Tedium and Other Sensations, as featured in the Chicago International Puppet Theater Festival, is the product of a massive collaboration. Mocrep, The Neo-Futurists, and Theater Oobleck converge to explore and adapt the written work of Chicago playwright, Mickle Maher. The result, a two-part event that left me questioning everything I know about time, food, and theatre. Continue reading “‘Tedium and Other Sensations’ – Chicago International Puppet Theater Festival”
Our present moment invites more conversations than ever about the kind of world we want to live in and whether the behaviors of our predecessors is worth emulating. Dada Woof Papa Hot, Peter Parnell’s rather absurdly named play, asks some very straightforward questions about American home life and the value of the nuclear family. The playwright uses the lens of sets of two sets of gay dads who have young children in the same school. They decide to be couple friends and try to use their bond to navigate fatherhood and their relationships together. Continue reading “‘Dada Woof Papa Hot,’ a Family Drama at About Face Theatre”
Let me start off by saying how happy I am that City Lit Theatre is doing Fuente Ovejuna by Lope de Vega. I love this script, I’ve always loved this script, and all of me wishes that it was done more. A huge booming “THANK YOU” to City Lit and director Terry McCabe for taking on their own adaptation of a painfully underproduced classic. From Spain’s golden age of drama, Fuente Ovejuna is Lope de Vega’s best-known work. A village revolts against a predatory authoritarian who uses his military and religious “power” to justify and prey upon the women of the rural town. The revolutionaries in this story are the women, which is particularly refreshing once you remember that the script was first published in 1619. This play has everything: love, war, drama, humor, history, and relevance. Continue reading “‘Fuente Ovejuna’ at City Lit Revisits a Different Kind of Golden Age”
Strawdog Theatre is always a lovely space to walk into; I’m a sucker for small, intimate blackboxes, and the alley seating and soft music playing as you file into Little Women, produced by Brown Paper Box Co., is quite calming. The set (designed by Jeremy Hollis) is simple and straightforward in all the right ways, with just a few leather trunks serving as both scenery and furniture. On the ceiling and by both entrances are panels of darkened wood that are evocative of 1800’s New England architecture while remaining unobtrusive. Continue reading “Love, Life, and Loss: ‘Little Women’ at Brown Paper Box Co. is a Balm for Troubled Times”
This year in Chicago Theatre has been tumultuous yet full of so much growth. 2018 saw communities coming together like never before, with the Latinx Theatre Commons‘ Carnaval of New Latinx Works and the Alliance of Latinx Theatre Artists’ Awards.
We said goodbye to American Theatre Company, under the brief yet highly significant Will Davis’ leadership. His work pushing the boundaries of gender and casting still reverberates throughout this city. New leadership has arisen in the form of Andrew Cutler, Amanda Fink, and Eric Gerard, at Black Box Acting Company as they take over the mantle from Audrey Francis and Laura Hooper. Continue reading “Rescripted Recognized: Year In Review 2018”
The Dark at The Top of The Stairs by William Inge holds a universal theme– life is hard, love is hard, but if you have the right people it’s all worth it. Directed by Jerell Henderson, it focuses on a family of four; a begrudged father, an abiding yet willful mother, the bratty younger brother and his closed off sister. We live in their home, more specifically their living room, for the entirety of this three-act production, it is littered with decor bringing an added authenticity to every moment (set design Sam Rausch). Continue reading “‘The Dark At The Top of The Stairs’ Challenges Life, Love and Companionship”
Bess Wohl’s Small Mouth Sounds, directed by Shade Murray at A Red Orchid Theatre, is set at a silent retreat. Four strangers and one couple, have gathered to learn from an unseen guru (Meighan Gerachis) heard only through the loudspeaker system at the retreat center. As these characters camp out on the shores of a wooded lake coping with bug bites and bears, they reflect, communicate and seek inner peace. Continue reading “‘Small Mouth Sounds,’ A Tender, Introspective Comedy”
This Bitter Earth by Harrison David Rivers and directed by Mikael Burke is currently running at About Face Theatre. This two person show follows an interracial gay couple through the most agonizing police violence events of our time. It is a treat to witness the gifted Sheldon Brown return to the stage again after an impressive turn in the Shipment. Especially in a role that is all about taking risks and attempting to live life to the fullest. Continue reading “The Scope of Blackness in ‘This Bitter Earth’”
This review was penned by one of our current writers in The Key: Young Critics Mentorship Program. They are able to sign up for additional shows to grow their criticism portfolio with us. Read The Key Reviews from Fall 2018 here.
Upon reading the synopsis, many would wonder if Fun Harmless Warmachine is the play we need right now. It’s the tale of the supposed “nice guy,” a gamer working a job he hates in a world where the words of women leave him baffled and angry. With this formula in mind, it is not too hard to believe Tom gets sucked into a toxic online community, known as the Order of the Sword, which first functions as a digital place of refuge, a place to confide in like-minded gamers. This story is based on #Gamergate, a notable controversy you should look up before the show—though the program offers a list of videogame definitions to fill in some of the blanks. Continue reading “Male Fragility Fuels The Explosive ‘Fun Harmless Warmachine’”
Tangles and Plaques at the Neo-Futurists, a Neo-Lab commission about the effects of dementia first seen in Fall of 2017, has returned for a three-week engagement at the Neo-Futurarium. Sourcing its name from Plaques and Tangles, deposits of protein that cause cell damage and death in the brain, Tangles and Plaques attempts to translate dementia into the language of theatre. This is inherently successful in the structure of the play. Sections of the script are repeated and intentionally disorient the audience. Neos ensemble member and creator of the piece Kirsten Riiber wrote the show based on her work in reminiscence therapy at a local retirement home. Reminiscence therapy is used to conjure the most relevant and clear memories to an aging person, those from their childhood. Therefore the meat of the show takes place in the “accumulated nostalgia-scape of seven artists on a budget.” Continue reading “‘Tangles and Plaques’ Demystifies Dementia”