Stop Kiss by Diana Son is the story of two young women, Sara (Kylie Anderson) and Callie (Flavia Pallozzi), living in New York in the late nineties. Each scene in the play alternates between two timelines; half of the scenes depict Sara and Callie as they meet for the first time, develop a friendship, and then slowly realize that their friendship might be something much deeper, lovelier, and more serious than they initially thought. Other scenes depict a near future where Sara is attacked by a violent man after her and Callie’s first kiss, in an act of homophobic violence. Callie must deal with the various reactions of friends, family, police, and the news media, while still struggling with her evolving feelings for Sara.
Stop Kiss is a play about the dichotomy of being queer; its very structure is a contrast between discovering the joy and freedom of stepping away from societal norms, and the pain caused by an unjust society which punishes that discovery at every turn. Director Kanomé Jones has put together an ensemble that understands this dichotomy on a visceral level, with the result that this collaboration between Pride Films and Plays and Arc Theatre touched something deep within my little queer heart in a way that no show in recent memory has.
Dance Nation, written by Clare Barron and directed by Lee Sunday Evans, captures the sweet, strange and uncomfortable aspects of growing up in and surviving the world of competitive tween dance, as we follow the adventures of six young girls preparing for a national tournament. A finalist for the 2019 Pulitzer Prize, the play received its world premiere at Playwrights Horizons in 2018 and ran at the Almeida Theatre in London before coming to Steppenwolf for its regional premiere.
Armed with a multi-generational cast and a healthy dose of whimsy, this production succeeds in telling this story in a way that required the magic of a theatre. It invokes imagination, is anything but expected, and in this way subverts the classic coming of age story into something as weird, messy, and wonderful as actual puberty. The dances are less literal and more figurative, capturing each character’s essence. One that stood out in particular perfectly captures the importance of ‘dance face’, and puts it up front and center with the assistance of some impeccable tech. Transformative lighting by Heather Gilbert moves us seamlessly through time and space, guiding the audience along a non-linear plot. Sound design by Mikhail Fiksel perfectly underscores each dance, monologue, and transition; movement and sound feel intertwined into a well choreographed dance piece.
2019 was by no means an easy year, and yet so much progress was made in our artistic community both on and offstage. The Rightlynd Saga reached completion in the same year Lori Lightfoot was elected. Abuse was unearthed and community solutions provided, systemic changes are underway on many levels, as the energy of organizations like Not in Our House and ChiTac drive our individual work. As Editor for Rescripted, I laid out my Visions for 2020. This article is about looking back, and celebrating where we came from one last time. Below you will find the 10 Rescripted Recognized shows selected by our critics, and a new addition for this year – Rescripted Raves. There is too much great work in the city to limit it to ten shows, and there you will find the other projects that brought us joy or moved the conversation forward. Happy 2020!
Red Rex at Steep Theatre. Directed by Jonathan Berry, written by Ike Holter. “Ike Holter’s Red Rex takes a deep dive into the underbelly of making theatre in Chicago, and a brave ensemble of people at Steep Theatre rose to the challenge. The sixth play in the Rightlynd Saga directed by Jonathan Berry gets its name from the fictional theatre company at the center of the narrative, Red Rex Theatre Company. After almost a decade of relatively mediocre production, Red Rex has recently taken up residence in the abandoned former home of the Three Lord Gang – one of many easter eggs from the rest of the Rightlynd Universe (the RU, you know, like MCU).” – Regina Victor, Editor In ChiefContinue reading “Rescripted Recognized – 2019 Edition”
We live in an extremely complicated world, more complicated than any individual is really capable of comprehending. We are also in an age where we are forced to stare straight into the face of the many broken machinations of that world. And this, simply put, is exhausting. So in order to wake up and feel alive, to march down the hill and start pushing the boulder back up again, we need good art to motivate us.Continue reading “Why the Variety Show ‘Resilient’ Is a Monthly Must-See”
Tony Award winning play Oslo is a partially fictional account of the events between the Palestinian Liberation Organization (PLO) and Israeli officials leading up to the signing of the Oslo Accords in 1993, dramatized for the stage by J.T. Rogers. Currently receiving its Chicago premiere, it initially premiered Off-Broadway in June 2016 directed by Bartlett Sher at the Lincoln Center. The original cast then moved to Broadway to reprise their roles in April 2017 receiving awards and acclaim from New York Critics, Outer Critics, Drama Desk, Drama League, Lucille Lortel, Obie awards and other nominations along the way.
Timeline’s highly anticipated co-production of Oslo with Broadway in Chicago seems to fit perfectly with its mission to present stories inspired by history that connect with today’s social and political issues. As a production, it aimed to explore sociologist Terje Rod-Larsen’s theory that trusting in each others’ inherent humanity and building interpersonal human connection is the only basis for healthy debate, and potentially peacemaking. The lobby display as well as a program insert provided a historical guide to the Palestinian-Israeli conflict, while a huge column scribbled with sharpie responses asked audience members to participate in the conversation Timeline chose to center: “How do you resolve conflict?” Continue reading “‘Oslo’ at Timeline Theatre Muddles the Message of Peacemaking”
Content Warning: Sexual assault, Abuse, Sexual assault prevention
Members of The Chicago Theatre Community have created space this Saturday for the community to begin the process of healing in the wake of community member Joel Ewing’s arrest for sexual assault.
The space will be held at Victory Gardens’ upstairs Richard Christensen Theater, Saturday Sept 28th from 1-3pm at 2433 N Lincoln Ave.
In the organizers’ words: “This is not a panel or lecture, but an open conversation about how to support and heal our community and those affected. Experienced Sexual Assault Prevention Educators will be there to help guide the discussion if needed.”
The counselors are trained, and they are part of this resource and framework intended to empower and center community members who have been affected and are interested in beginning the healing journey, together.
Earlier this year The Chicago College of Performing Arts at Roosevelt University’s Associate Dean and Director of the Theatre Conservatory Sean Kelley was accused of repeatedly humiliating and sexually harassing his students. This was never reported, but as you can see from the cover photo of this article, students and faculty were quietly notified via e-mail that he was no longer employed at the university after months of outcry on social media.
Rescripted is thrilled to announce the third session of The Key: Young Critics Mentorship Program, September 25 – December 4 and hosted for the second year at Steppenwolf Theater, 1650 N. Halsted. Regina Victor, founder of the online arts journalism platform Rescripted, and entertainment critic Oliver Sava created the 10-week training program for Chicago youth in arts criticism. In league with TheChicago Inclusion Project, The Key has successfully held two sessions, educating young writers on the skills and industry knowledge needed to pursue careers in arts criticism. Alumni of The Key have written for outlets like Chicago Reader, Howlround, The Windy City Times, and Rescripted.
The Theatre Communications Group Conference took place on June 4-8th, and for the first time ever they included an arts journalism track. My conference journey began with co-facilitating a session with Brian Herrera of the Sol Project titled “What is a Theater Review(er) Good For? A Critical Look at the Role of Journalism in Theatre Today.” This session was a lab that took place before the official start of the conference, and was a three hour round table discussion. In addition to the obvious title question, we chose to investigate what our present relationship to reviewers was, and try to shape what it could be. This article is an attempt to summarize these rich and invigorating hours of conversation. Continue reading “TCG Conference Coverage 2019: What is a Review(er) Good For?”