korde arrington tuttle’s graveyard shift, now making its world-premiere following an initial workshop production during Goodman Theatre’s 2018 New Stages Festival, is a haunting and beautiful reflection on police brutality against Black Americans. Inspired by the legacy of 28-year-old Sandra Bland, who was found hanging in her prison cell in 2015 after being arrested for failing to signal a lane change, graveyard shift is also remarkable in its capacity for empathy and its meditation on shared humanity. graveyard shift is an undeniably brutal play, as it should be given its subject matter, but tuttle also writes his dialogue in such a poetic way that I was equally stunned by the play’s beauty.
Month: February 2020
While Donna Summer may be “Hot Stuff” when it comes to iconic songwriting and singing, SUMMER: THE DONNA SUMMER MUSICAL is a lukewarm entry in the genre of biographical jukebox musicals. The musical features many of Donna Summer’s notable hits—and this national touring cast has the talent to take them all on—but the storyline gave me whiplash. With a book by Colman Domingo and Robert Cary and direction from Des McAnuff, SUMMER careens between the major events of Donna Summer’s life at an often breakneck pace.
Paul Gordon’s musical adaptation EMMA, now making its Chicago debut at Chicago Shakespeare Theater, is lovely, whimsical, and thoroughly grounded in the Victorian England period in which Austen’s original 1815 novel is set. Under the direction of Chicago Shakespeare’s Artistic Director Barbara Gaines, the whole production has an airiness to it. Gordon’s score and lyrics seem to float up from the performers. The score exudes a charm befitting Austen’s particular kind of sly social commentary and satire. Music director Roberta Duchak ensures that the band performs the music with this same lightness of being. Scott Davis’s set design, which is sparse and flanked by billowing curtains and chandeliers that dangle from the ceiling, and Mariann Verheyen’s pastel costume designs, further inform the overall loveliness of EMMA.
Steppenwolf’s production of ensemble member Tracy Letts’s BUG is positively skin crawling, with magnificent central performances from Carrie Coon and Namir Smallwood that make the play all the more unnerving. While Letts’s 1996 play may have seemed far-fetched and ahead of its time when it debuted in the nascent days of the internet, it reads eerily prescient now. BUG’s dual exploration of paranoid schizophrenia and government surveillance becomes even more unsettling in the current digital era.
Liliana Padilla’s HOW TO DEFEND YOURSELF offers a brilliant examination of collegiate life, and, more specifically, the ways in which rape culture and the entirely real possibility of sexual assault affect university students. But what makes Padilla’s play so powerful, fascinating, and entertaining is that their playwriting never becomes preachy or pointed. By capturing the parlance and cadence of the language that college students use with acute accuracy, Padilla allows the expertly fleshed out characters to reflect on these issues in a grounded and compelling manner.