The Chicago Artists Relief Fund was founded in response to the devastating impact of the quarantine on the performing arts community. Recent surveys have indicated 95% of artists have lost income due to the pandemic.
We didn’t need a poll to know that thousands of our peers, friends and collaborators lost their jobs and income overnight. The service industry jobs, the teaching artist jobs, and the wide variety of survival gigs artists rely on simply evaporated. The need is immediate and urgent. The founders of the Chicago Artists Relief Fund rose to the occasion.
Since March 15th The Fund has raised over $75,000 and distributed emergency grants to over 315 artists in need across a variety of disciplines. Today (May 4, 2020), they are announcing an updated goal of $150,000.
Like many of us, I am an artist who has defined my artistic career by the institutions that granted me entry. This quarantine is causing them to suffer, which is causing my colleagues and mentors and teachers to suffer. In this moment of tremendous uncertainty, where the future of these institutions is unstable, it feels like our future is too.Continue reading “Institutions Do Not Define Our Artistic Practice”
There are a lot of things that we currently miss about the outside world — writing in cute coffee shops, hanging with coworkers, the lakefront — but perhaps the most gutting thing for us artsy folk is the fact that all theatre in the world has pretty much ground to a screeching halt. We still have movies and TV, of course, but there’s nothing else quite like the breathless thrill of a hard-hitting story that is happening in the same room as you.
Luckily, however, there are plenty of theatres across our nation who have managed to make their art available despite shuttering their doors, and so we are happy to provide this handy list of streaming theatre productions. NOTE: We’re going to limit this list to streaming theatre that is either newly available because of the pandemic, or was recently made free because of the pandemic. We will also make regular updates.
“Mutual aid projects are a form of political participation in which people take responsibility for caring for one another and changing political conditions, not just through symbolic acts or putting pressure on their representatives in government, but by actually building new social relations that are more survivable.”
This quote comes from the Big Door Brigade, a multi-regional collective inspired by scholar/lawyer/organizer Dean Spade’s uplifting of mutual aid “as a strategy for survival and mobilization.”
In the wake of CDC recommendation to halt public gatherings of 50 people or more, theatre has been especially affected. Broadway has closed down, as have many theatres in Chicago. Google docs and GoFundMe’s are ripping across our social media feeds as part of an endeavor to lift up and provide support to those who need it. (Local Chicago journalist Kris Vire is keeping us up to date on arts cancellations, and it is staggering.) Writing from the perspective of an artist and graduate student, I’ve seen and felt the economic and emotional impact of the collapse of jobs and social support systems. We are witnessing how the intersection of human rights and our government interests continue to butt against each other — when they don’t have to. Continue reading “Chicago Financial Aid Resources for Artists During COVID-19”
As Sheepdog opens, Amina, a black police officer, tells the story of her life-changing relationship with Ryan, a white officer on the Cleveland police force. Doubt wedges itself between the two when an officer in their department shoots and kills a young black man. The script, from playwright Kevin Artigue, is raw and romantic. Wardell Julius Clark directs this heartbreaking love story with an empathy that informs the entire performance. This tender, stylized production is directed with a care that is dangerously vulnerable. Shattered Globe Theatre’s production of Sheepdog places tragedy under the microscope to discover a kaleidoscopic blend of the beautiful and the ugly.
Editor’s Note: Three members of the Chicago dance community, Alyssa Gregory, Erin Kilmurray, and Nora Sharp approached Rescripted with a community-minded approach to celebrating the quality of Chicago’s dance world in 2019. The survey and its results were compiled in an effort by these folks to ensure all of the pieces lifted up by their community could be mentioned. We have so enjoyed embarking on this journey with them and learning more about the dance community by celebrating them. We hope you will too.
Alyssa, Erin, and Nora: As Best-Of 2019 lists rolled out, we found ourselves reflecting on what kind of work receives recognition, whose voice has a say in selecting such highlights, what those chosen works signify, and through the lens of what platforms. How do these lists impact the broad and varied dance communities that call Chicago home? Honestly, what even is Chicago live dance performance? Continue reading “Celebrating 2019 Chicago Dance: A Community Sourced List”
2019 was by no means an easy year, and yet so much progress was made in our artistic community both on and offstage. The Rightlynd Saga reached completion in the same year Lori Lightfoot was elected. Abuse was unearthed and community solutions provided, systemic changes are underway on many levels, as the energy of organizations like Not in Our House and ChiTac drive our individual work. As Editor for Rescripted, I laid out my Visions for 2020. This article is about looking back, and celebrating where we came from one last time. Below you will find the 10 Rescripted Recognized shows selected by our critics, and a new addition for this year – Rescripted Raves. There is too much great work in the city to limit it to ten shows, and there you will find the other projects that brought us joy or moved the conversation forward. Happy 2020!
Red Rex at Steep Theatre. Directed by Jonathan Berry, written by Ike Holter. “Ike Holter’s Red Rex takes a deep dive into the underbelly of making theatre in Chicago, and a brave ensemble of people at Steep Theatre rose to the challenge. The sixth play in the Rightlynd Saga directed by Jonathan Berry gets its name from the fictional theatre company at the center of the narrative, Red Rex Theatre Company. After almost a decade of relatively mediocre production, Red Rex has recently taken up residence in the abandoned former home of the Three Lord Gang – one of many easter eggs from the rest of the Rightlynd Universe (the RU, you know, like MCU).” – Regina Victor, Editor In ChiefContinue reading “Rescripted Recognized – 2019 Edition”
We are at the precipice. Everything in our society could change tomorrow, simply because it cannot sustain its way of being any longer. How are we envisioning that future, in the arts and beyond? Here at Rescripted we are envisioning an empathetic future, driven by advocacy and dialogue, rather than this present cycle of trauma and fear. My vision for Rescripted was simple: train and uplift voices that will make the industry a hospitable place for everyone to work. The impact of that vision, that intention, has been unbelievable. We have now trained critics in the double digits who are writing professionally, we are creating transparency and accountability in our work that established publications are beginning to echo. We highlighted communities and theatres that were habitually overlooked, causing other publications to pick up their stories as well. Ever so slightly, I see the viewpoints and the values of other critical institutions changing in response to the energy this group of artists has brought to the city through our writing. Therefore, I want to end 2019 by offering visions for our artistic future. Continue reading “Letter From the Editor: Artistic Visions for 2020”
The bitter cold and the holiday season are both barreling into Chicago, and no one is immune from the overwhelming combination. In an effort to combat this special brand of wintry blues, Raven Theatre’s Cold Town/ Hotline: A Chicago Holiday Story takes it back to 1983, where a ragtag group of Chicagoans volunteer their time at a holiday hotline called the Yule Connection. Folks are invited to call in and chat about their seasonal stressors, but when one young caller makes an in-person visit, the team bands together to find a little connection of their own. Like a lot of holiday memories, this world premiere, written and directed by Eli Newell, has bursts of heartwarming holiday sentiment that break through a series of meandering moments.
The Key: Young Critics Mentorship Program is back with our fifth set of reviews, and this set is all about Hoodoo Love at Raven Theatre! This year’s cohort: Ada Alozie, Alisa Boland, Anyah Royale Akanni, Hannah Antman, Mariah Schultz, and Yiwen Wu. Read selections from each critic below, and click through to their author profiles to read the full critique and learn more about them! The Key is co-facilitated by Regina Victor and Oliver Sava.
Alisa Boland: “Hoodoo Love, directed by Wardell Julius Clark at Raven Theatre, adds a bit of extra enchantment to Katori Hall’s debut script, a cocktail of blues singing, conjure, and inevitable tragedy. Set in Memphis, Katori Hall’s play follows Toulou an aspiring singer, played with spirit and tenderness by Martasia Jones. The young country girl turns to the supernatural help of her friendly, grandmotherly neighbor and hoodoo practitioner Candylady (played by the audience favourite, Shariba Rivers) to hold down her lover Ace (Matthew James Elam), a restless blues artist. The situation is further complicated by the arrival of Toulou’s older brother Jib (Christopher Wayland Jones), a preacher with a wolfish eye and an appetite for unholy, distilled spirits.” – Read Alisa Boland’s full critique and learn more about the author! Continue reading “Key Reviews: ‘Hoodoo Love’ at Raven Theatre”