The Catastrophist, written by Lauren M. Gunderson, is a filmed one-man play about the playwright’s husband Nathan (William DeMeritt). Gunderson’s non-fiction drama introduces us to this epidemiologist who has devoted his entire life to the study of pandemics, also known as the massive cultural event we’re all currently stuck inside. One might then expect The Catastrophist to be a play about science — but it ends up being a play about death, and grief, and how to live with the inherent unpredictability of the world even as you strive to predict it.
Sideshow Theatre Company is pleased to launch its 2021 season with a one-night-only benefit screening of its 2018 hit You For Me For You, written by Mia Chung and directed by Ensemble Member Elly Green*. The archival recording of this imaginative production will stream Sunday, February 28, 2021 at 7 pm CST via sideshowtheatre.org, as well as the company’s YouTube and Twitch channels. Tickets (pay-what-you-can) are currently available at sideshowtheatre.org.
Sideshow is also partnering with Paramount Catering to offer meal add-ons the night of the benefit. Prices start at $40, including delivery for one person, and meals can be donated to those in need starting at $30. Vegetarian and meat options are available. Sideshow will be providing its own donation of free meals to those in need through Farm, Food, Famlias during the month of March, and the meals patrons donate will be added to this number. Continue reading “Sideshow Theatre Presents ‘You For Me For You,’ Mutual-Aid Food Drive”
Sideshow Theatre Company just announced its 2021 Season, featuring an all-virtual line-up of entertainment. This announcement comes only weeks after the announcement of their new company members. The season kicks-off this month with a one-night-only benefit screening of Sideshow’s 2018 hit You For Me For You, written by Mia Chung and directed by Ensemble Member Elly Green. This summer, Sideshow presents a reading of Preston’s Choi’s new play Drive-In at the End of the World, directed by Associate Artistic Director Justin J. Sacramone and created through “The Freshness Initiative,” Sideshow’s new play development program. Throughout the year audiences can also enjoy the Sideshow House Party Series, five virtual readings by some of the company’s favorite playwrights – each followed by an interactive celebration.
Sideshow Artistic Director Regina Victor states: “The Sideshow Ensemble is excited to have cultivated a season full of curiosity and delight to gather the community in these tough times. Looking at the plays we’ve chosen to present, each one in their own way asks the question: Who am I, and who decides that, really? Power dynamics play out across race, class and gender in unconventional ways across our season, and there’s even quite a bit of magic sprinkled in. I’m so grateful, in this moment of leadership transition and COVID-19, to be able to continue to build upon Sideshow’s legacy of presenting and developing some of Chicago’s most memorable and exciting plays. I really have the ensemble’s artistic determination, and the dedication of my Executive Director and board to thank for that.” Continue reading “Sideshow Theatre Company Announces 2021 New Play Digital Season, Including a House Party Series of Fresh Plays”
Sideshow Theatre Company is welcoming eleven new company members, six ensemble members and five artistic associates, respectively.
Ensemble members include Wardell Julius Clark, Greg Geffrard, Arti Ishak, Krystal Ortiz, Gabrielle Randle-Bent and Netta Walker. Artistic Associates include Patrick Agada, J. Nicole Brooks, Brynne Frauenhoffer, Jyreika Guest and Sarah Price.
These new additions to the company are predominantly BIPOC artists. This influx of representation marks a fresh and necessary wave of diversification in theatre. Continue reading “Sideshow Theatre Company Explodes with BIPOC Representation”
“Sorry it’s so late, it’s the only time I could” the son mumbles to his father, on a call at the top of the play. My heart panged and the guilt bubbled up as I counted the days (weeks?) since I last spoke to my mom in a way that didn’t involve emojis, feeling the tension between my words “I can’t find time” and my fear of their hidden meaning “I can’t find time for you”. In This is Who I Am by Amir Nizar Zuabi, we experience a late night zoom call between an estranged father and son as they struggle to perfect a mother’s recipe from memory. At the same time, they struggle to see and be seen by each other, each hoping for a connection that feels just out of reach. Continue reading “This Is Who I Am Transcends Politics and Makes the Palestinian Identity Personal”
Your Life Does Not Have To Be A Crisis
I find it exceptionally hard to look backwards at this time of year, I enjoy designing what could be, much more than living in what was. This is why sharing my visions for the future with you all is a yearly privilege that brings me so much joy. Dreaming, visualizing, creating opportunity for change like this has only in recent years been met with this kind of love, attention, and intention. It gives me great hope for our future.
Speaking with this kind of optimism, being struck with this kind of inspiration, after our year of crisis feels strange. Hope is a word that doesn’t sit in our mouths the way that it used to, it no longer slides off the tongue as easily as it did more than a decade ago. Living in crisis and neglecting hope is a critical error on our part. To lose hope is to lose opportunity. Opportunity to co-create something different. Even if that something different is just experiencing what you are doing — differently. Continue reading “Letter from the Editor: Visions for 2021”
Manuel Cinema, a studio known for its combination of shadow puppetry, cinematic techniques, and innovative sound and music design, presents its adaptation of A Christmas Carol that artfully melds the iconic story of Ebenezer Scrooge with the contemporary situation of COVID-19. Dropping the English accents, this crisp-and-swift 60-minute adaptation succeeds in feeling both relevant and refreshing while staying faithful to the essence of the well-known story. To do this, the story introduces us to Aunt Trudy (N. LaQuis Harkin), a woman who has lost her husband to COVID-19 but decides to continue his storytelling holiday tradition of puppeting the story of A Christmas Carol.
Wally World, written by Issac Gómez and co-directed by Lili-Anne Brown, is a two act radio play produced by Steppenwolf Theatre. The show revolves around employees at the fictional superstore Wally World (akin to another actual large corporation with a similar name), who face the complicated tension and stress of having to work on Christmas Eve. While the store continues to be in complete chaos on the front end, things behind the scenes are just as bad if not worse as the store manager’s position of power is threatened and challenged throughout the hard workdays.
Wally World tries to give the realistic perspective of what it’s like for employees of a large company to be working over the holidays… least to say, it’s not ideal. If you’ve ever been forced to work retail during the holidays, this show is certain to bring memories flooding back. Beyond a reach for authenticity in what it’s like to work retail for a large corporation, this play seeks to ask poignant questions about capitalism, activism, harassment, white supremacy, and labor exhaustion. Wally World’s ideals are similar to other plays like Lynn Nottage’s Sweat or any similar “kitchen sink drama” that involves a variety of diverse characters who get chances to shine in beautifully written monologues about their internal struggles.
I sat in my living room with my candles burning, lights dim, and a warm sugary cup filled with flavored tea, as suggested by the production team, and intently listened to the Theatre In The Dark’s A Christmas Carol. In this 70 minute live audio play, I was whisked away into the inhospitable world of Ebenezer Scrooge, guided by only my imagination and a team of talented actors and audio engineers .
Western culture is obsessed with adapting different versions of A Christmas Carol throughout the years, whether through the means of big spectacle plays, large budget films, or even comic books. However, as I’ve grown I’ve found that with every passing year I somehow still love this tale for its striking relevancy even as the holidays and I become more estranged from one another — as I’ve grown older and more cynical, and as they’ve grown more commercialistic and vapid year by year. This A Christmas Carol stays true to the same classic holiday ghost story written by Charles Dickens that has lived on for hundreds of years. This production doesn’t try to change the words, reimagine, or re-adapt the original because it doesn’t need to. It only strips down the well-known story to create a complex radio play that feels like a thrilling tale told around a fire. Theatre In The Dark even encourages its audience to have virtual listening parties for the performance to allow communal connection with others.
We See You White American Theater has grown exponentially since we last covered this dynamic and controversial movement in June. Their Change.org petition has grown to over 100,000 signatures, and their Instagram has over 20,000 followers.
Who are they? Why are they anonymous? Look no further for an answer. #WeSeeYouWat has launched a new Medium page. They are using the platform to speak directly to the Black, Indigenous, and POC community, answering the questions we’ve been asking.
In a series entitled “12 Days of Watchmas,” they seem to be revealing both the structure of the organization as well as the experiences of people that are motivating the movement. According to the first post on the Medium page a new article will drop every day for twelve days.
“Think of it as an advent calendar for the people, written for us and by us. Published on our terms. There are MANY voices going into this effort that reflect the multidisciplinary, multigenerational movement we’ve built.” – We See You WAT.
Rescripted firmly believes in letting artists speak for themselves, and so below we have published the entirety of the first essay originally posted on Medium. You can also follow the movement on Twitter or Instagram.
The Anatomy of Anonymity
When we met, we didn’t know why we were meeting. We were various disgruntled BIPOC theatremakers, all fired up from the unrest in the nation. We saw the testimonies of our colleagues on Facebook and Twitter and Instagram. We were boiling over with discontent and we needed release. We didn’t all know each other. We weren’t being selective. It wasn’t a hot club to be a part of. It. Was. Random. When we signed onto an anonymous zoom, we had no idea who else would be on the line. We were gathered by circumstance, and began to have church over our collective fed-upness with the field-wide fuckery. Suddenly, we felt like we HAD to do something together, and allow it to be a catalyst for future action. This was how the original Dear White American Theatre letter was born.
We then all decided to call ten friends to get them to sign the letter if they felt inspired. And ultimately, we wanted to invite our entire field into the cause by creating the change.org petition. And they did. We are the mighty 101,000 and still going.
Since then, we’ve been bombarded with the questions — Who are you? Who is behind We See You? Why are you anonymous?
Then came the accusations: We are a shadow government. We are the BIPOC illuminati. We are cowards. Elitists. Exclusionists. Simply because we refuse to quench the thirst for exposing our rotating leadership. Well let us break down why…
We study history. We have activists among us who have lived through several eras of liberation movements. We have multiple generations of culture workers in our ranks. We know what happens when leaders are identified. They are pacified and movements are destroyed. We know what happened to the Civil Rights Movement. To Chicano Movements. To Black Liberation Movements. To Workers Rights Movements. Leaders have been assassinated. Our field is no different. There are multiple ways to assassinate theatremakers: stifle their voices, exploit their talents, mute their outrage, cancel their productions, bar them from auditions and crews, blacklist them. We are not having it.
Many of us have already suffered personal attacks, been hunted and cornered by White American Theatre leaders, been targeted by the press and threatened with losing our jobs in the middle of an economically stressed season in our industry. We will not allow each other to be silenced or intimidated. We have each others’ backs, and we have the backs of our entire field of anti-racism workers and bullshit-resisters. We are working to put impact and volume behind our colleagues who have stepped out individually to share their experiences of harm.
There were initial impulses among us to step out front and be the face of the cause. But how can any one of us be the face of so many? That’s some ol’ white supremacy nonsense and we are not going to copycat. In fact, ego and glory-seeking are the antithesis of progressive movement organizing. So we theatre makers made a joint decision to resist the desires for recognition and credit that often plagues our industry-wide culture. We decided to receive NO individual credit. We chose service over shine. We chose principles over personalities. We chose to stand together. And we will not be broken.
We know we don’t speak for everybody. That would be ridiculous. And some folks are perfectly fine speaking out for their own causes. Please feel free to keep ‘doing you’.
But if you are feeling expendable and exhausted, we have your backs. If you are working in the highest positions on Broadway, or if you are working in the smallest office in the regions; If you are a student frustrated with your program and feel like you have no allies and advocates, You Do. We are not superheroes or a shadow government. We are vulnerable theatremakers who have given our blood to this field at every level. We want to see it be better and more equitable for you and for all of us. We are your accomplices. And we need you to be ours. We need your amplifying, testifying and co-signing. We need your eyes, ears, and outrage. Not to hide behind you. Not to get in front of you and block you. But to soldier alongside you, in worker solidarity.
If you want to know who we are, look around. We are all over this field. We are its backbone. And we are not playing games. We will continue to push for it to be best, because it is what we all deserve.
Yours in Love and Action,