“It’s the 20th century! We are all attracted to both sexes.” – Madje Asch, Indecent
Indecent begins with a set of instructions: In this play, actors play multiple roles. In this play, we sing and dance. In this play, we speak Yiddish. Sometimes, German. Sometimes, English. In this play, we are Jewish. We create, celebrate. Sometimes we fight. Some of us survive.
In this play there are lesbians who dance in the rain. Continue reading “A Love Letter to the Rain Scene in Paula Vogel’s Indecent”
This is a letter from Editor-In-Chief Regina Victor, about Rescripted’s approach to artist testimonials and community amplification, as well as ways to support and write with us. There were a couple of responses to our recently published piece that indicated a missing context regarding the history of how we’ve worked with our community. This piece clarifies some of Rescripted’s publishing practices and has information on how to pitch us. For our newer readers, this is an introduction to our work.
On Monday, June 12th, the following text was added to our four part series: “Common Traps for the Aspiring Artist: A Testimonial at Trap Door.”
*Rescripted has not independently verified the details in this testimonial. The opinions in this piece belong solely to the author.*
*We had thought this was evident from our initial editor’s note, but community feedback made it clear further clarification was needed. After some consultation, we have added this clause. Thank you for calling us in.
The accuracy in the language is very important, and we thank you for making us better at communicating our intent. Clarity is needed, because Rescripted will continue to post testimonials of this nature. Continue reading “Editor’s Note”
Lucy and Charlie have an instant attraction, as dangerous as it is romantic. Likening themselves to a modern-day Bonnie and Clyde, these two get hitched on a whim and head out on their honeymoon looking for trouble, only trouble ain’t that hard to find. Before too long, Lucy and Charlie find themselves on the run from the law and an international criminal organization. Featuring original country western and folk songs, Lucy and Charlie’s Honeymoon by Lookingglass Artistic Associate Matthew C. Yee, is a whirl-wind adventure about two First Generation Asian-American renegades.
Charlie (Matthew C. Yee) and Lucy (Aurora Adachi-Winter) are the embodiment of chaotic good. Their outlaw behavior is a reclamation of their identity, and a rejection of stereotypes. Charlie is a “cool cowboy” and Lucy is an unstoppable force. Together, they barrel across the Midwest headed toward Charlie’s family cabin, getting tangled up with a hilarious cast of characters along the way. Directed by Amanda Dehnert, Lucy and Charlie’s Honeymoon is a hilarious runaway train chock full of comedic partnerships. Continue reading “Lucy and Charlie’s Honeymoon is a New Take on the Classic (mid)Western”
In the sculpture garden at Porto’s Serralves Museu de Arte Contemporânea, there’s a work by Anish Kapoor, the creator of Cloud Gate. Sky Mirror, the sculpture at Serralves, is instantly identifiable to anyone who’s been to Millennium Park. It’s a large, concave mirror tilted toward the sky, reflecting a distortion of the sky that shifts as the viewer changes their perspective.
Nebula, a solo dance choreographed and performed by Vania Vaneau, made its Portuguese premiere at Serralves in April’s Festival Dias Da Dança (DDD), an international dance festival. A similar concave tool was used by Vaneau, though it was a lens instead of a mirror. Early in the piece, she held it in front of her face in an otherwise pitch-dark theatre, reflecting stage lights back into the audience but illuminating nothing. Thus began Vaneau’s exploration of the space and its environment, which also included incense, charcoal, water, and crystals. Above the stage, the ambient glow of an eclipsed moon, comprised of an empty ring of LED lights, barely penetrated the darkness. Continue reading “Flip the Script: Dancing Toward the Apocalypse in Porto”
This is a testimonial piece by Chicago Theatre Community member Robin Minkens, who had a multi-year experience with Trap Door Theatre, a local storefront theatre. This is a personal experience, from a single perspective. These pieces by their nature, and per our mission, are subjective by intention. *Rescripted has not independently verified the details in this testimonial. The opinions in this piece belong solely to the author.* This is not reporting, but community support. Our aim as always is to amplify those who do not have a platform, and to empower the experience of the artist.
Editor’s Note: Robin came to me through Facebook at the end of April because she had seen my own testimonials on social media. Robin had recorded her experience in a draft, and was wondering if her experience had merit, and if it would be beneficial to share it with others. At that time, she did not know that I was an editor, or of the existence of Rescripted. When I had read the entirety of her story, I was appalled. What captured me about Robin’s testimonial is that it is a story many of us have lived through. Emerging into a professional theatre scene with abundant hopes and dreams, only to encounter prejudice, maltreatment, and gaslighting. The commonalities in this piece are harrowing to me, because they require us to accept that the way we have been working is not ethical. The experiences we have endured are not acceptable. This piece is a death by a thousand paper cuts. I encourage you to read it to the end. This is Part One, and you can access Part Two by clicking this link.
October, 2021. At this time, Trap Door was to edit their website. They asked for pictures from projects and any reviews from shows that we would like to include on our profile for us to market ourselves. I was reluctant to submit my materials, considering everything I had experienced up to this point. However, I did eventually decide to submit them. I was so proud of what I had accomplished up to that point, even with the odds being stacked against me. I chose my favorite professional photos with reviews from the shows. I sent in my photos and reviews, and the only piece of my materials that made it to my profile on the website was my bio. I did not get a response to my email with my materials. Beata has yet to return from Poland, gone since 2019. This caused me to deeply inquire about communication practices at Trap Door. Continue reading “Part Four: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre”
Editor’s Note: Robin came to me through Facebook at the end of April because she had seen my own testimonials on social media. Robin had recorded her experience in a draft, and was wondering if her experience had merit, and if it would be beneficial to share it with others. At that time, she did not know that I was an editor, or of the existence of Rescripted. When I had read the entirety of her story, I was appalled. What captured me about Robin’s testimonial is that it is a story many of us have lived through. Emerging into a professional theatre scene with abundant hopes and dreams, only to encounter prejudice, maltreatment, and gaslighting. The commonalities in this piece are harrowing to me, because they require us to accept that the way we have been working is not ethical. The experiences we have endured are not acceptable. This piece is a death by a thousand paper cuts. I encourage you to read it to the end. This is Part Three. Click here to access Part Two, and Part One.
December 2020, comes for the first virtual rehearsal of Decomposed with everyone in the cast, and I see and learn that Nicole had cast a few individuals who had not, to my knowledge, ever worked at or auditioned with Trap Door. There was a group of five all working together at someone’s apartment that included Emily, David, Miguel, Maryam and Maryam’s boyfriend (who to my knowledge had never been in a play before). Matty Robinson, his girlfriend, Nicole, and Nicole’s now-fiancé, who was the music director, the same way he was for The White Plague, in their same apartment building. Then there was just myself filming at my apartment, and my main scene partner at her separate apartment.
I realized that I had seen Matty’s girlfriend on The Quarantine Files episode with Matty – the company Matty said he was not interested in working with. Again, I understand that perspectives may change when the future of a professional field is uncertain. I was surprised because when I initially saw his girlfriend’s name in the email that went out I had no idea who she was, or that they were together. I learned during rehearsal that she was brought in by Matty, and that they were in a relationship. Continue reading “Part Three: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre”
This is a testimonial piece by Chicago Theatre Community member Robin Minkens, who had a multi-year experience with Trap Door Theatre, a local storefront theatre. This is a personal experience, told from a single perspective. These pieces by their nature, and per our mission, are subjective by intention. *Rescripted has not independently verified the details in this testimonial. The opinions in this piece belong solely to the author. This is not reporting, but community support. Our aim as always is to amplify those who do not have a platform, and to empower the experience of the artist.
Editor’s Note: Robin came to me through Facebook at the end of April because she had seen my own testimonials on social media. Robin had recorded her experience in a draft, and was wondering if her experience had merit, and if it would be beneficial to share it with others. At that time, she did not know that I was an editor, or of the existence of Rescripted. When I had read the entirety of her story, I was appalled. What captured me about Robin’s testimonial is that it is a story many of us have lived through. Emerging into a professional theatre scene with abundant hopes and dreams, only to encounter prejudice, maltreatment, and gaslighting. The commonalities in this piece are harrowing to me, because they require us to accept that the way we have been working is not ethical. The experiences we have endured are not acceptable. This piece is a death by a thousand paper cuts. I encourage you to read it to the end. This is Part One, and you can access Part Two by clicking this link.
This post is to share my experience, from the point of view of a woman of color, born and raised on the south side of Chicago, working at Trap Door Theatre. I have had the privilege of working at a variety of theaters in the Chicagoland area since graduating in 2017. The extra layer of education that comes with applying what you have learned in college is very helpful, but there is no rehearsal for the real world and its surprises. This is an outline of blatant neglect and unprofessionalism, the story of how a theatre company played a game with my trauma and forged an alliance with the person who violated my boundaries. The telling of how a theater company could not have your best interest at heart if it gets in the way of their power, ability to control you, and their egos. These events have taken place over the course of three years.
I would hear about Trap Door rarely casting people of color, but I figured I had survived a predominantly white conservatory B.F.A theatre program, and a semester in Moscow, Russia. This would be an opportunity to grow in my artistry. After much contemplation, I learned that this is much bigger than myself. I was very hurt by these circumstances, but what about future aspiring artists moving to Chicago, possibly fresh out of their collegiate career?
I have been taught to journal my entire life, and after reflecting on my journal entries regarding Trap Door I realized something was very wrong. There has been a theme that Black women are strong and do not experience the same level of pain and trauma as other ethnicities- this is a common misconception black women face in most institutions. This is a warning to people of color, for what I am about to tell you can happen anywhere.
From my experience, I learned that this company abused their power and my emotional tolerances. My dream with Trap Door turned out to be a nightmare, where I learned what I was willing to tolerate for my artistic passions. I have experienced deliberate gaslighting, assault, sabotage from my peers and leadership, accompanied by poor communication and malicious gossip. Continue reading “Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre”
This is a testimonial piece by Chicago Theatre Community member Robin Minkens, who had a multi-year experience with Trap Door Theatre, a local storefront theatre. This is a personal experience, told from a single perspective. These pieces by their nature, and per our mission, are subjective by intention. *Rescripted has not independently verified the details in this testimonial. The opinions in this piece belong solely to the author.* This is not reporting, but community support. Our aim as always is to amplify those who do not have a platform, and to empower the experience of the artist.
Editor’s Note: Robin came to me through Facebook at the end of April because she had seen my own testimonials on social media. Robin had recorded her experience in a draft, and was wondering if her experience had merit, and if it would be beneficial to share it with others. At that time, she did not know that I was an editor, or of the existence of Rescripted. When I had read the entirety of her story, I was appalled. What captured me about Robin’s testimonial is that it is a story many of us have lived through. Emerging into a professional theatre scene with abundant hopes and dreams, only to encounter prejudice, maltreatment, and gaslighting. The commonalities in this piece are harrowing to me, because they require us to accept that the way we have been working is not ethical. The experiences we have endured are not acceptable. This piece is a death by a thousand paper cuts. I encourage you to read it to the end. This is Part Two, and you can access Part One by clicking this link.
I was cast in a virtual show at Trap Door in the summer of 2020, titled Alas. It was directed by Company Manager of Trap Door, Michael Mejia. That show went fine to my knowledge. I was excited because I had free range to choose my own costume, hair, and make up. The actors were given the dimensions, and angles, to work with to position our cameras. The look I sent in received final approval from Michael Mejia.
This is a photo of the makeup design I chose:
I received direct positive feedback from Nicole and Michael on the look that was seen by the entire company and whomever tuned in to view the project.
We shot everything ourselves. The images and videos were taken in my home with my cell phone and tripod stand I purchased that summer, and sent to the director for them to edit and compile as they wished. Very fun to work on because we were in the thick of a pandemic, not knowing what the future would hold. I explain this because Michael Mejia would later go on to give unsolicited advice in 2022, stating that “You do not know who you are artistically.” I replied “Really?” They responded, “Not that I have seen at Trap Door, let me know if you have any questions.” By this time, I had worked with Michael on The White Plague, they had cast me in Alas, and during the time of their advice, we were working on The Little Mermaid Immersive Cocktail Experience.
The Artistic Director, Beata Pilch, left for Poland around this time in 2020. Continue reading “Part Two: Common Traps for the Aspiring Artist, A Testimonial at Trap Door Theatre”
A soaring, mostly true story told by Qui Nguyen, Poor Yella Rednecks at A.C.T.’s Strand Theatre is the celebrated sequel to Nguyen’s hit, Vietgone. The playwright enters the stage and introduces himself as the narrator of his parents’ complex and turbulent love story, following their departure from Vietnam. Actor Jomar Tagatac tackles the portrayal of the playwright with finesse and style. The man is smooth.
In an interview with the playwright’s mother that opens the show, she demands a few things in exchange for her narrative. At the top of her list is a desire to talk like Qui, who is infamous for his linguistic ability to weave philosophical truths into streams of expletives. Or as the script declares, he has an infamous potty mouth. What emerges is delightful language play. The mother’s second request is that the white Americans, played by the Asian actors in the cast, speak in disjointed rejoinders the way that they would be heard by someone who doesn’t speak English. Meanwhile, the Vietnamese immigrants have a strong grasp not just on English but its wide potential of human expression, curse words and all.
Continue reading “Flip the Script: ‘Poor Yella Rednecks’ at A.C.T.”
The first part of the ritual was the coat. Black, regal, with safety pins up and down the lapels that made me feel like I was one of Shakespeare’s youths bursting at the seams with ambition. My outfit was freshly plucked off of the costume rack next to the Bookspan, like my fellow audience members. Leathers, vests, and even a sequined battle helmet complete with a blonde braid peppered the crowd. It was costume designer Uriel Gomez’s way of inviting the audience into the world of lush fabrics and textures that make up much of the world of Gender Play, or what you Will.
The second part of the ritual was the tarot card. From the twenty-two cards that comprise the Major Arcana spread across the table in the dark hall, I first selected Strength, feeling the edges of the sturdy paper in my hand. I then eyed The Hanged Woman, suspended before a state of transformation – Death. I had drawn both cards just hours before. I took them both into the theatre. Continue reading “A Triumph of Will in ‘Gender Play’ at About Face Theatre”
