Artist Profile: Regina Victor

Regina Victor

City/State: Chicago, IL

Age: N*Sync Fan, Post-1990

Racial / Ethnic Identity: Black/Native/Irish

Gender Identity and Sexual Orientation: Not Cis and Very Queer

Why do you want to write for Rescripted? I want to write for Rescripted to show people that our opinions as artists do matter, and that we have the ability to contextualize productions in the canon of greater American theatre because that’s what we’re immersed in everyday.

What are your artistic disciplines? Director, Producer, Dramaturge, Performer, Writer

What “lenses” do you bring with you when you go to a show? Queer, Black, Native, Activist, Musician, Director

Who is your favorite theatre artist and why? Daniel Alexander Jones, his use of Theatrical Jazz aesthetic is eternally inspiring to me, every time I return to study it it becomes more fruitful. He incorporates other artistic disciplines into his directing as well: when we worked together installation artist Kimberlee Koym-Murteira did the Romare Bearden-inspired set design.

Website: www.reginavictor.com

Affiliations: Ensemble Member at Sideshow Theatre Company, Associate at Steppenwolf Theatre Company.

‘Small World’ Delivers a Sidesplitting End of Days at The New Colony – 04/05/2019

‘For Colored Girls’ at Court Theatre Leads us to the end of our own Rainbows – 03/28/2019

Dear White Critics: I ‘Doubt’ You Meant to be Ableist… – 03/22/2019

Fire and Brimstone Outweigh ‘Doubt’ in Gift Theatre Production – 03/22/2019

‘Red Rex’ is the Clapback Chicago Theatre Never Knew it Needed – 01/25/2019

‘Dada Woof Papa Hot,’ a Family Drama at About Face Theatre – 01/24/2019

The Scope of Blackness in ‘This Bitter Earth’ – 11/14/2018

How I Missed The Jeff Awards, or, The Misrepresentation of the Chicago Theatre Community – 10/29/2018

‘Tangles and Plaques’ Demystifies Dementia – 9/19/18

‘No Child’ Sparks a Conversation on Educational Injustice – 9/13/18

Rescripted Reveal: Arts Writer Emma Couling Will F*ck You Up – 8/20/18

Dear White Critics: Stop Being Transphobic! – 7/27/18

Isaac Gomez’s ‘The Displaced’: A Gentrification Horror Story – 6/28/18

‘Father Comes Home From the Wars’ and an Absent Freedom – 6/19/18

Nostalgia Consumes in Fiery ‘Buried Child’ – 5/24/18

Dear White Critics: Please Stop Using the N-Word – 3/28/18

‘We’re Gonna Be Okay’ Makes Sense of Crisis – 2/2/18

Football and White Supremacy Take a Spooky Turn in ‘Welcome to Jesus’ – 11/9/17

Fists Up: An Interview with Fight Choreographer & Actor Almanya Narula – 12/4/17

‘Thomas and Sally’ at Marin Theatre Company Questions Victims and Consent – 10/20/17

The Consequences of Fake Allyship in ‘A View From the Bridge’ – 9/22/17

Identity, Heritage, and Growing Up in ‘Muthaland’ – 9/15/17

Black Lives, Black Words Centers Black Women  8/9/17

About Face Youth Theatre’s ‘Brave Like Them’: Explosive, Feminist, and Unapologetically Queer –  8/2/17

“Remembering Romance Under The Setting Sun in ‘The Glass Menagerie'” – 7/19/17

Love and Talent Burn Fiercely in ‘Bright Half Life’ – 6/8/17

‘We’re Gonna Die’  at Haven Theatre Electrifies Audiences – 6/1/17