In a gallery at The Metropolitan Museum of Art Henry (Francis Guinan) guards Rembrandt’s Aristotle Contemplating a Bust of Homer. If it really depicts Aristotle at all. Henry is partial to the argument Rembrandt may have substituted the Greek painter Apelles in the philosopher’s place as an affront to the wealthy Italian who commissioned it. Were artists the true philosophers in Rembrandt’s opinion? For Henry, a scholarly man who has spent his life studying paintings and loving a poet, this seems about right. So begins Jessica Dickey’s funny and touching play, The Rembrandt, now enjoying its Chicago premiere at Steppenwolf Theatre in an elegantly designed production directed by Hallie Gordon.
When Barbara Lhota learned of Russell Stamm’s 1940s comic strip, The Invisible Scarlet O’Neil, she felt compelled to revive the title character. The comic, which ran for sixteen years in the now defunct Chicago Times, featured one of the first female superheroes, predating Wonder Woman by a year. It struck the playwright as both appropriate and ironic that Scarlet’s superpower is invisibility. In a way familiar to many women, Scarlet leverages the advantage of being unseen. Under the cloak of her invisibility, she aids the vulnerable, while in her professional life as a reporter she fights alongside her compatriots for visibility and recognition. Lhota’s stage version is a perfect fit for Babes with Blades, a company devoted to using stage combat to tell women’s stories. The show, currently running at The Factory Theater, is fun and fresh while invoking the spirit of the period. Continue reading ““The Invisible Scarlet O’Neill” is a Fun, Feminist Revival of a Classic Comic Book Heroine”
If you’ve studied the American Theater, chances are you’ve heard of Arthur Miller, the King of Kitchen Sink Realism. Trust me when I say, Ivo Van Hove’s A View From The Bridge is not your mother’s Arthur Miller. There isn’t a sink in sight. In fact all unnecessary props, down to certain actor’s shoes, have been eliminated. This actor-driven production features a square set with dark-colored benches and a white floor, designed by Jan Versweyveld. Audience sits on either side of the stage, meaning the actors are playing to a house that’s three-quarters in the round. It feels like a boxing ring with only one entrance and exit upstage, which adds to the feeling of being trapped in the space. Continue reading “The Consequences of Fake Allyship in ‘A View From the Bridge’”
(Featured image: Obsessive Eye Photography)
Walkabout Theater just finished a tour of their their newest devised piece, A Persephone Pageant. My children and I caught the recent Chicago performance on the grassy lawn behind The University of Chicago’s Reva and David Logan Center for the Arts. The family friendly pageant, co-directed by Jessica Thebus and Thom Pasculli, incorporates original text by Sarah Ruhl and Morgan McNaught and features choreography by Kristina Isabelle, music by Mark Messing and puppets by K.T. Sivak and Jackie Valdez. The play updates the Demeter myth imagining Persephone as Water and Hades as Greed, remaking the story into a contemporary parable about climate change. Continue reading “Walkabout Theater’s ‘A Persephone Pageant’ Reimagines the Demeter Myth as a Parable About Climate Change”
Muthaland at 16th Street Theater is a one woman show written and performed by the talented Minita Gandhi. It’s a showcase for her dexterity and ability to create and inhabit characters we love, and characters who make our skin crawl, as she goes on a journey to her parents homeland. In 16th Street’s bare black box theatre, there is only one practical light onstage, and the rest of the show travels on in the darkness with Minita herself. She walks down the staircase through the audience carrying her suitcases to the practical standing lamp on stage. Little did we know she was carrying the world of the play in her arms. Continue reading “Identity, Heritage, and Growing up in ‘Muthaland’”
CHICAGO (September 8, 2017) – Greenhouse Theater Center’s Artistic Director Jacob Harvey is pleased to announce The Key: Young Critics Mentorship Program, a training program for Chicago youth in arts criticism created by national online arts platform Rescripted, The Chicago Inclusion Project and entertainment critic Oliver Sava and hosted by the Greenhouse. Launching this fall, the ten-week initiative for youth ages 16 – 20 will include arts criticism workshops and lectures with the program’s creators, as well as guest speakers from all facets of the Chicago theater community. Students will attend Chicago theater productions throughout the fall season, write original critiques, undergo one-on-one editing sessions and create personal blogs to host their writing portfolio and multimedia reviews. Select critiques will also be published on Rescripted.
Steep Theatre has just extended its devastating and urgently important play, Lela & Co. I wanted to take a moment to recommend this production and encourage people to see it now that it has been extended through September 16th.
I feel so fortunate to have seen Cruz Gonzales-Cadel play Lela in this heartbreaking two-hander opposite Chris Chmelik. Gonzales-Cadel has phenomenal range. We immediately fall in love with Lela as she disarms us with her charm and draws us into her story.We start in Lela’s childhood home with a loving mother and a father who alternates between indulgent and abusive. The limited abilities of women to shield each other from harm is a theme established early. As the dangers around her multiply, we watch Lela transform from an innocent child into a determined and courageous woman. For his part, Chmelik plays a host of villains, each fully fleshed out, each differently evil. Written by the British playwright Cordelia Lynn when she was just twenty-six, Lela is original in every way. Lynn speaks the unspeakable and holds us all accountable.
I won’t describe or summarize the story because much of its dramatic value is in its surprises. We never know what’s about to happen and, like Lela, we feel powerless to stop the cascade of horrors that unfold as she recounts her story. I’ve never felt so much real fear, rage and despair in the theater. A big part of it was knowing, more than a play, what happens to Lela is happening to to girls and women around the world every day.
Lela examines the way women become casualties of war showing how their stories are coopted, their voices silenced and their abuse marginalized. The narrative style creates the experience of being inside the head of a women who has internalized the narrative of her abusers along side the truth of her lived experience. This gives the audience an opportunity to experience the cognitive dissonance that results from trauma. The tone of Robin Witt’s direction creates jarring juxtapositions between the events that happen to Lela and the way she describes them. Lela uses a range of coping techniques from detachment, to rationalization, to minimizing, to self-blame. All the time as her underlying grief, rage and pain are straining to be let out. By the time Lela hits its crescendo and the playwright allows her character to enact a desperately longed for moment of confrontation all the air goes out of the room.
The space has been transformed into an intimate café with limited cabaret style seating and the actors perform on raised platforms above our heads. The action happens around the audience so we’re immersed and therefore implicated in Lela’s predicament. All the design elements seamlessly support this atmosphere of fear and claustrophobia.
I must end with a really big trigger warning here. There is graphic sexual violence both portrayed and discussed. This play deals plainly with some of the darkest subject matter I’ve ever heard onstage. Lela explicates the economic and political circumstances of war and how they enable the exploitation of women. Lynn’s story also reveals the tragic irony of how third party “liberating” and “peacekeeping” forces in conflict zones participate in crimes against women. No, Cordelia Lynn’s play isn’t easy to watch, but it is essential.
BIAS ALERT: Cruz and I know each other from Something Marvelous and have bonded over having children around the same age. Likewise, I know Peter Moore, Steep’s Artistic Director, because our kids were in the same class and I’ve submitted my work to his literary department. All this just means I was already a fan of the theater and of Cruz before I went to see this play.
Extended through September 16th!
Director – Robin Witt*
Stage Manager – Lauren Lassus**
Set Design – Joe Schermoly
Lighting Design – Brandon Wardell**
Sound Design – Thomas Dixon**
Costume Design – Jessica Kuehnau Wardell
Prop Design – Maria DeFabo**
Fight Choreography – Christina Gorman
Dramaturg – Carina Abbaticchio
Assistant Directors – Michael Rogerson & Isabel Perry
Production Manager – Julia Siple*
*Denotes Steep Company Member
**Denotes Steep Artistic Associate
Everything I’ve seen by the Neo-Futurists has always had an inherent sense of vulnerability and a fearless raw honesty which always allows me leave the show knowing the performers intimately. Their new venture, boldly titled The Food Show and created by Dan Kerr-Hobert, is no different . Performed in Metropolitan Brewing’s warehouse in Avondale, the Neos have transformed the warehouse into a badass kitchen stocked with all of the things you might need and have created an a night of adventure structured around a menu. When the audience enters the space, the writer-performers come up and ask everyone about their food allergies, because no one is trying to die tonight. Though unfortunately not everyone gets to eat throughout the night, everyone does get a complimentary beer (which if you’re lucky enough to get an orange slice during the night, I recommend putting it in the beer for a lovely, refreshing summer drink) .
By Jerome Joseph Gentes
August 13, 2017
In my blood Lakota Sioux culture, we call chants of praise honor songs. This is an honor song for Marcus Gardley, and the CalShakes production of his new play black odyssey that opened last night. I want to state right out that I’m writing this on Sunday, August 13, the day after the murders and radical domestic terrorism in Charlottesville. I’m writing this under the cloud of the last few years of racial violence. I’m writing this under the shadow that the current Executive Branch of the Federal Government is casting over the land. I don’t want to pretend otherwise.
A soldier’s homecoming after war is never a simple story, never simply going from point A to B. Any traveler under any circumstance who gets lost and veers off course does not unravel a simple story. Combining those two tropes, and stirring in hefty doses of subplot by way of interference from gods, human nature, and nature itself, Homer (like others) added to a small but vital shelf of epic narratives for all times and all peoples. Small wonder that The Odyssey has inspired novels like James Joyce’s Ulysses and plays like Father Comes Home from the Wars (Parts 1, 2 & 3) by Suzan-Lori Parks. It has also inspired Oakland’s Marcus Gardley, and with black odyssey he has achieved something extraordinary: a personal and public take on Homer’s poem that not only stands alongside the original–it reflects and expands the epic and the other great works it has inspired.
Directed by Artistic Director Eric Ting, the exceptional cast of nine includes J. Alphonse Nicholson as the hero, Ulysses Lincoln, Omozé Idehenre as his faith-tested wife, Nella Jerome Pell, and Michael Curry as grown Malachai, the son born during his absence. I’m naming these characters and actors first because Gardley, Ting, and company have foregrounded the human story of a husband who has wed a woman, but hasn’t had the chance to perform his husbandly role and responsibilities. A man who has fathered a child but hasn’t had a chance to occupy and perform the role of parent. Likewise, Nella is Ulysses’s wife, but has had to live–and love–for 16 years without him, while Malachai has grown up like too many boys do–mothered, but unfathered. Gardley’s script plumbs the breadths and depths of this broken dynamic in ways that make it fresh and vital, and Ting wisely puts all three actors front and center. Nicholson actually spends much of his time at the very edge of the stage, making music on upturned five-gallon buckets as point and counterpoint to the action. Gardley preserves the Homeric framing device of deities at play with mortal lives in a chess match with dire consequences for humanity between Great Grand Daddy Deus, played by the orotund Lamont Thompson and Great Grand Paw Sidin, the oracular Aldo Billingslea.
The rage and grief and despair that play out for Nella and Malachai alone are the height of drama. Fortunately for them, the play, and for the audience, the Athena character, Tina, who Gardley makes a distant great aunt, moves in to help Nella raise Malachai. As played by the wonderful Margo Hall, Tina transitions from Olympian divinity in her gorgeous Ashanti gown to house-bound helper in caftan and leopard leggings and back again.
Continue reading “Song of I, Song of Us: Marcus Gardley’s black odyssey at California Shakespeare Theater”
Black Lives, Black Words is an artistic movement that began in Chicago but has since had events in two continents, three countries, and seven cities. Producer and playwright Reginald Edmund began this venture with Executive Producer Simeilia Hodge-Dallaway in 2015, prompting playwrights and spoken word artists to respond to the question “do black lives matter?”