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Part Four: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre

This is a testimonial piece by Chicago Theatre Community member Robin Minkens, who had a multi-year experience with Trap Door Theatre, a local storefront theatre. This is a personal experience, from a single perspective. These pieces by their nature, and per our mission, are subjective by intention. This is not reporting, but community support. Our aim as always is to amplify those who do not have a platform, and to empower the experience of the artist. 

Editor’s Note:  Robin came to me through Facebook at the end of April because she had seen my own testimonials on social media. Robin had recorded her experience in a draft, and was wondering if her experience had merit, and if it would be beneficial to share it with others. At that time, she did not know that I was an editor, or of the existence of Rescripted. When I had read the entirety of her story, I was appalled. What captured me about Robin’s testimonial is that it is a story many of us have lived through. Emerging into a professional theatre scene with abundant hopes and dreams, only to encounter prejudice, maltreatment, and gaslighting. The commonalities in this piece are harrowing to me, because they require us to accept that the way we have been working is not ethical. The experiences we have endured are not acceptable. This piece is a death by a thousand paper cuts. I encourage you to read it to the end. This is Part One, and you can access Part Two by clicking this link. 

End of 2021: Revelations 

October, 2021. At this time, Trap Door was to edit their website. They asked for pictures from projects and any reviews from shows that we would like to include on our profile for us to market ourselves. I was reluctant to submit my materials, considering everything I had experienced up to this point. However, I did eventually decide to submit them. I was so proud of what I had accomplished up to that point, even with the odds being stacked against me. I chose my favorite professional photos with reviews from the shows. I sent in my photos and reviews, and the only piece of my materials that made it to my profile on the website was my bio. I did not get a response to my email with my materials. Beata has yet to return from Poland, gone since 2019. This caused me to deeply inquire about communication practices at Trap Door.  Continue reading “Part Four: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre”

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Part Three: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre

This is a testimonial piece by Chicago Theatre Community member Robin Minkens, who had a multi-year experience with Trap Door Theatre, a local storefront theatre. This is a personal experience, told from a single perspective. These pieces by their nature, and per our mission, are subjective by intention. This is not reporting, but community support. Our aim as always is to amplify those who do not have a platform, and to empower the experience of the artist. 

Editor’s Note:  Robin came to me through Facebook at the end of April because she had seen my own testimonials on social media. Robin had recorded her experience in a draft, and was wondering if her experience had merit, and if it would be beneficial to share it with others. At that time, she did not know that I was an editor, or of the existence of Rescripted. When I had read the entirety of her story, I was appalled. What captured me about Robin’s testimonial is that it is a story many of us have lived through. Emerging into a professional theatre scene with abundant hopes and dreams, only to encounter prejudice, maltreatment, and gaslighting. The commonalities in this piece are harrowing to me, because they require us to accept that the way we have been working is not ethical. The experiences we have endured are not acceptable. This piece is a death by a thousand paper cuts. I encourage you to read it to the end. This is Part Three. Click here to access Part Two, and Part One.

Decomposed EP. 5

December 2020, comes for the first virtual rehearsal of Decomposed with everyone in the cast, and I see and learn that Nicole had cast a few individuals who had not, to my knowledge, ever worked at or auditioned with Trap Door. There was a group of five all working together at someone’s apartment that included Emily, David, Miguel, Maryam and Maryam’s boyfriend (who to my knowledge had never been in a play before). Matty Robinson, his girlfriend, Nicole, and Nicole’s now-fiancé, who was the music director, the same way he was for The White Plague, in their same apartment building. Then there was just myself filming at my apartment, and my main scene partner at her separate apartment. 

I realized that I had seen Matty’s girlfriend on The Quarantine Files episode with Matty –  the company Matty said he was not interested in working with. Again, I understand that perspectives may change when the future of a professional field is uncertain. I was surprised because when I initially saw his girlfriend’s name in the email that went out I had no idea who she was, or that they were together. I learned during rehearsal that she was brought in by Matty, and that they were in a relationship. Continue reading “Part Three: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre”

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Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre

This is a testimonial piece by Chicago Theatre Community member Robin Minkens, who had a multi-year experience with Trap Door Theatre, a local storefront theatre. This is a personal experience, told from a single perspective. These pieces by their nature, and per our mission, are subjective by intention. This is not reporting, but community support. Our aim as always is to amplify those who do not have a platform, and to empower the experience of the artist. 

Editor’s Note:  Robin came to me through Facebook at the end of April because she had seen my own testimonials on social media. Robin had recorded her experience in a draft, and was wondering if her experience had merit, and if it would be beneficial to share it with others. At that time, she did not know that I was an editor, or of the existence of Rescripted. When I had read the entirety of her story, I was appalled. What captured me about Robin’s testimonial is that it is a story many of us have lived through. Emerging into a professional theatre scene with abundant hopes and dreams, only to encounter prejudice, maltreatment, and gaslighting. The commonalities in this piece are harrowing to me, because they require us to accept that the way we have been working is not ethical. The experiences we have endured are not acceptable. This piece is a death by a thousand paper cuts. I encourage you to read it to the end. This is Part One, and you can access Part Two by clicking this link. 

This post is to share my experience, from the point of view of a woman of color, born and raised on the south side of Chicago, working at Trap Door Theatre. I have had the privilege of working at a variety of theaters in the Chicagoland area since graduating in 2017. The extra layer of education that comes with applying what you have learned in college is very helpful, but there is no rehearsal for the real world and its surprises. This is an outline of blatant neglect and unprofessionalism, the story of how a theatre company played a game with my trauma and forged an alliance with the person who violated my boundaries. The telling of how a theater company could not have your best interest at heart if it gets in the way of their power, ability to control you, and their egos. These events have taken place over the course of three years. 

I would hear about Trap Door rarely casting people of color, but I figured I had survived a predominantly white conservatory B.F.A theatre program, and a semester in Moscow, Russia. This would be an opportunity to grow in my artistry. After much contemplation, I learned that this is much bigger than myself.  I was very hurt by these circumstances, but what about future aspiring artists moving to Chicago, possibly fresh out of their collegiate career? 

I have been taught to journal my entire life, and after reflecting on my journal entries regarding Trap Door I realized something was very wrong. There has been a theme that Black women are strong and do not experience the same level of pain and trauma as other ethnicities- this is a common misconception black women face in most institutions. This is a warning to people of color, for what I am about to tell you can happen anywhere. 

From my experience, I learned that this company abused their power and my emotional tolerances. My dream with Trap Door turned out to be a nightmare, where I learned what I was willing to tolerate for my artistic passions. I have experienced deliberate gaslighting, assault, sabotage from my peers and leadership, accompanied by poor communication and malicious gossip. Continue reading “Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre”

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Playbill Article Opens Conversation About Danger, Safety and Standards for Broadway, So Why Aren’t We Talking About That?

On February 8th, 2023, playbill.com published an article by Margaret Hall, entitled “Physical Assault Vomit in the Aisles, Stalking in the Streets: Why Audience Misbehavior Has Gotten Out of Hand”.

The article consisted of interviews from Front of House staff on Broadway, whose compelling testimonies created an unignorable narrative: the culture of Broadway theatres and their patrons is unsustainable, disrespectful, and at times dangerous. It was met with immediate buzz and urgent discourse. On Friday February 10th, 2023, the article was pulled from playbill.com. It will be edited, and re-published at a later date. Below is an excerpt from the original piece: 

“Tessie, a former actor turned front of house worker, began working at a family friendly musical in the winter of 2021. Since beginning the position, they have been “spat on, shoved, had my ass slapped, and been screamed at more times than I could count.” Still, they consider themselves lucky; one of their coworkers was shoved down a staircase by an irate patron, resulting in a serious hip injury. Continue reading “Playbill Article Opens Conversation About Danger, Safety and Standards for Broadway, So Why Aren’t We Talking About That?”

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‘The Great Khan’ Muddles the Past, Present and Plot

The Great Khan by Michael Gene Sullivan is positioned to be a dynamic ensemble play that examines our troubled global history through the eyes of contemporary high schoolers. The theater immediately establishes a youthful setting with vibrant lighting and Chance the Rapper playing over the speakers. In the first scene, we meet a guarded Jayden who is shaken awake by an armed intruder, a young girl named Ant. Redtwist Theatre’s summary of this play promises that these are our two main characters. This premise is lost well within the first act, and Ant quickly becomes a background character on Jayden’s journey. Continue reading “‘The Great Khan’ Muddles the Past, Present and Plot”

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‘Enough To Let The Light In’ Creates Terror Out of Love’s Shadows

Paloma Nozicka’s two-hander script, Enough to Let The Light In, grips you from the very beginning and doesn’t let go. Director Georgette Verdin builds a deliberate pulse underneath the work, aided by Stefanie M. Senior’s spooky’ sound design and Sotirios Livaditis’ set, full of delightful tricks that drive the action forward. 

Enough to Let The Light In  is one of the tightest and most satisfying new plays I’ve seen in a long time. The economy of language and onstage movement means every action matters, even where a guest hangs their coat becomes a point of dramatic tension. It’s very hard for a story to get ahead of me, and I noticed pretty much every suspicious thing or could-be suspicious line of dialogue. Georgette Verdin directs the piece with a swift and intentional hand, with incredible attention to the details. The actors are so compelling, I forgot what I’d seen, and was shocked all over again by the discovery that my suspicions were correct! Continue reading “‘Enough To Let The Light In’ Creates Terror Out of Love’s Shadows”

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Ritual as Reclamation in ‘What To Send Up When It Goes Down’

When audience members enter What To Send Up When It Goes Down by Aleshea Harris, produced by Congo Square Theatre, we shuffle quietly into the lofted warehouse-style space. As we find our seats on either side of Lookingglass’ playing space, it feels a bit like the beginning of a wake, and in a way it is. A few cast members mill about the space, and one (Joey Stone at our performance) hands out black ribbons to wear in solidarity with Black people that have been victims to, or killed by police violence. 

At this performance, Chanel Bell announces we will be performing this ritual for Botham Jean. The performers invite the audience into a circle to begin the ritual to commemorate one of those felled by racist violence. A participant may choose not to take part in the ritual, but they just ask that you center Black voices in the space, and don’t disturb those who do choose to participate. Continue reading “Ritual as Reclamation in ‘What To Send Up When It Goes Down’”

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Drive-In To The End of The World: Preston Choi, Marti Lyons, and Regina Victor in Conversation

Preston Choi’s Drive-In To the End of the World will have a public showing presented by Sideshow Theatre Company in residence at Victory Gardens on March 25th. Directed by Sideshow Theatre Artistic Associate and Remy Bumppo Artistic Director Marti Lyons, the play is the culmination of a Sideshow Freshness Initiative that evolved into a customized residency for Choi. Dramaturg and Artistic Director of Sideshow Regina Victor interviews them on the process thus far, and the myths from history, and about ourselves, that drive the play.

Regina Victor: A digital residency is a new experience for all playwrights right now. A truly meta part of this residency is that actors, director and dramaturg will be realizing your play, but you will be in rehearsal digitally. A main theme in Drive-in is the impact on connectivity over great distances, whether they’re mental, spiritual or physical. What do you hope to learn from digitally engaging in the physical space with your collaborators? 

Preston Choi: I think it’s an interesting test of the play, what does your script offer up without your physical presence, where does the language inherently help guide the room into how it might want to be played without you whispering into the director’s or dramaturg’s ear to steer on your behalf. Obviously there are different kinds of development where one can be in active conversation throughout the process, which have been very productive and enjoyable, but I am also interested in forcing myself to tinker with the text exclusively, almost like configuring a rube goldberg machine and setting it off, and not being able to stop it even if it goes off course, but seeing it through to the end to see just how off the rails it gets, or if it makes its way back on course, or if it goes into a unexpected but exciting direction. Being a digital presence makes that a far more achievable and practical method of testing, or rather observing, at least for how my life is functioning at the moment.

RV: Marti, can you tell us what it was like to evolve from a facilitator for the play into its director? What it was like to build this play with Preston through this digital process, inside of this non-traditional structure?  

Marti Lyons: It was super exciting to be part of a playwright-led exploration and to get to work with Regina as dramaturg, and Preston as playwright. Regina and Sideshow, y’alls way of finding out how to support the project and the process in a way that doesn’t necessarily fit a formula. So figuring out what does this play, this playwright really need, and letting that dictate the steps instead of some predictable metric. I was also super excited to be asked to direct because I think Preston’s play is amazing and I really dig Preston’s voice as a writer. So to move from one role to another I felt really informed about the initial work on the process, and also excited to be engaged in a more direct way. The digital process affords us a lot of opportunity for continued development over a longer period of time, and I really appreciate that. Certainly there are also challenges within that structure but I think it’s really helpful for long term collaborations, and that is something that is not always possible otherwise so I’m grateful for that.

RV: And Preston, how has the play grown during this residency? Or, What is a discovery about the piece that really excited you?

PC: I think the play has grown, and in a large way my understanding of it and how much I still have yet to understand with every new bit we gain, the breadth of what it’s touching on is never fully in grasp, but in a fun way. From icon/brand commercialism, late stage capitalism, social media personalities, and expanding the list of cryptids and mythologies, so much has come into the mix since it’s initial inception. The play itself feels like a tip of an iceberg above the water, and everything that informs it, all of the conversations over google meet and zoom, and verbatim notes written in notebooks, have just grown, in a way that is wholly invisible to anyone outside the process, and I hope to get more and more of it above water over time. It’s definitely gotten more grounded, to support some of the fantastical leaps, and playing more with genre, and when genre falls apart or decays into another genre.

RV: Marti, what excites you the most about the play, and Preston’s work? 

ML: I think Preston’s work has an element of danger but is also very funny, and lives in that sweet spot where comedy and horror overlap, which is in tension building into moments that are funny or gasp-worthy, or scream-worthy. That is really thrilling to be a part of, and also really joyful and invigorating to develop.

RV: So Preston, If you had advice for artistic directors trying to create Playwright centered development what would you tell them?

PC: I think there’s a balance between flexibility and rigidity, finding the blend of both that works for the playwright and the team/organization. The adaptability to adjust with whoever is being collaborated with. Having it be not so formless where things feel intangible and nothing nailed down but also not so controlled where things feel like one is being processed on a factory line. I also think reaching out to check on the play and the playwright when things are going great and when things feel like pulling teeth, that consistency of taking a moment to catch up and connect can be really reassuring, especially when it’s over an extended amount of time.

RV: From my perspective, one of the play’s engines is mythology and the ways we contextualize and create our fears. So I have to ask: what is your favorite scary legend or story, in any medium?

PC: I think one urban legend that I find fascinating, that originates from Korea, is “fan death”. If you sleep in an enclosed room, windows shut, doors closed, having an electric fan on could kill you in your sleep, suffocating you. Very human versus technology, but in such a mundane way, not falling from the ceiling and slicing your head off, or one close to your face blowing a fuse, catching fire and burning you, it’s just sitting there slowly depriving you of breath. I’m a big fan of fans, especially when trying to fall asleep, so I’m very grateful to not yet be a victim to this myth.

ML: Certainly one of my favorite scary stories is the girl with the ribbon around her neck, where when the ribbon is removed her head falls off.. Ugh such a good one.

RV: Finally Marti, why should folks come see this reading?

ML: Folks should come see this reading because Sideshow is on the cutting edge of whatever is next for this industry. I think Sideshow is a company of innovation, and vision. Preston’s work is exhilarating, playful, captivating and off-kilter, and requires heightened tone and style, and all the juicy things that as an artist you want to sink your teeth into, and as an audience member you get to lean in and enjoy. I just think Sideshow makes the kind of storefront that you can’t wait to see what y’all are gonna do next. Preston’s work certainly fits that M.O. You will be on the edge of your seat with laughter, it thrills. 

 

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King James Scores Big Like Lebron at Steppenwolf Theatre

 

Rajiv Joseph’s King James directed by Kenny Leon opened last night at Steppenwolf Theatre to a rocking auditorium. It’s my first time attending an opening under the new artistic directors Audrey Francis and Glenn Davis. It’s only my second time attending an opening of this scale for a production I haven’t worked on since the pandemic took root. I mention this because the theater had an air of a championship game, some dressed in their best jerseys, others their best faux furs. The audience came for an event, and King James delivered. 

The play’s title is inspired by LeBron James, arguably the greatest basketball player of all time, who just set a career record of 30,000 career points on March 13th, during opening night of this production. (!!!!) 

As you step into the Downstairs theater, DJ and actress Khloe Janel is setting the vibe, spinning records in the box seats. The audience is rocking to 2000s hits preshow, singing Usher’s “Yeah!” to each other and waving at friends, invoking the spirit of attending a game more than a play. As the DJ winds down her set, the entirety of Marvin Gaye’s National Anthem washes over the audience (sound by Rob Milburn & Michael Bodeen). Lights come up on Matt (Chris Perfetti, Abbott Elementary) alone in a wine bar, Le Cafe Du Vin. He is sitting on the counter, crumbling a piece of paper into a ball. He makes an aspirational shot at the trash can and misses. Shoot, miss, shoot, miss. Finally he brings the trash can on the counter to make the shot – as Shawn (Glenn Davis) enters.  Continue reading “King James Scores Big Like Lebron at Steppenwolf Theatre”