Hello Dear Readers!
Our Season Announcement Reactions are finally here! We had received some pushback on this article, so we’d like to make our intentions clear. The Grappler is a community journal created by students and for students. This is a place where we as students can safely voice our opinions through thoughtful writing, curating, and editing. Our team of students wrote this reaction to the season announcement, because there is a continuous lack of elected student representation involved in the season decision-making process. The Grappler allows us to speak on the decisions and issues where our voices are typically not heard. We are fully aware that no artistic decisions have been made yet, and the reactions we have in no way treat the directors’ remarks as final; rather, our reactions emphasize areas of strengths and/or weaknesses in the plays. We have hope that the production-to-be will grapple with the issues we pose.
ONE LINERS - from the students at the season announcement
“I’m surprised there are such well-known plays – it’s exciting!” BFA 2 Theatre Arts
“I don’t see any queer stories highlighted. I see very gendered stories and I don’t see any Latinx stories” BFA 3 Acting
“I’m very excited about Fantastic Mr. Fox” BFA 3 Theatre Tech
“I’m really excited for The Watsons Go to Birmingham,but I wish there were more roles for black women” BFA 2 Acting
SEASON ANNOUNCEMENT REACTIONS
BLOOD WEDDING
WT1 was TBD at the time of the Season Announcement.
AS YOU LIKE IT by Liv Garcia
As You Like Ittells a story that winds its way from wrestling matches to weddings. Along the way, it manages to capture both a subversive female friendship and a love story that defies gender. Additionally, much of director Mallory Metoxen’s speech centered on the power of chosen family. As You Like Itis rife with material that’s relevant and relatable for LGBTQ+ folks, but let’s be honest: in 2020, putting a male-identified actor onstage in lipstick is no longer a statement. Because she’s chosen to present Shakespeare’s work through a specific lens, it’s now Metoxen’s responsibility (and, I hope, honor) to tell this story in a way that feels revolutionary, not simply exotic.
DANCE NATION by Nina Ryan
Adolescence! Ferocity! Dance! Pussies?
In the Spring of 2021, Stephanie LeBolt will bring Dance Nation,written by Clare Barron, to the Watts stage. Dance Nation is a powerful and comedic look at the lives of a pre-teen dance troupe as they fight for a spot at Nationals in Tampa. LeBolt’s introductory speech was filled with excitement; but that zeal was soon overshadowed by a few questionable words from the play itself, specifically the equation of vaginas, or “pussies,” with womanhood. These sentiments should be closely evaluated and challenged, not swept under the rug, as this play has the potential to open up a dialogue, not stifle one. As always, this dialogue should start long before casting begins. And remember, the pussy does not make the woman, the woman makes herself.
MARIE ANTOINETTE By Sam Kerns
The Theatre School and Marie Antoinette are planning a marvelous party coming this Fall—in the form of David Adjimi’s surreal period drama Marie Antoinette, directed by Rebecca Willingham. Adjimi describes his work as, “jagged, expressionist, and personal…a screwball tragedy”. The script exudes political poignancy, stunning visuals, trashy vernacular, and brilliant revisions of history. The combination of these dramatic elements will bring our director, actors, and designers together like never before. Dare I say, a revolutionary piece of theatre is in the making? Whether it be Willingham’s inspiring speech on the play’s behalf or the season announcement being a literal “Let them eat cake” event, the glory and glamour of the last queen of France is here. Several students voiced concerns regarding the play being written by a male, but I trust Willingham’s vision will empower and embolden the female perspective. Get ready TTS: Heads will roll.
THE REALNESS by Saskia Bakker
The Realness (A Break Beat Play) by Idris Goodwin is an epic 1990s “Hip-Hop love story” which MFA 1 director Emil Thomas will take on as his TTS mainstage debut. The Realness promises to bring some light to our cold Chicago winter with a coming-of-age story about love, class, identity, and of course: Hip-Hop. Underscored by beats, the play is a tribute to music at its very core, where, in the heart of New York City, black suburban teenager T.O. searches for rhythm and love. Along the way, he meets Prima — a badass MC — and several others who teach T.O. the importance of authenticity. The Realnesscombines two revolutionary art forms: theatre and Hip-Hop, also creating room for innovative design, especially regarding sound. It’s exciting to see how Thomas and co. will bring this “Break Beat Play” to life!
THE WATSONS GO TO BIRMINGHAM by Madie Doppelt
I must say, The Theatre School’s Playworks programming has been on a roll. The 2019-20 season was a great one, featuring complex narratives that spoke directly to young audiences, rather than down at them from above. Adapted by Cheryl West from Christopher Paul Curtis’s novel, The Watsons Go To Birminghamfollows the Watson children’s travels from their home in Flint, Michigan to their grandparents’ in Birmingham in 1963. Their family dynamic twists and turns as they navigate the challenges of growing up. The Watsons Go To Birminghamwill be Chris Anthony’s first production at TTS, bringing a fresh new voice to the old Reskin theater this fall. I can’t think of a better play to continue the TTS Playworks streak!
LUNCH MONEY by Jordan Scott Hardesty
I was politically radicalized in the fifth grade when I read Andrew Clements’s Frindle. At eleven-years-old I was enamored by the linguistic revolutionary Nick Allen who subverted the despotic English language--used against grade schoolers in spelling tests--by creating a new word for a pen: frindle. It is in this same radical chic light that Damon Kiely introduced his world-premiere adaptation of another book of Clements’s, Lunch Money. Greg Kenton will do anything to make money. He’ll even break the fourth wall if it means he’ll get another dime. But towards the end, the young Greg becomes disillusioned with the capitalism he once espoused. I think to the audience of CPS students who will come to see the play. The audience for the play will know the impact of climate change--a problem that is the result of greed--more than us. Damon Kiely’s next Playworks adaptation seeks to present these very real problems to a hopefully more empathic Generation Alpha.
FANTASTIC MR. FOX by Saskia Bakker
If you haven’t seen Wes Anderson’s Fantastic Mr. Foxor read the original book by Roald Dahl, you’re in for a treat! This funny and absurd adventure follows a group of animals that try to outwit three greedy farmers and find their place within an increasingly human world. This adaptation by David Wood is “a tale about the triumph of goodness and love” according to director Jeff Mills and is sure to win over the hearts of everyone that sees it. Also: maybe puppets? (Here’s hoping!)
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