Criticism
I've had the pleasure to write for several different publications as a theatre critic and journalist No matter the production I'm reviewing, I always think about the performance from other people's points of view, attempting to provide a rounded, nuanced opinion of the work, placed in the proper context.
Newcity Stage Chicago
From "Track 13 at Free Street Theatre"
"And yet, one last thing sticks out as wrong to me. The mere mention of the name "Sandra Bland" probably turned some people off to the show, since that makes it "political theatre." And those are the people who need to see it most. Most people who self-select to see "Track 13" probably already sympathize with the show’s message going in. So, with that in mind, I’m going to choose my words with extreme care in giving the following recommendation: If you’re looking for an easy, carefree evening at the theater, please go see "Track 13.""
Read the rest of the review here.
From "Funnyman at Northlight Theatre"
"Naturally, Chick’s past begins to catch up with him, and Wendt’s performance is well worth a viewing. But, tying back to comic constructions, the payoff isn’t as grand as one would expect. Say the play began with Chick wheeling out a large cake emblazoned with the words “do not fall into.” After plenty of antics around the cake, narrowly avoiding it, Chick trips and softly lands in it. It’s a payoff, yes—even the payoff we wanted—but wouldn’t there be more misery (and thus more comedy) if he went flying into the side of the cake, splattering frosting and crumbs all over the room?"
Read the rest of the review here.
"After all, this isn’t a play “about Katrina”—the title says as much. Narrating the stories of six people who Killebrew knew that faced the storm head on are Boo herself (the level-headed, talented Tuckie White) and her father (Joe Mack, exuding paternal concern). Boo’s father doesn’t fully understand the world of his own play—his daughter’s play, he asserts—and his attempts to explain and argue over how Boo is telling the story are the true crux of the narrative, and what makes the play feel so engagingly fresh in performance."
Read the rest of the review here.
From "The Play About My Dad at Northlight Theatre"
Scene + Heard
"If Arts Alliance wants to produce a show like Heathers that exists for the purpose of bringing audiences to a collective climax off references to a popular film that they already know, who am I to object? As I said, the show succeeds perfectly at what it sets out to do. But to call this pandering to a specific kind of audience “accessible theatre” is false advertising on a fundamental level. Because when a production cares more about the audience members whose vision is clouded by nostalgia and singer-worship, rather than the audiences whose vision is so clouded by the production’s own fog machine that I honestly couldn’t see what Veronica had done in her closet in the show’s finale for a solid fifteen seconds until the smoke cleared – this is not a production that I can access."
Read the rest of the review here.*
From "Body Count: Arts Alliance's 'Heathers'"
"The conflicting opinions from Thyona and Olympia clash constantly, escalating into an all-out assault on each other’s opinions about men and love. But this is not without affecting each other: Olympia comes around to see where Thyona’s opinions may be accurate, and Thyona has a wonderful short monologue about the anger she feels at being unable to accept the situation as Olympia often does. The performances, from Loncto and Reininga, are spellbinding. Neither extreme is presented as the one-and-only correct answer in the fight between these conflicting opinions on love, allowing the audience to draw their own conclusions right up until the play’s final, haunting monologue (which I wouldn’t dare spoil here). "
Read the rest of the review here.*
From "The Goddess Treatment: The Wirtz Center's 'Big Love'"
Scapi Magazine
HAYMARKET BY THE MINUTE: ONE DAY IN A CHICAGO STOREFRONT THEATER
"As the murmur of the audience grows, Tanner stands alone backstage with a guitar. In the dark of the wings, lit only by the dim glow of a down-facing light, she sways lightly back and forth, tuning the guitar again. At her feet are three more instruments, leaning against the wall in preparation of being picked up by the actors.
It’s a quiet moment in a tumultuous process. With all the tasks in progress before the first preview of Haymarket can begin, the corner is a secluded place where an actor can mentally prepare to embody another person for two and a half hours. "
Read the full article here.
MAKING NEW STORIES FROM OLD ONES: A PROFILE OF DIRECTOR AND WRITER DANI WIEDER
"Even when ATC closed down, the staff still provided her with support. 'The fact that [Associate Artistic Director] Sarah Slight and [Artistic Director] Will Davis reached out to me and said, ‘this is the situation, how can we make your project happen,’ is the most generous, unbelievable, overwhelming thing that’s ever happened to me.' Wieder said.
She removed her glasses as she recounted the moment—something she did often as she spoke.
'They did not have to do that,' Wieder continued. 'This is a staff in the process of losing their jobs and they’re still supporting the season that they programmed. That is remarkable.' The rescheduled workshop took place at the Prop Thtr in March 2018."
Read the full article here.
*reviews from Scene+Heard were removed from online due to a website crash, so they are linked to Google Docs on this page
