Chicago Financial Aid Resources for Artists During COVID-19

“Mutual aid projects are a form of political participation in which people take responsibility for caring for one another and changing political conditions, not just through symbolic acts or putting pressure on their representatives in government, but by actually building new social relations that are more survivable.” 

This quote comes from the Big Door Brigade, a multi-regional collective inspired by scholar/lawyer/organizer Dean Spade’s uplifting of mutual aid “as a strategy for survival and mobilization.” 

In the wake of CDC recommendation to halt public gatherings of 50 people or more, theatre has been especially affected. Broadway has closed down, as have many theatres in Chicago. Google docs and GoFundMe’s are ripping across our social media feeds as part of an endeavor to lift up and provide support to those who need it. (Local Chicago journalist Kris Vire is keeping us up to date on arts cancellations, and it is staggering.) Writing from the perspective of an artist and graduate student, I’ve seen and felt the economic and emotional impact of the collapse of jobs and social support systems. We are witnessing how the intersection of human rights and our government interests continue to butt against each other — when they don’t have to.  Continue reading “Chicago Financial Aid Resources for Artists During COVID-19”

Ownership vs. Authorship: The Responsibility of the Storyteller in ‘Kiss’

Damascus 2014. 

What images come to mind? This city and year may feel distant to an American audience, especially one quietly observing the opening moments of Haven’s production of Kiss at The Den. Whatever your mind conjured about Damascus, you’ll soon forget this context or question it. Written by Guillermo Calderón, the play follows two couples attempting to hang out with their weekend soaps. But their lives quickly descend into a soap opera of their own. And we watch, amused by the apparent drama and familiar music underscoring moments of cliché passion and momentary rejection (sound design and original music Jeffrey Levin).  Continue reading “Ownership vs. Authorship: The Responsibility of the Storyteller in ‘Kiss’”

Inside Look – Free Street Youth Ensemble’s “Parched: Stories of Water, Pollution and Theft”

When did water become a privilege? This is one of the questions up for interrogation in Parched: Stories of Water, Pollution, and Theft, devised by Free Street’s HQ Youth Ensemble. For this nearly 50-year-old, historic theatre company, putting Chicago on stage rightfully includes youth—and they don’t come to play. Continue reading “Inside Look – Free Street Youth Ensemble’s “Parched: Stories of Water, Pollution and Theft””

The Audience Wins at the Goodman’s ‘Lottery Day’

“Everybody, anybody.” At first an unassuming call and response, the tonality morphs from raucous fun to crickets. We the audience are both the winners and the losers in Ike Holter’s new play Lottery Day at the Goodman Theatre. Under the exquisite direction of Lili-Anne Brown, the characters come to life and we want to join them. As the final chapter in his 7-play cycle, Holter doesn’t let us off easy—and rightly so when faced with our realities of gentrification, police brutality, political corruption, and trauma. Continue reading “The Audience Wins at the Goodman’s ‘Lottery Day’”

‘Mike Pence Sex Dream’ Takes Morality for a Wild Ride

Mike Pence Sex Dream by Dan Giles at First Floor Theatre, directed by Hutch Pimentel, is a sometimes ruckus sometimes sobering depiction of the weight of capitalism and cancel culture in the face of animal cruelty and neoliberalism. A mouthful right? And yet, it’s shaping up to be one of the hottest, realest show of the season. Continue reading “‘Mike Pence Sex Dream’ Takes Morality for a Wild Ride”

The Gospel Truth in ‘The Total Bent’

Haven Theatre and About Face Theatre partnered on The Total Bent, producing a  stellar production depicting a strained relationship between a Black father and son clashing on modes of survival and music. Directed by the stellar Lili-Anne Brown and written by frequent Tony Award winning collaborators Stew and Heidi Rodewald, this immersive musical is an expressionistic homage to Black bodies, the LGBTQ community, and freedom. Continue reading “The Gospel Truth in ‘The Total Bent’”

‘Cardboard Piano’ A Romance That Reckons With Historical Pain

In Hansol Jung’s Cardboard Piano, produced by Timeline Theatre and directed by Mechelle Moe, we find ourselves trapped in a church without a redeemer. Two teen girls, one the daughter of an American missionary, the other a Ugandan, exchange vows by cande light on the eve of the millennium. Chris (Kearstyn Keller) is the typical preacher’s kid, stubborn and questioning of her identity in relation to her father’s, a bit naïve with the heart of a runaway. Adiel (Adia Alli) a young Ugandan girl is a persuasive quick thinker, harboring compassion and calm, all necessary traits for a young girl surviving in a war-torn country.  Together, their chemistry and love are infectious, but this proves dangerous in a country collapsed by colonialism, mind and body. In Uganda, homosexuality is not only a sin, but illegal. Continue reading “‘Cardboard Piano’ A Romance That Reckons With Historical Pain”

A Captivating Everyman and His Harms: ‘I Call My Brothers’ at Interrobang

How would you feel if you lived every day of your life as someone who fits the media description of a terrorist? What would this do to your mental health? In playwright Jonas Hassen Khemiri’s Chicago premiere of I Call My Brothers at Interrobang Theatre Project, we witness a 24 hour reality that is all too familiar to people of color. Under the direction of Abhi Shrestha, this play aims to amplify the experience of brown folks demonized and policed based on their appearance. Continue reading “A Captivating Everyman and His Harms: ‘I Call My Brothers’ at Interrobang”

Male Fragility Fuels The Explosive ‘Fun Harmless Warmachine’

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’”