The Theatre Communications Group Conference took place on June 4-8th, and for the first time ever they included an arts journalism track. My conference journey began with co-facilitating a session with Brian Herrera of the Sol Project titled “What is a Theater Review(er) Good For? A Critical Look at the Role of Journalism in Theatre Today.” This session was a lab that took place before the official start of the conference, and was a three hour round table discussion. In addition to the obvious title question, we chose to investigate what our present relationship to reviewers was, and try to shape what it could be. This article is an attempt to summarize these rich and invigorating hours of conversation. Continue reading “TCG Conference Coverage 2019: What is a Review(er) Good For?”
“When it became clear that our ensemble member Mary Ann Thebus’ consistent retention of the script was challenging due to side-effects from medication, we chose to see it as an opportunity to remind ourselves and Chicago what makes us who we are.” – an excerpt from The Gift Theatre Company program insert.
Dear White Critics,
We’re baaaaaaack. Much like Johnny in The Shining y’all don’t know how to quit. This is the third installment in “Dear White Critics,” the series that never should have been, and unfortunately it focuses on a couple of beloved Chicago critics who each made a really offensive judgement call in different ways. Doubt presented by the Gift Theatre is a formidable production, please see my full review of that enthralling piece of theatre by clicking here. Many critics enjoyed the show, but some critics decided to focus on the fact that Mary Ann Thebus was holding a script for her performance due to a side-effect of medication that made memorization difficult. Then a storm of ageism, sexism, and ableism was unleashed on Chicago courtesy of primarily Chris Jones at the Chicago Tribune. Continue reading “Dear White Critics: I ‘Doubt’ You Meant to be Ableist…”
Red Tape Theatre performs In the Blood by Suzan-Lori Parks at The Ready in Ravenswood. The theatre is a narrow strip covered in graffiti. It’s fresh, and I can tell because the scent of paint is unmistakable. Among this jumble of tags, the word “SLUT” screams in a bright pink that adds to the cruelty of the word. Hester (Jyreika Guest) is a downtrodden mother of five who has made the space under an overpass her home, a home now defaced with this vile word she has no way of reading. It is under this bridge where Hester cares for her children and is cared for by no one. Continue reading “A Vital and Gritty ‘In The Blood’ at Red Tape Theatre”
This has been an incredible year for the team at Rescripted. As we embark on 2018, we’d like to take some time to revisit not only some theatre highlights of the year, but accomplishments we have made as an organization in our first six months! The plays mentioned below are honored as Rescripted Recognized, productions that were memorable for their cultural standouts, for their artistic achievements, for their strong performances, and in some cases even for their controversies.
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. These reviews from our Fall session are edited by Oliver Sava and Regina Victor.
I loved this show. To be absolutely honest I am not sure if I can provide a measured and calculated analysis of the strengths and weaknesses of Firebrand’s debut musical because the only thing that really comes to mind is that totally rocked. Continue reading “‘Lizzie’ Rocks Out at Firebrand: Key Reviews”
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’”
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.