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”
“Sorry it’s so late, it’s the only time I could” the son mumbles to his father, on a call at the top of the play. My heart panged and the guilt bubbled up as I counted the days (weeks?) since I last spoke to my mom in a way that didn’t involve emojis, feeling the tension between my words “I can’t find time” and my fear of their hidden meaning “I can’t find time for you”. In This is Who I Am by Amir Nizar Zuabi, we experience a late night zoom call between an estranged father and son as they struggle to perfect a mother’s recipe from memory. At the same time, they struggle to see and be seen by each other, each hoping for a connection that feels just out of reach. Continue reading “This Is Who I Am Transcends Politics and Makes the Palestinian Identity Personal”
Tony Award winning play Oslo is a partially fictional account of the events between the Palestinian Liberation Organization (PLO) and Israeli officials leading up to the signing of the Oslo Accords in 1993, dramatized for the stage by J.T. Rogers. Currently receiving its Chicago premiere, it initially premiered Off-Broadway in June 2016 directed by Bartlett Sher at the Lincoln Center. The original cast then moved to Broadway to reprise their roles in April 2017 receiving awards and acclaim from New York Critics, Outer Critics, Drama Desk, Drama League, Lucille Lortel, Obie awards and other nominations along the way.
Timeline’s highly anticipated co-production of Oslo with Broadway in Chicago seems to fit perfectly with its mission to present stories inspired by history that connect with today’s social and political issues. As a production, it aimed to explore sociologist Terje Rod-Larsen’s theory that trusting in each others’ inherent humanity and building interpersonal human connection is the only basis for healthy debate, and potentially peacemaking. The lobby display as well as a program insert provided a historical guide to the Palestinian-Israeli conflict, while a huge column scribbled with sharpie responses asked audience members to participate in the conversation Timeline chose to center: “How do you resolve conflict?” Continue reading “‘Oslo’ at Timeline Theatre Muddles the Message of Peacemaking”
While preparing my review of Language Rooms for publication, I saw a post on Facebook from fellow Rescripted critic, dramaturg and writer Yasmin Zacaria Mikhael. Mikhael’s post led me to a second post from actor Arti Ishak, who has previously contributed to an article on Rescripted by Emma Couling. Both of these posts expressed the pain and frustration caused by this production of Language Rooms, and became catalysts for community discussion about the show, its implications and impact, as well as the response of the largely white group of critics that wrote about the show. In reading those discussions, and after reaching out to Mikhael and Ishak, it was clear that my initial response to the show was missing something. Continue reading “A Critical Response of ‘Language Rooms’ at Broken Nose Theatre”
On Wednesday, September 19, several Chicago artists received an invitation to audition for a play called Angel by playwright Henry Naylor. Angel is the second production in a series called “Arabian Nightmares”. The invitation was sent by local Chicago theatre Akvavit on behalf of Urbanite Theatre, located in Sarasota, Florida. Angel is inspired by fake news tweeted by the English-language news outlet Slemani Times. The tweet contained a photo of a woman named Rehana who was rumored to have killed as many as 100 members of ISIS. It has since been proven that though the photo, taken by Swedish journalist Carl Drott, was of a real woman, she was not Rehana, or “The Angel of Kobane” as they claimed. This story of the “Angel” has no basis in fact, and was disproved by the BBC in 2014. Rehana, “The Angel of Kobane,” never existed at all. Continue reading “When The Show Must Not Go On: Chicago Artists Respond to Controversial Casting Notice”