhood?
At the beginning of the play, the teenage Princess Sita (played on alternate nights Nikita Chaudhry, Sheetal Gandhi, and Minita Gandhi) eagerly awaits the man who can string Shiva’s bow, the man whom the gods have deemed worthy to wed her. Her prayers are answered in the form of young Prince Ram, who whisks her away to his kingdom of Ayodhya, where he vows to Sita that he will forever stay by her side—not just as her husband, but as her friend. Sita’s idyllic life in Ayodhya is short lived. When Prince Ram is ousted from his kingdom, she remains true to her dharma and follows him into exile, where her loyalty and fortitude is put to test after test.
Continue reading “East West Players’ ‘The Sitayana’ views the world through the eyes of a deserving heroine”
For Chicago’s theatre community, the past year and a half has been marked by reckoning. As companies postponed shows and shuttered their doors, artists and theatre-goers alike were forced to mourn some of the most fundamental elements of live theatre: shared space, spontaneity, gathering. Now that live arts are beginning to return to Chicago, the question looms: how will theatre companies grow to incorporate the perspective gained over the past year?
Theatre Y’s YOU ARE HERE: The Emerald Camino Project has an ingenious answer: by making the lost experience of gathering the performance itself.
YOU ARE HERE: The Emerald Camino Project is a month-long series of ambulatory performances held across twelve neighborhoods connected by Chicago’s Emerald Necklace in the South and West Sides. The performance itself feels like a delightful cross between a walking tour, a chaperoned blind date, and an immersive art piece. Before setting out, each participant is paired with a stranger and a Theatre Y actor. The actor guides the two through the walk and facilitates conversation between the two. Led by actor Haman Cross III, the groups walk through the neighborhood, visiting landmarks, listening to presentations by community leaders, and enjoying performances by local artists (in North Lawndale, the performers were high-school-aged rapper Marcus Quinn Jackson and Willie Round, a.k.a. Prince Roc, a rapper and poet gifted with a resonant bass voice). Continue reading “Theatre Y’s ‘YOU ARE HERE: The Emerald Camino Project’ is a Radical Reimagination of What Live Theatre Can Be”
In early March, Emma Durbin was midway through writing her capstone project for her playwriting BFA at DePaul University. The workshop of Durbin’s landscape was to be the first time she had worked with a team of professionals on a script of her own. The self-titled “playwright, dramaturg, and amateur sports climber” had been developing landscape for over six-months: drafting proposals, consulting with mentors, researching rock climbing in early-1900’s Scotland — and, of course, writing, rereading, and revising. She was halfway through a full draft when DePaul announced that the university would be switching to remote learning in response to the COVID-19 pandemic. With the announcement, Durbin’s workshop was promptly canceled. Canceled and moved to Zoom.
Durbin’s landscape was one of many rehearsals, workshops, and performances that met their untimely end on account of the pandemic. Artists around the country, from community theatre hobbyists to BFA students to Tony-award-winning veterans, have been forced to find new ways to create live theater. More often than not, this has meant producing work over online platforms such as Zoom.
Continue reading “The Challenges and Surprises of Making Theatre on Zoom”
Labyrinth, Beth Steel’s blistering critique of corporate greed and American international relations, finds a fitting home for its U.S. Premiere with Broken Nose Theatre, a pay-what-you-can theatre company founded on the principle of economic accessibility. It is hard to say exactly what Labyrinth is—and not in a pejorative way. Loosely following events surrounding the Latin American debt crisis, the script, which begins conventionally enough, accelerates, growing in absurdity and darkness until it devolves into what resembles the fever dream of an over-exhausted worker. This production asks audiences to consider the human cost of economic tinkering, the hegemonic power of the American financial system, the difference between a scam and a hedged investment, and the divide between the so called first and third worlds. Under the skillful and energetic direction of Spencer Davis, Broken Nose Theatre successfully brings this sweeping-yet-psychological, brooding-yet-punchy, absurdly-funny-yet-tragic story to life.
Continue reading “‘Labyrinth’ at Broken Nose Theatre is a Space-Bending Journey About Power and Finance”
It’s a new decade in Chicago and Ibsen is in the air.
Raven Theatre’s A Doll’s House is the first of three Ibsen plays opening within the next month. Strawdog’s stormy Hedda Gabler will follow shortly on Raven’s heels, and Court’s The Lady From the Sea will bring up the rear with the most ethereal of the Norwegian playwright’s femme-centric family dramas. It must be something in the water.
A long century and a half has passed since A Doll’s House first scandalized European audiences with the “door slam heard around the world.” However, Raven Theatre’s production still manages to feel relevant and timely. Although director Lauren Shouse retains the 19th century setting of Nora’s tale, Shouse re-envisions the meaning of Ibsen’s revolutionary, feminist masterwork for the audience of today. Although her reinterpretation does sacrifice some nuances of Ibsen’s play for the sake of its concept, it remains a promising example of how a classic can be reimagined for contemporary audiences.
Continue reading “‘A Doll’s House’ at Raven Theatre Reinvigorates a Timeless Classic”
Do You Feel Anger marries high absurdist comedy with a nuanced discussion of empathy and gender politics. The seemingly mind boggling combination enchants, making for an enjoyable yet haunting evening of comedy.
Shortly after her parents unexpectedly separate, Sofia (Emjoy Gavino) begins her assignment as an empathy coach at a debt collection agency. The office is headed by Jon (Lawrence Grimm), a smooth-talking exec who tries to sell Sofia on his nice guy facade. As she ignores calls from her mother (Jennifer Jelsema), Sofia attempts to wrap her head around the branch’s kooky culture and break the impenetrable wall of its three low-level employees: Jordan (Bernard Gilbert), a suave, self-proclaimed poet, Howie, who devolves into infantile antics when emotionally provoked, and Eva (Sadieh Rifai), a self-effacing chatterbox who is mugged daily in the kitchen—a fact that phases none of her coworkers. All three are haunted by the absence of Jenny, a worker who attempted to burn down the office in the throes of a nervous breakdown. Jenny’s cardigan still hangs on the back of one of the conference chairs. As Sofia comes to understand their workplace environment, the sweater grows in eerie prominence. Fearing for her safety, Sofia begins to assimilate.
Continue reading “‘Do You Feel Anger’ at A Red Orchid Theatre Uses Workplace Comedy to Ask Important Questions”