Illinois

An interview with Liza Ann Acosta, resident dramaturg at Urban Theater Company, about her recent work on three Puerto Rican plays.

Rachel Bykowski looks at Dana Lynn Formby’s American Beauty Shop and Kristiana Rae Colón’s good friday and asks: is it possible for women playwrights to tell truthful stories of the female experience and male oppression when men hold the majority of leadership positions in the American theatre?

Laura Lodewyck interviews director Ricardo Gutiérrez about his production of Mando Alvarado’s Parachute Men, produced at Teatro Vista as part of the LTC’s El Fuego initiative.

Irma Mayorga and Olga Sanchez introduce a new initiative from the Latinx Theatre Commons championing scholarship around new Latinx plays.

Playwright Carlos Murillo writes about how he and Adventure Stage Artistic Director Tom Arvetis created an original play for and about the young people of Chicago’s West Town neighborhood.

Isaac Gomez, Director of New Play Development at Victory Gardens, shares the engagement programs around their production of Marcus Gardley’s The House That Will Not Stand.

Leigh Bienen on the Goodman Theatre production of 2666 which adapts Roberto Bolaño’s nine-hundred and something page novel for the stage.

Neena Arndt writes about new strategies the Goodman is testing to give audience members information about shows before they arrive at the theatre.

Priscilla Page on Ricardo Gamboa and Sean James William Parris’ Space Age at Free Street Theater in Chicago, Illinois.

Following a series of casting controversies in Chicago, Tlaloc Rivas offers counsel and perspective to Latinx actors while calling out theatres that practice whitewashing.

Sarah Matusek talks to Playwright Carlos Murillo about his trilogy the Javier Plays, inspired by the life and work of the late Javier C.

Tom Arvetis, Producing Artistic Director of Adventure Stage in Chicago and playwright-in-residence Carlos Murillo discuss their participation in the Andrew W. Mellon Foundation’s National Playwright Residency Program.

Neal Reynolds discusses how a play's subject matter may increase the potential for an abusive production process.

Chicago-based theatre practitioner, Amber Robinson, reflects on the polyphonic nature of The Goodman Theatre’s adaption of Roberto Bolaño’s novel 2666 and other multi-narrative theatrical works.

Madeline Easley describes how an assignment inspired her to create a platform where people can share stories and write monologues.

Andrew Bailes on the critical reception of The Bachelors, written by Caroline V. McGraw and directed by Erica Weiss in Chicago, Illinois. 

Chicago-based theatre practitioner Brent Eickhoff considers learning to cope with rejection in a positive manner.

Regina Buccola discusses Ed Proudfoot’s Chewing on Beckett, a contemporary reimagining of Samuel Beckett’s Waiting for Godot with an all-female cast. 

How Chicago’s theatre community is seeking to address sexual harrassment in theatre.

Alice Stanley talks about what she learned teaching high school students in underserved communities in Chicago.