Gender parity in theater is hardly a new conversation, but the creation of Not In Our House and the Chicago Reader exposé on Profiles Theatre brought the issue to the forefront of the Chicago community last year
Ariel Freedman and Meredith Webster are an odd couple and beautiful pair. They are renowned dancers, working with the top dance companies and best choreographers in the world.
Consider the dandelion.
There’s the daffy, yellowy, flowery kind, that sprouts up in fields or from cracks in the curbside, and that children hold beneath their chin to see if they like butter (if the color reflects onto your skin, you do.)
By Kyle Whalen A Monday afternoon. I am foolishly running late, stuck in traffic at the time I’m supposed to call director Ron OJ Parson and interview him. At a stoplight, I ring him to confess I’ll be late. He picks up, a laugh already in his voice, and asks...
“I wasn’t really going to be an actor,” Bri Sudia insists. When I got a chance to interview her over the phone, she was fresh from rehearsal, stretching out after a long day at the Goodman, where she stars as Ruth Sherwood in the Mary Zimmerman-directed WONDERFUL TOWN.
LEARNING CURVE, an immersive, original show about Chicago public schools, seems a natural fit for Albany Park Theatre Project. But why now?
If you were to ask Jacqueline Stone, the new artistic director of Emerald City Theatre, why she makes theatre for young audiences, she would likely tell you about a deep-set sense of civic and artistic responsibility.