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”
Sideshow Theatre Company is welcoming eleven new company members, six ensemble members and five artistic associates, respectively.
Ensemble members include Wardell Julius Clark, Greg Geffrard, Arti Ishak, Krystal Ortiz, Gabrielle Randle-Bent and Netta Walker. Artistic Associates include Patrick Agada, J. Nicole Brooks, Brynne Frauenhoffer, Jyreika Guest and Sarah Price.
These new additions to the company are predominantly BIPOC artists. This influx of representation marks a fresh and necessary wave of diversification in theatre. Continue reading “Sideshow Theatre Company Explodes with BIPOC Representation”
On Friday May, 22nd, 2020, the Playwrights Ensemble of Victory Gardens resigned en masse via a public letter on Medium. See the full letter below.
Victory Gardens Theater Playwrights Ensemble:
Luis Alfaro, Marcus Gardley, Ike Holter, Samuel D. Hunter, Naomi Iizuka, Tanya Saracho, Laura Schellhardt
We, as an ensemble of resident artists at this venerable institution, are deeply
disturbed by the notion that our creative home aspires to be a truth-telling temple on its stage, but not in its administration.
This is unacceptable.
The Board of Directors, who are of service to our community, took it upon themselves to eliminate communication with the ensemble, artistic staff, stakeholders and artists who have labored for a decade to build up this theater and its new audience.
For over five months, and after receiving a letter signed by over 60 of its biggest supporters asking for accountability, the board sat on a plan to reorganize the institution.
It ignored the limitless possibility of what the field might have presented in terms of viable local and national leadership.
Continue reading “Mass Resignation: A Letter from the Victory Gardens Playwrights Ensemble”
By Regina Victor
About Face Youth Theatre Ensemble’s Brave Like Them is an exciting and dynamic exploration of cultural movements and gender expression infused with feminist punk. The show is entirely devised and performed by the members of the About Face Youth Theatre Ensemble and co-directed by About Face’s Education and Outreach Director Ali Hoefnagel and Education Coordinator Kieran Kredell. The script was well-written, and memorable, especially impressive because the age range for the ensemble that devised it is 13-23 years old. The play takes place in the Riot Grrl movement of the 1990s, an underground punk feminist movement that originated Washington state, credited with being the beginning of third wave feminism. Famous bands that came out of that era include Bikini Kill, Bratmobile, and Sleater-Kinney. Brave Like Them takes us to Washington state in that era, and investigates both the successes of the movement but also the racial and class discrepancies – most of the voices of this movement were middle class, white cisgender women. Continue reading “About Face Youth Ensemble’s ‘Brave Like Them’: Explosive, Feminist, and Unapologetically Queer”