Steppenwolf Theatre Company’s new play development initiative, SCOUT will present A Virtual Reading of Mosque4Mosque by Omer Abbas Salem on Sunday, March 28th at 2pm CST. This free reading is the culmination of a 30-hour workshop process directed by Arti Ishak.
Mosque4Mosque follows Ibrahim, the average 30-something Queer Arab American Muslim. Normal job, quiet life, easy men. Between dodging reminders of how unmarried he is from his relentlessly caring immigrant mother and helping raise his smart, popular, hijabi cheerleading sister, Ibrahim has always found comfort sinking into the background. But when his mother sees a glimpse of what could be his first real relationship, she feels compelled to take Ibrahim’s future into her own hands by seeking out the perfect man for him to marry. Mosque4Mosque is a comedy about a normal Muslim American family that asks us to wrestle with what we believe normal to be.
“I wrote Mosque4Mosque to reimagine my experience with family, religion, and being queer. I also wanted to create a world in which Arab artists felt proud to exist, because I can’t tell you how often I’ve felt ashamed by what passes for our representation. I can’t thank Steppenwolf enough for the support and opportunity to uplift our voices and begin correcting a wrong in American theater.” – Playwright, Omer Abbas Salem. Continue reading “Mosque4Mosque SCOUT Presentation Sets a New Standard at Steppenwolf”
Theatre can be a world of contradictions. It’s a space, it’s an experience. It’s a service, it’s a product. It’s a community builder, it’s a gentrifier. It’s a means of education, a townhall, it’s just entertainment. As a writer-director, I’m looking to connect to an audience, engage the local community, express myself and entertain — so how come I measure my success by ticket sales, sold out crowds and glowing reviews? How come my success as an artist can be measured at an end of quarter board meeting? The American Theatre exists under the umbrella of American Capitalism. Its survival has always depended on ticket sales and various forms of investment from the upper class. With the relatively recent advent of the non-profit theatre, we’ve convinced ourselves that the non-profit and the commercial worlds are separate when, ultimately, they abide by the same rules of capitalism. We’ve convinced ourselves that the non-profit is a safe space for the artistic, the creative, the developmental, but the systems in place were never built to support the artist or the financial failure that can come with further exploring the New.
The system was not built for us artists. However, this blanket statement hasn’t always been true. There have been many attempts to democratize the American Theatre, only for artists to be washed ashore by the tidal wave that is capitalism. There were the repertory companies of actors and director/managers that toured the country in the 1800s, and the revelatory Federal Theatre Project of the 1930s. Then, there was the Regional Theatre Movement that modeled itself off of European theatre models in the 60s that largely influenced our administrative models today. Aesthetically, we can trace how we got from one artistic moment to another, but what’s lost on us is the Economic History of the American Theatre and how its affected Artistic Development today. Right now we live in a moment of the in between. We have a lot of folks, purists, waiting for everything to go back to the status quo without knowing where we came from. On the precipice of societal change, now is the time for artists to look back at history, question our models, examine the possibilities, and imagine a new future.
Continue reading “The American Theatre is Not Built for Us”
Brett Neveu’s world premiere TO CATCH A FISH, developed at Timeline and directed by Ron OJ Parson, takes on the morally repugnant practice of police entrapment. Neveu takes us to the peaceful Milwaukee neighborhood of Riverwest where in 2012 officers from the Alcohol, Tobacco, and Firearms Bureau set-up a phony shop with an aim to lure the community into selling guns by offering to purchase them at triple their street value. This perverse incentive created a gun market where there wasn’t one. People started buying guns at local stores to turn around and sell them to the ATF, even going so far as to dredge up antiques and family heirlooms to cash in on the offer. Later, community members entrapped by this scheme were rounded up to face criminal charges. Continue reading “Brett Neveu’s ‘To Catch a Fish’ Dramatizes a Real Life Tale of Entrapment”