Victory Gardens Theater and Teatro Vista’s co-production of Fade, by Tanya Saracho, directed by Sandra Marquez is a compelling journey through class, race, and ambition. Marquez’s finely tuned direction enriches Saracho’s nuanced approach to the heightened and complicated world of power that these characters navigate. Continue reading “‘Fade’ Explores A Poignant Friendship Where Race But Not Class Intersect”
Federico García Lorca’s rural tragedy Yerma, is a deeply poetic exploration of a country woman’s isolation in mid-1930s Spain, and offers a cutting and emotional critique of Spanish Catholic Orthodoxy while the specter of Franco’s fascism looms; Lorca would be assassinated by Franco’s fascist supporters two years after the premiere of Yerma in his home province of Granada. Theatre Y and Red Tape’s co-production of a new English translation, adapted by ensemble member Héctor Álvarez and directed by Max Truax, is a confusing and perhaps unsuccessful update on Lorca’s classic text. Continue reading “A New Translation of ‘Yerma’ Misses the Point”
Welcome to Jesus at American Theater Company is best described as a cross between “The Blind Side” and “Get Out”. I went to see it the day before Halloween and enjoyed quite a few jump scares. Will Davis’ direction is astounding as usual. When his directing style is at its peak, as I feel it is in this production, actors are comfortable enough to play and create within the seemingly choreographed production. As in a dance piece, Davis’ productions work well when you can sense the ensemble and they share an awareness of each other. Continue reading “Football and White Supremacy Take a Spooky Turn in ‘Welcome to Jesus’”
Author’s note: I attended two different “versions” of Taylor Mac’s A 24-Decade History of Popular Music at The Curran on Sunday September 24 and at Stanford’s Bing Concert Hall on Wednesday September 27. This review compares the two audience experiences of “Chapter IV” and “Abridged Version” respectively.
What makes a piece of theatre a phenomenon? What turns it from instance to event? Driven by conscious and subconscious hope that their art goes the analog equivalent of viral, artists create art everyday from fine to pop, traditional to technological. Artistic organizations do this, as do artist teams. Most of it never becomes an event. Theatre that does may do so incidentally, and in cases like the Broadway productions of ANGELS IN AMERICA, RENT and HAMILTON, deliberately. Continue reading “Rhapsody in Blue Eyeliner: Taylor Mac’s ‘A 24-Decade History of Popular Music’”
The Key: Young Critics Mentorship Program brings students to various productions around Chicago, teaching them about arts criticism as they try their hand at writing reviews. The opinions of the students are their own; we workshop the pieces in seminar every other week, and then they edit their reviews before publication. This week we are sharing their first submissions on Steppenwolf Theatre Company’s The Crucible. Workshopped and Edited by co-facilitators Regina Victor and Oliver Sava. Continue reading “Key Reviews: ‘The Crucible’”
Ayad Akhtar’s The Invisible Hand opens with a disarming juxtaposition. Nick (Joel Reitsma), an American banker, is being held for ransom under grim conditions in a cell somewhere in Pakistan. Surveying the scene, we brace for the worst, but instead we are party to an unexpectedly friendly conversation between Nick and Dar (Anand Bhatt), the guard charged with watching him. Nick has been trading his professional expertise for better treatment. Moments later, Dar’s superior, Bashir (Owais Ahmed) bursts in abruptly upending the power dynamic, setting the tone for a play full of danger and disquieting reversals.
Continue reading “Money and the Power It Wields Guide the Riveting ‘Invisible Hand’”
Thomas and Sally at Marin Theatre Company opened October 3rd, preceded by a lot of controversy, and dredged up painful conversations about consent, slavery, and falsified history. The risqué marketing art (pictured above), was the initial catalyst for this conversation, with many noting Sally depicted with a wry smile in seemingly full makeup in contrast with Jefferson’s sober historical portrait. That, coupled with the controversial subject matter and playwright Thomas Bradshaw at the helm, caught the public’s eye. Continue reading “‘Thomas and Sally’ at Marin Theatre Company Questions Victims and Consent”
When does a truth become a lie?
That is the question posed by Steppenwolf for Young Adults’ 17/18 season, a question that we are invited to grapple with in Arthur Miller’s The Crucible, directed by Jonathan Berry. Brimming with talent, Steppenwolf’s production offers a heart-pounding and potent take on a familiar piece of theatre, whose themes comment sharply on many aspects of our current political climate.
Ricardo Gamboa’s Meet Juan(ito) Doe at Free Street Theater, co-directed by Gamboa and Ana Velazquez, is a success as one of the most innovative community engaged theatre pieces we will see this season. Gamboa received a Joyce award of $50,000 “to produce community-based programming, procure a performance space within the community, and provide equitable pay to the artists involved in the collaboration.”
In today’s world that is seemingly fraught with violence and carnivalesque politics, Sylvester: or the Wicked Uncle at Lifeline is a shockingly refreshing piece. It deals mainly in the language of love, and portrays it as a game, complete with a massive game board set reminiscent of Chutes and Ladders designed by Alan Donahue. Dorothy Milne, director of this production and Artistic Director at Lifeline, delivers a show that ultimately delights the heart. Continue reading “‘Sylvester: or the Wicked Uncle’ is a Romantic Delight”