It’s a new decade in Chicago and Ibsen is in the air.
Raven Theatre’s A Doll’s House is the first of three Ibsen plays opening within the next month. Strawdog’s stormy Hedda Gabler will follow shortly on Raven’s heels, and Court’s The Lady From the Sea will bring up the rear with the most ethereal of the Norwegian playwright’s femme-centric family dramas. It must be something in the water.
A long century and a half has passed since A Doll’s House first scandalized European audiences with the “door slam heard around the world.” However, Raven Theatre’s production still manages to feel relevant and timely. Although director Lauren Shouse retains the 19th century setting of Nora’s tale, Shouse re-envisions the meaning of Ibsen’s revolutionary, feminist masterwork for the audience of today. Although her reinterpretation does sacrifice some nuances of Ibsen’s play for the sake of its concept, it remains a promising example of how a classic can be reimagined for contemporary audiences.
Continue reading “‘A Doll’s House’ at Raven Theatre Reinvigorates a Timeless Classic”
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.
Continue reading “‘Cold Town/ Hotline: A Chicago Holiday Story’ at Raven Theatre”
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”
As Sundown, Yellow Moon opens, two sisters in their twenties, Ray (Liz Chidester) and Joey (Diana Coates), have returned to their small hometown in Tennessee to support their father, Tom (Will Casey), as his life seems to be falling apart following his divorce. Ray is undergoing a bit of a reckoning herself after quitting her job — and Joey, petrified at the thought of leaving the country for a foreign study, takes comfort in long runs in the woods late at night.
The script from Rachel Bonds is extremely character-driven; there is not much plot to be found. I have heard some criticism calling this show a bit meandering and slow — which I can’t refute, exactly, except to say that slowness can soar to great heights when done with intention, and I found it absolutely sublime here. Director Cody Estle has managed to craft an evening of enthralling, intimate moments with attention and care, such that Sundown, Yellow Moon feels engrossing and urgent despite its quietness, and stillness.
Continue reading “‘Sundown, Yellow Moon’ at Raven Theatre Exudes a Warm, Comforting Glow”
The Undeniable Sound of Right Now by Laura Eason is not about the present. “Now” in the play’s title refers to Chicago in 1992. Grunge is spreading across the country and House Music shakes nightclubs with its electric tune. Hank’s Bar was the place to be during the 70s wave of Rock n’ Roll, but in 1992 “Now” and “Then” clash within the walls of this cultural relic. BJ Jones directs the Chicago premiere at Raven Theatre and this project on paper promises something worthwhile. The final product, however, is unsatisfying. Continue reading “‘The Undeniable Sound of Right Now’ is a Nostalgia Trip That Doesn’t Reach its Destination”
The Crowd You’re In With at AstonRep takes place on an evocative set designed by Jeremiah Barr, the deck and backyard of a rundown suburban house that is set out for a 4th of July barbecue. Small accents, like deck chairs, fairy lights, and a tacky tablecloth, create a very lived-in feel. The lighting from Samantha Barr is atmospheric and welcoming; the yellow light from inside spills out through a screen door, and the fading blue ambience captures the feeling of a warm summer evening quite well.
We open at the barbecue of married couple Jasper (Martin Diaz-Valdes) and Melinda (Sara Pavlak McGuire) — consisting of another mid-thirties couple, the pregnant Windsong (Maggie Antonijevic) and the slightly obnoxious Dan (Nick Freed), the older married couple and landlords who live upstairs, Tom and Karen (Javier Carmona and Lynne Baker), and their single musician friend Darcy (Erin O’Brien). As it is slowly revealed that Jasper and Melinda are trying to get pregnant, the conversation turns to the subject of why some people choose to have kids, and why some don’t. Continue reading “Pontifications on Pregnancy in ‘The Crowd You’re In With’”
How I Learned to Drive by Paula Vogel is a series of recollections and rememberings from the perspective of a grown woman who was sexually abused by her uncle throughout her childhood. Presented by Raven Theatre Company, the character known as “L’il Bit” – a name she hates to be called – narrates her journey along with a chorus of three people. Together they chronicle L’il Bit coming to terms with her trauma and her complex feelings about her uncle and family. Throughout the performance, the narrator grapples with forgiveness, desire, fear, dependence, trust and love. There is never a question that her uncle is a pedophile with a pattern of abusive behavior who groomed and manipulated her (and perhaps her cousin) for his own erotic and emotional satisfaction. Continue reading “A Hard-Earned Hope in ‘How I Learned to Drive’”
These are the third set of reviews from this year’s The Key: Young Critics Mentorship Program. Members of this cohort are: Sierra Carlson, Yasmin Mikhaiel, Aaron Lockman, Elon Sloan, and Lonnae Hickman. All reviews are workshopped and edited by co-facilitators Oliver Sava and Regina Victor. Check out their reviews of Crumbs from the Table of Joy at Raven Theatre below! Continue reading “Key Reviews: Revolution in ‘Crumbs From the Table of Joy’”
Editor’s Note: This is a guest contribution by local performer Julian Terrell Otis. Originally these comments were posted on social media, then further expanded with our editors to become a review posted on our site. We are interested in the viewpoint of the artist, and what they have to say about the work coming out of their community. If you are a Chicago artist interested in contributing to Rescripted, please e-mail us at firstname.lastname@example.org, we want to hear from you!
Catherine: “Is that what love is? Using people? And maybe that’s what hate is – not being able to use people.”
It was incredible to watch Suddenly Last Summer at Raven Theatre. I would highly recommend it. To be honest, my experience with Tennessee Williams is limited. I often feel the narrative to be out of touch because of the lofty language, the whiteness, the exposition about class issues that are distanced from current audiences by time, and in a way, it’s petty. But hey that’s the drama of life! Raven’s production is thoughtful and the audience is invited to be a fly on the wall in a very personal family matter regarding mental illness, sex, control, and money. The stakes ride high as the characters navigate their own desires. The setting transforms from a Louisiana estate to some sort of metaphorical jungle where the most vicious creatures that inhabit it are the (white) humans.
The casting reflects that interesting power dynamic. On opening night, the audience was invited into the world of the play through the eyes of the black gaze. In this performance Miss Foxhill was played by Song Marshall, though the role is usually played by Janyce Caraballo. The caretakers Miss Foxhill and Sister Felicity (played by Ayanna Bria Bakari) provide regularity to the upended lives of this ultra wealthy family in crisis. Marshall’s and Bakari’s performances elevate quotidien tasks to epic proportions.The women of color hear the foul words and see the ambition, and I feel their unending struggle to keep these white people in check. One gets the feeling that Miss Foxhill’s job might be on the line if the daiquiri isn’t made just right and Sis. Felicity may actually fear that bodily harm may come to her from her charge, Catherine (played by Grayson Heyl). One cigarette burn would be too many for me. Yet these women endure because circumstances necessitate it. Continue reading “‘Suddenly Last Summer’ and the Myth of the Man”