Tag: Tanya Saracho

Review: Fade (Teatro Vista and Victory Gardens Theater)

Sari Sanchez stars as Lucia in Fade by Tanya Saracho, Teatro Vista            

         

Fade

Written by Tanya Saracho  
VG Biograph Theater, 2433 N. Lincoln (map)
thru Dec 23  |  tix: $15-$56  |  more info
       
Check for half-price tickets   
     

November 29, 2017 | 0 Comments More

Review: First Look 2014 – “Hushabye” “Ironbound” “Okay, Bye” (Steppenwolf Theatre)

Billy Fenderson and Lusia Strus star in "Ironbound" by Martyna Majok, directed by Daniella Topol, part of Steppenwolf Theatre's "First Look Repertory 2014". (photo credit: Emily Schwartz)        
      
First Look 2014

Written by Tanya Saracho, Martyna Majok,
    and Joshua Conkel
Directed by Yasen Peyankov, Daniella Topol,
     and Margot Bordelon
at Steppenwolf Garage, 1624 N. Halsted (map)
thru Aug 24  |  tickets: $20   |  more info
       
Check for half-price tickets 
    
        
                   Read review 
     

August 15, 2014 | 0 Comments More

Review: Chicago One-Minute Play Festival (Victory Gardens)

  
  

OMPF - One Minute Play Festival - Victory Gardens - banner

 

New Festival Showcases Short Works by Local Artists, Sampler-style

 

by Dan Jakes and Oliver Sava

This May 15-16, Victory Gardens premiered Chicago’s first One-Minute Play Festival (OMPF), a benefit event that featured bite-sized works by an eclectic mix of prominent and upcoming local theater artists. Creator and “curator” Dominic D’Andrea originally debuted the series in New York in 2007, where it has since grown to San Francisco and Los Angeles . For its first ever stop in the Midwest, considering the event’s magnitude–50 playwrights, 10 directors, and nearly 60 actors–this year’s showcase demonstrated promising potential for an exciting annual Chicago theater institution.

That is, if it finds a stronger footing. Micro-plays are nothing new, especially in the Windy City, long-time home to the Neo-Futurists’ Too Much Light and Second City; one set the bar for two-minute plays, and the other made one-joke flash bits a sketch trademark. D’Andrea and producer Will Rogers’ OMPF also rides off the larger 10-minute play trend. Their efforts to boil down theater even further, though, prove to be fruitful–sometimes even enlightening. Below is a list of the night’s highlights.

Paper Airplane, Aaron Carter  

     
   The finest piece in the festival. A young boy expresses his anguish over his father’s looming death while tossing folded paper planes across the stage. His ability to speak is limited to the papers’ flight, leaving him choked and frustrated with each audible crash landing. In less than a minute, Carter encapsulates the panic of grief, and animates the cruel handicap children endure to express pain. Those planes approached visual poetry.

Two Vegans, Robert Tenges

     
   A couple engaged in love making–some of it hilariously acrobatic–get their kink on by dirty-talking their favorite (or to cool things off, least favorite: (“raw kale…raw kale!”) foods. At first, it’s funny nonsense. Then, after you uncomfortably internalize your own link between taste/sexual satisfaction, it’s hysterical.

A Play, Kristoffer Diaz

     
   You’re the hero in this monologue. The audience member to your right is the protagonist. Your left, the antagonist. Diaz’s simple, straight-forward instructions don’t feel like a gimmick. His inconclusive end ponders some sophisticated ideas about the broader implications of storytelling, ones that resonate long after the play’s 60 seconds are up.

The Last Walk, Lisa Dillman

     
   Sad pets are an easy go-to for emotional impact…but that doesn’t make using them any less effective. A dog reminisces about the good days with her very recently deceased owner. Confused, she brushes up against his dead body for affection…and if you don’t cry a little at the thought of that, then you’re a monster. Only a few high-pitched “aw’s” were heard in the house during an otherwise hushed fade-to-black.

Inequity, Jake Minton

     
   Penis envy comes early for two little boys (played by full-grown adults, of course) in a school bathroom: One stands proud, pants down and bare-butted at a urinal, while the other sits devastated, hiding his…well, you know. Minton makes a nice little joke about men’s biggest insecurity.

Haiku Fight, Caitlin Montanye Parrish

     
   A couple hashes out an argument by having a refereed 8 Mile-style slam, with Japanese poetry filling in for hip-hop. It’s a simple, wonderfully clever juxtaposition of the writing form’s serenity versus the needling aggravation of a relationship fight.

This Just In, Stephen Louis Grush

     
  Liberal sensibilities about prejudice get turned over on their heads when one easily dismissible stereotype gets paired with one that’s equally unfair, but–for many viewers–may hit a little closer to home. Those might sound like the makings for a didactic issues play. With the right amounts of humor and levity here, they aren’t.

Bag Thief, Laura Jacqmin

     
   A mix-up at an airport luggage carousel leads to suspicion and accusations. Jacqmin doesn’t quite know how to end her play–what she settles for lets the air out of its balloon and betrays her otherwise solid work. Up until the final seconds, though, it’s fun stuff watching two men calmly navigate each other’s logic and contemplate one another’s mind games.

Blackout, Chisa Hutchinson

      
   As the name suggests, Hutchinson’s play takes place with the house and stage lights off. Her monologue discusses nyctophobia (fear of darkness) in friendly, clinical terms. Once she starts in about the ghastly things you could be imagining, it’s hard not to nervously giggle and realize you’re an adult who’s once again–briefly–afraid of the dark.

In Not Our Finest Hour, Andrew Hinderaker

     
   You can spot a gag coming within the first few seconds of this context-free comedy. A line of actors take a swig from a water bottle and pass it on. Anticipation builds; titters slip. The fact that the punch line is exactly what you’d expect compounds the simple humor in this satisfying, straightforward piece.

Wisconsin, Andrew Hinderaker 

     
   Anyone who’s experienced the unique isolation of a rural Midwest winter can attest to the truth and melancholy spoken in this eloquent monologue. A young man describes a blackened hand rising out of the snow. Hinderaker’s vivid image is striking on conflicting levels–it’s unsettling, somber, and in its own way, serene.

Free, Zayd Dohrn

     
   A United States Marine quietly bemoans the chaos of modern war and rejects America’s authoritative façade. His speech is upsetting for all the obvious reasons, and for some less common: notably, the futility of humanitarian efforts and the false hope instilled by the military’s hierarchy.

A Short Story, Emily Schwartz 

     
   A narrator gives up on his own story, much to the protagonist’s chagrin. Schwartz’s non-story leaves the nameless hero waiting and frustrated as the nonchalant storyteller signs off on her would-be adventure. Smart, funny metatheater.

Love Play for Two Chairs, Seth Bockley 

     
   When you think about chairs having sex (though in any other context, why would you?) the word “whimsical” probably doesn’t come to mind. And yet, like an x-rated Fantasia, Bockley and director Jeffrey Stanton achieve just that. Annoyed by the noise of his enchanted furniture getting it on, an apartment owner sets out to end his two chairs’ tryst. His solution is delightfully absurd–the fact that it’s irresistibly adorable makes matters even stranger.

Unsolicited Advice for Next Year’s Fest

Now that the One-Minute Play Festival has taken its first entertaining, successful baby steps in Chicago, here’s what we at we’d would like to see from the show in its future incarnations…

A Greater Assortment of Styles:

Only a few plays in 2011 were noteworthy for really bucking traditional conventions. The message in Gloria Bond Clunie’s Falling about resilience in the face of natural disasters, for instance, wasn’t particularly moving or inspired, but her play stood out from its peers for its striking use of projections and puppetry. That left us with a question: How can the other works of 50 unique artists have looked so homogeneous? Talking animals, inner-monologues, contentless scenes and gripes about public transit bore the brunt of too many shows. No movement pieces? No one-minute musicals? Festival organizers take pride in the lack of dictated thematic guidelines for the playwrights (as they should). Still, there has to be a way to commission a more diverse body of work.

Super-titles:

Many of the short plays benefited from having the names of the shows known; some even took on new light. Dimmed houselights and tiny program font made seeing them impractical–unless you were really straining, you had to do without. An inexpensive or creative way to integrate the show names could further enrich the work.

Clear Intent Behind Curation:

Was there or was there not an intended arc to the evening? We couldn’t tell. Directors took on about 10 plays each, and their pieces were presented together in ten unique “clumps.” The order that clumps were presented in and the plays within them, though, did not have an obvious flow. Perhaps one wasn’t intended–regardless, having one might keep the night as a whole engaging.


The Chicago One-Minute Play Festival is produced as a benefit for Victory Gardens Fresh Squeezed, their alternative programming and audience engagement initiative. With a shared mission, both Fresh Squeezed and the festival aim to represent a wide and diverse range of playwrights, actors, and directors working in the great city of Chicago.

Reviewers: Dan Jakes and Oliver Sava

     
     
May 26, 2011 | 0 Comments More

Review: El Nogalar (Teatro Vista at Goodman Theatre)

  
  

A fresh, visceral update of Chekhov classic

  
  

Sandra Delgado and Christina Nieves - El Nogalar

  
Teatro Vista i/a/w Goodman Theatre presents
  
El Nogalar
  
Written by Tanya Saracho
Directed by Cecilie D. Kennan
at Goodman Theatre, 170 N. Dearborn (map)
through April 24  |  tickets: $15-$32  |  more info

Reviewed by Paige Listerud

‘”They’ve taken our Mexico. They’ve taken our days, our nights.”   –Valeria

Breakout Chicago playwright Tanya Saracho has taken Anton Chekhov’s The Cherry Orchard and planted it in contemporary Northern Mexico. Change the cherries to pecans, keep the once-wealthy family and the rigid class divisions, hang on to willful blindness to a way of life changing and you have the Silver Age of Russia all over again. One notable exception: Madame Ranevsky and her household never had to contend with the violence spawned by drug cartels vying for control of their territory. Bracingly directed by Cecilie D. Keenan, Saracho’s adept variation takes Chekhov’s premise from the frying pan and throws it directly into the fire. The result is an exciting new work that speaks with immediacy and passion to our times.

Carlo Lorenzo Garcia and Yunuen Pardo - El NogalarDunia (Yunuen Pardo) and Guillermo Lòpez (Carlo Lorenzo Garcia) maintain the house and land belonging to the once-prosperous Galvan family. Only the older daughter of the clan, distraught, anxious and overworked Valeria (Sandra Delgado), has stayed on to manage the property. Her mother Maité (Charin Alvarez) and sister Anita (Christina Nieves) have long lived up north in America, Anita attending various schools and Maité absorbed in an abusive affair with an American intellectual—a man who says “Mexican” like it’s a dirty thing. “You know he means other kinds of Mexicans,” says Valeria to her returning sister, hanging on to those little shreds of the past and class distinction that once defined her family. The past hangs on like a ghost they can’t shake and, in the past, their home played host to governors and senators. An upstairs bedroom contains a bed rumored to have held a former president of Mexico. Now, Valeria fights Dunia to keep the lights off during the day to save electricity and she desperately relies on Guillermo for physical protection and financial solutions.

Maité and Anita return to the shell of their family’s former ease and grandeur—a condition symbolically reinforced by the oversized, intricately detailed dollhouse that centers Brian Bembridge’s set design. Their friends, the old rich and influential families of Mexico, have fled. Only those too poor to leave, like Dunia and Guillermo, have stayed to endure the ravishment of their lives and futures by ongoing drug wars. Drug lords have grabbed surrounding lands and now set their claws on the Galvan’s land, which sports a once-glorious pecan orchard that Guillermo Lòpez worked in barefoot as a child.

     
Charín Alvarez and Christina Nieves - El Nogalar Sandra Delgado and Yunuen Pardo - El Nogalar
Charín Alvarez, Christina Nieves and Sandra Delgado Christina Nieves - El Nogalar

Pardo and Garcia do a brilliant job setting up the brutal and dangerous reality that informs their every action and choice. “Who would believe the news?” says Dunia about the kidnappings and slayings that are a constant occurrence, “It seems like a movie.” Lòpez tells her she talks too much and will no doubt end up dead in a ditch for it, but he himself seems ambivalent about his own tough pose. “Words are for idle people, people who don’t have to work for a living,” he mutters as he strokes a book that he longs to have the security and leisure to read and absorb, like his wealthy employer before him.

Yet, nothing heightens the dangers facing the Galvan family like mother Maité’s entrance. Here is a woman on the edge, who still dresses and acts like a jet-setter from a lost era of affluence. Alvarez subtly captures Maité’s mania and pushes it over that edge at precise moments, but never overplays it. Here is a woman with her head in the sand, with a manic faith in the belief that just acting the part of a jaded millionaire will pay her way and protect her from the losses to come. “Look at this place. It’s breaking my heart in two,” she says of the house and her dried out, untended pecan trees, yet we know she will never take responsibility for its neglect. Sandra Delgado and Christina Nieves in El NogalarStill absorbed in a vision of herself from 20 years ago, she jogs the hills in tight mini-shorts heedless of the risk she’s putting herself in.

Young Anita also returns sorely unprepared for the world she’s come home to. An adolescence spent shifting from boarding school to boarding school has left her as ungrounded and as unconnected to her culture as can be. “I’m a half person,” she complains to Valeria, having only a little grasp of Spanish and a debutante’s understanding of the world. Of the three Galvan women, only Valeria seems to have developed the capacity to survive the loss of the orchard. Delgado deftly runs the gamut of overtaxed emotions that are Valeria’s lot, whether trying to contain her mother’s excesses or get her to accept the reality of their situation. Her crowning moment comes once the place is no longer theirs and she throws the keys that she’s worn as a chatelaine at her mother’s feet.

Saracho’s reworking of Chekhov is vivid in its dialogue and visceral in the chances that it takes. Teatro Vista’s cast renders earthier performances than one will find in a delicately balanced Cherry Orchard, but nothing that isn’t absolutely appropriate to time and place. Not only does the production never veer into overwrought territory, it instead awakens us to a version of ourselves under similar conditions. What could be a more enlightening evening in the theater than that?

  
  
Rating: ★★★½
  
  

Carlo Lorenzo Garcia and Bert Matias - El Nogalar.

April 6, 2011 | 0 Comments More

About Face announces 2010-2011 Season, future plans

Artistic Director Bonnie Metzgar Announces 15th Season

 

about face logo

Including Three World Premieres, New Artistic Associates, and XYZ Festival

Celebrating the 15th anniversary of About Face Theatre, it looks like Artistic Director Bonnie Metzgar and new Executive Director Jason Held have upped the ante for the start of their next 15 years.  Included in the upcoming season is Float by Patricia Kane, Pony by Sally Oswald and The Homosexuals by Phillip Dawkins, are their second annual XYZ Festival of New Works

 

 

 

 

About Face is excited to roll out our 15th anniversary with a season that examines individuals at the precipice of change,” says Bonnie Metzgar. “As our organization and society at large both make pivotal choices, this season looks at the risks and exhilarating possibilities available to us in periods of transformation.

 

October 2010

XYZ Festival

The XYZ Festival will introduce Chicago audiences to the most innovative LGBTQA artists and artworks at all stages of development. Presented over the month of October, projects will include a workshop production of TINY ROOMS by Carson Kreitzer, and new works from AFT About Face Artistic Associates Tanya Saracho and Patrick Andrews, as well as a performance lounge series featuring AFT Artistic Associate Dan Stermer’s performance art/dance trio Double DJ, curated by AFT Marketing Director Jane Beachy. From the hundreds of scripts received for the XYZ Readings Series, four new plays by acclaimed emerging playwrights round out the festival.

XYZ Logo

November 11 – December 12

Float

FLOAT, a new play written by About Face Theatre (AFT) Artistic Associate Patricia Kane and directed by 500 Clown founder Leslie Danzig with dramaturgy by Jessica Thebus. The all-female cast includes Wendy Robie, Adrianne Cury, Peggy Roeder, Rengin Altay and AFT Artistic Associate Amy Matheny. FLOAT will run from November 11 – December 12 at Theater Wit (1229 West Belmont).

 

April-May 2011 

Pony

 

In April/May, About Face Theatre will present the world premiere of PONY by Sally Oswald, a play inspired by Georg Büchner, at the Chopin Theatre. Directed by Bonnie Metzgar, PONY will be featured as part of The Woyzeck Project, a city-wide festival hosted by About Face Theatre, The Hypocrites, and Collaboraction in which artists around the city will produce hybrid works inspired by the classic anti-war play. Set near the location of the famous murder scene in Woyzeck, PONY is a tale of shifting gender roles and the dangers of obsessive love.

 

June/July 2011

The Homosexuals

About Face Theatre will conclude its season in June/July with The Homosexuals by Chicago playwright Phillip Dawkins, starring Patrick Andrews at Victory Gardens Studio. The Homosexuals presents the interwoven lives, friendships, and relationships among six homosexual men over six years. Set at present time in a Midwestern city, Dawkins’ comedic and heartbreaking work examines the fears, doubts, and hope among the gay community in a 21st century perspective on the queer classic, The Boys in the Band.

About Face Theatre’s 15th Anniversary Season exemplifies how far the LGBTQ community has come from being defined by one issue to being seen as complex. In our 15 years, AFT has given voice to that changing dialogue around issues facing the queer community. As we move forward, we understand the need to bring the conversation around sexuality and gender to all people,” says Executive Director Jason Held.

 

 

 

August 11, 2010 | 0 Comments More

REVIEW: Our Lady of the Underpass (16th Street Theater, with Teatro Vista)

A compelling story, no matter what you see

 

OurLadyprodphotosmall

 
16th Street Theater (with Teatro Vista) presents
 
Our Lady of the Underpass
 
Written by Tanya Saracho
Directed by Sandra Marquez

at 16th Street Theater, 6420 W. 16th Street, Berwyn
(map)
through May 1 (more info)

By Catey Sullivan

Roughly mid-way through Our Lady of the Underpass, a disgruntled jogger played by Chris Cantelmi goes off on the “retards”  fucking up  his Fullerton Avenue running route as they gather to pray at the titular image.

“These Catholics,” he snarls, adjusting his scrotum through his expensive running gear, “They’re like, ‘Look at my grilled cheese! It’s Jesus! Call a press conference!”

If there’s a more authentic archetype of urban assholery on stage this month, we’d be surprised. With a wad of chewing gum and the ugly air of entitlement peculiar to 20something boys with a full head of hair and a Gold’s Gym physique, Cantalemi captures in full the egoism and the cluelessness of  fellow that’s all too recognizable.

Juan Gabriel Ruiz (photo credit: Art Carillo) He’s but one in the vivid, vibrant parade of characters that people Tanya Saracho’s docudrama centering on the image Obdulia Delgado discovered on the Fullerton Avenue underpass five years ago this month. Directed by Sandra Marquez (who helmed the same cast in last year’s world-premiere of Our Ladyat Victory Gardens), this joint Teatro Vista16th Street production offers an alternately tragic, comic, and provocative examination of faith and skepticism in Chicago.

Saracho spent months, tape-recorder in hand, at the underpass many claimed was a sacred spot after an image of the Virgin Mary (or was it a salt stain?) appeared. As the candles, flowers and petitions accrued, she interviewed the pilgrims who flocked to visit the manifestation of the Virgin Mary -  as well as those who insisted it was a bad patch job.  Our Lady captures the depth and breadth of both the spiritual and the cynical in six, captivating monologues. The disparate (and often desperate) stories are so wholly compelling, it becomes easy to overlook Saracho’s formidable powers as a reporter. At the underpass, complete strangers unburdened  their darkest secrets to her – hopes, hurts and emotions that, in many cases, they had never uttered aloud. If the playwriting thing doesn’t work out for Saracho, she’s surely got a career as an investigative journalist.

In contrast to Cantelmi’s masterstroke as the quintessential tool, Our Lady presents Suzette Mayobre as a Huppie (an upwardly mobile Latina) inexplicably shuddering through a complete breakdown in pink monkey pajamas and Uggs. Her story of a fairy tale relationship (“It was like we were trapped in an ad for a cruise”) that suddenly, literally turns to shit is as hilarious as it is upsetting. If doesn’t matter if you can’t directly relate to the plight of a woman whose perfect boyfriend takes an unforeseen  scatological swerve. Anyone who has ever  been forced to deal with the unthinkable  – and gone a little crazy trying to do so – will recognize themselves in this  moving, tragically funny portrait.

Equally compelling is Gabriel Juan Ruiz as Tony, Elgin resident, aspiring deacon and self-appointed guardian of the Underpass.  Ruiz creates a marvelous trajectory from soft-spoken reason to feral, screaming misogyny  in the space of a single monologue. Women are god’s creatures, Tony rhapsodizes with the gentle, doe-eyed wonder of a lamb -  until (and here, Ruiz captures the distilled essence of bug-eyed mania) they turn into the “beast of the Revelation.”  With Tony’s parting words, Ruiz’ unleashes a neediness that’s downright scary: “I’ve been on television four times!” He yells, and in that frenzied distress, one gets the sense of a desperation that’s almost sociopathic.

underpass1 On the other end of the spectrum is Charin Alvarez, as La Tia, the aunt of a severely disabled boy who is the love of her life. Her story unfolds in the self-effacing tones of a woman who has always put herself a far distant second behind anyone else she might encounter, from immediate family to factory co-workers. Recalling a  transnational Monterrey-to-Chicago love story, the family reunion that upended her life and her abiding devotion to a child not apt to live past one more birthday, Alvarez speaks with a melodious, near-hypnotic tone that is both her artistic signature and the voice of a unique character. It’s a sad, lovely and powerful story.

The one piece in Our Lady that does not work quite so well this time around is the nurse’s tale, the narrative of a Polish-American RN whose bitter recollections of growing up the daughter of a cleaning lady have shaped her angry world outlook. Amanda Powell – the sole newcomer to the cast since it’s premiere last year – leans too hard on the trash-talking vitriol, giving the piece an unvarying rage that doesn’t allow for an emotional arc.

That, however, is largely a quibble –  our sense is that the nurse’s mono-rancor will settle into more varying depths as the run continues.

Between the monologues, Saracho places brief choruses of prayer to Our Lady of the Underpass, of The Botanica that Also Sells Phone Cards, of the Puerto Rican Day Parade, of Affordable Duplexes and all the other causes the Virgin takes on as Fullerton Avenue becomes a shrine. The scenes play out on Brian Sidney Bembridge’s startlingly accurate replication of the underpass and the image on it. Mike Tutaj’s projections of flickering candles, graffiti and shimmering auras instill the piece with both a sense of mysticism and the harsh urban reality of disfigured concrete. No matter what you see as you gaze on the Underpass, Saracho’s story of its power is compelling.

 
Rating: ★★★
 

     
April 3, 2010 | 0 Comments More

Review: Teatro Luna’s “Lunitic(a)s”

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Teatro Luna presents:

Lunitic(a)s

Directed & Developed by Tanya Saracho
thru December 20th (ticket info)

reviewed by Aggie Hewitt

Teatro Luna (Chicago’s only all Latina theatre company that produces a full season)’s Lunitic(a)s is a montage of scenes, vignettes and songs, which explore woman’s “everyday insanity” using the conceit of Mayan lunar mythology. It’s a great concept paired with a sophisticated execution that does not dwell in the academic or the poetic but manages to keep both feet planted firmly in the real. The piece features some of the most honest performing I have seen in the city, with talented and vibrant young actresses who rarely if ever take a misstep. Although the show has structural problems, stemming from cramming most of the darker pieces into the last third of the show, the play still maintains a grace and dignity that does not verge on the pretentious.

currently_21 A collaborative, original performance piece about the everyday struggles of womanhood is a risky undertaking today, just as it was in 2007 when Teatro Luna first staged Lunitic(a)s. The concept of the show has an academic feel to it; it is so empowering to it’s actresses, so quietly reverential of their lives and performances, it could pass for the culmination of freshman year at a conservatory; but the execution—writing, acting and directing is strictly professional. These women take themselves and this project seriously, and it pays off. The end result is an honest, simple and refreshing piece of theatre that has the courage to be truthful, introspective and serious when so much theater strives to stay one step ahead of potential criticism.

The play is clearly collaboratively written, with each piece tailor made for the performer. These performances are so vulnerable that you feel like you could climb on stage and join in. These women take the stage with all of the technical astuteness of a trained actor but with the relaxed self-interest of the most charming un-trained performer. They live each moment with deep and open energy that is exactly what you want to see from an all female theater company. Each actor brings her own unique worldview to the stage in this perfectly balanced ensemble. Director Tanya Saracho tempers the course, dry wit of show with graceful movements, slick blocking and crystal clear focus. Mac Vaughey’s lush and communicative lighting design is nicely paired with the elegantly conceived set designed by Dan Matthews.

header The piece is not without it’s problems. The vignettes seem to be arranged in order of darkness of subject, leaving the last third to drag and become a bit uncomfortable. By the end of the play, the audience has caught on to the possibility that a lot of these stories are autobiographical (partly because of their presentation and partly because it says so in the program) and the final third of the show is actually hard to watch. By the end of the play, the women seem broken: the worst parts of their lives have been on display. It’s so personal and dense, at times it feels more like therapy than art. Maybe it’s a choice, but it ends on a bleak view of womanhood. Which is not to say it is not affective. It’s a show that resonates and lingers for days after it’s been experienced. Go see Lunatic(a)s at Chicago Dramatists, you’d be crazy to miss it!

Rating: ★★★½

December 5, 2009 | 2 Comments More