“The eight states that have passed abortion restrictions this year that could challenge the constitutional rights established by the Supreme Court in 1973 are no coincidence. In the aftermath of Donald Trump’s 2016 election to the U.S. Presidency, the stacking of SCOTUS with Justices Neil “Ideological Litmus Test” Gorsuch, and Brett “Sexual Assault” Kavanaugh is one of Trump’s few delivered campaign promises.
This is no Handmaiden’s drill. The right, having made excellent progress in shoving the nation’s wealth upward, leading us into pointless and costly wars, and disenfranchising as many brown people as possible, is coming for the white, male, patriarchal Holy Grail – Roe v. Wade. It’s a good thing the greater electorate didn’t give into Hillary Clinton’s “blackmail” about the judicial consequences of elections, right Bernie Bros and Broettes? That evil woman has been wrong about…nothing (sob – “#ImWithHer).
So what do we do now, if like me, you believe wholeheartedly that only a woman should make the ultimate decisions about her own body, but accept that the standoff that’s been brewing for over 40 years is actually coming?”
“Part of the fun in this Bohemia is that we know more than the silly and angry characters do. We think we can see the story’s ending, and can thus relax and enjoy the show. In this reimagining of Shakespeare’s work, the audience is treated to modern pop cultural breadcrumbs like a cool line dance sequence choreographed by Tommy Rapley, and a joke about the band Queen. Mr. Falls’ production and its 19-member cast invite us all the way in during the show’s second half, after holding us at paranoid arm’s length in Sicilia.
But in a bit of late-career paradigm busting, the Bard throws his audience a science fiction curveball. Or does he? A rushed, climactic ending may leave heads scratching, but after a night to sleep on it, I’ve decided that this is a good thing. Few of Shakespeare’s most famous plays end in mystery. Goodman Theatre’s production of The Winter’s Tale embraces ambiguity with gusto, offering a smartly realized and multi-dimensional realization of one of Shakespeare’s most cryptic works.”
“In recent years, Presidential Medal of Freedom winner Joe Biden found his lane. He excelled as Barack Obama’s wingman, and their productive rapport and friendship launched a thousand memes. He became America’s plain-spoken grandfather. And we all mourned with his family when 46 year-old son and former Delaware Attorney General Beau, died of brain cancer in 2015. Joe Biden outlasted the train wrecks that were his failed presidential campaigns, rebuilt the respectability of the Vice President role (after the mercurial and cruel Dick Cheney tore it to shreds) and left the White House with a 56 percent favorability rating. That should have been enough for one public lifetime.
But it wasn’t and so Joe Biden is one of 21 candidates comprising the 2020 Democratic field. At 76 years old, he is relic from another time of perceived bipartisan cooperation, of white male backroom collaboration. It is unfailingly clear to many that Biden is ill-prepared to lead a new America where Black Lives Matter and the #MeToo movement has unleashed centuries of repressed victimization into empowering, female action and leadership.”
“The global immediacy of man-made climate change, the consumptive guilt of the Baby Boomer generation and a renewed confrontation with an old, complicated love triangle. Any one of these themes is more than enough for a production that runs an hour and 45 minutes (no intermission). Steppenwolf Theatre’sThe Children is, therefore, too much in all the right ways.
Written by dynamic young playwright Lucy Kirkwood (a Fellow of the Royal Society of Literature’s “40 Under 40” initiative) and directed by celebrated Chicago theater director Jonathan Berry, The Children is the important, funny, socially conscious gut punch I didn’t know I needed.
A 2018 Tony Award nominee for Best Play, The Children opens per press materials, “on a summer evening in an isolated sea cottage in the East of England.” Due to perfectly understated work from scenic designer Chelsea M. Warren, lighting designer Lee Fiskness and sound designer Andre Pluess, this looks and sounds idyllic.
Audiences learn rather quickly, however, that the enviable bohemian lifestyle of married former nuclear scientists Hazel (Janet Ulrich Brooks) and Robin (Yasen Peyankov) is not what it seems. What we witness instead is England’s answer to Chernobyl and two of its architects. Though long retired with four grandchildren and literally vapored dreams of operating an organic farm, the couple’s individual habits communicate a suppressed culpability. Hazel, pushing 70, goes all in on the cult of salads and yoga as the keys to eternal life, as Robin retreats to their abandoned farm to bury dead animals, absorb radiation and weep in peace. Intense stuff.”
“Like so many Cub fans across the country, media personality and philanthropist Stewart McVicar first became aware of the team through the reach of television superstation WGN. However, the discovery was completely accidental. In a telephone interview, McVicar described the childhood moment that would permanently change the course of his life:
‘Whatever I was into as a kid, I was pretty passionate about it. I was a big Superman fan and loved the cartoon, which was on Channel 9 [WGN-TV] back then. I went to turn on the show one day, but it was a Cubs game instead.’
After recovering from brief disappointment, the founder of the Club 400 venue, charitable foundation and podcast found himself mesmerized by another type of superhero – one with big glasses, a microphone and a booming voice. He said:
‘All of the sudden I hear an old guy say, “There’s a drive down the line…one run is in…two runs are in, and here’s another runner coming around third…Here’s the throw…He is safe!” I wondered, “What is this guy so excited about?” Harry Caray’s passion and love for the game radiated out of the TV, and into my soul.
‘He is still my idol. When his health went downhill, it killed me. Harry loved baseball. He loved to have a good time. He was the life of the party and it changed the Cubs – and me – forever.’
“Directed by Jeff Award-winning actor Donterrio Johnson (Judas Iscariot in Theo Ubique Cabaret Theatre’s Jesus Christ Superstar), Buyer & Cellar taps into our culture’s self-hating obsession with the one percent, creating a preposterous setup that still somehow rings plausibly true.
Set in a basement curio shop, it’s here we find Alex More, (Mr. Gryder), an underemployed L.A. actor who’s taken an unusual job. He’s been hired to manage the pre-fabricated mall in the nether regions of Barbra Streisand’s Malibu estate, running the frozen yogurt machine and dusting the dolls, among other mundane tasks. The mall’s only customer is Babs herself, in need of periodic “normalcy.” And the single employee in Ms. Streisand’s land of make-believe is Alex.
The work’s title muses on the multiple meanings of ‘buyer/buying’ and ‘cellar/selling.’ For in two senses, Alex and Barbra are engaging in transactions with one another. By creditably creating a pedestrian experience for the lonely rich woman who has everything, Alex is selling Barbra more than her own goods, even as he willfully purchases the fantasy of theirs as a sustainable friendship of equals. In the cellar, Barbra Streisand walks through the souvenirs of her storied career with Alex and indulges safe opportunity to be vulnerable. The dynamic is complex and intriguing.”
“With more than 18 months to go before the 2020 American Presidential election, it’s never too soon to bemoan the media’s failure to learn lessons from its compromised 2016 campaign coverage. False equivalence is alive and well on the Internet and television airwaves. President Trump and his den of incompetents, thieves and hooligans flog Democratic Minnesota Rep. Ilhan Omar and her hotly contested remarks (we don’t need to repeat them here), cynically splicing 9/11 news coverage with her words to gin up the ignorant, misogynist, white supremacist base. Propaganda at its most rudimentary and apparently effective.
Meanwhile, the current Leader of the Free World lets his racist flag fly unabashed, creating white nationalist policies stemming from personal hatred, and we’re all supposed to pretend this is normal. The mainstream media acts as a full co-conspirator in this national gas lighting…
Another hot bed of derelict media both siderism can be found on the topic of climate change. The Green New Deal championed by the far left is “unaffordable” and it seems, more impractical than the rapid destruction of the planet and the life found upon it. SMH, you silly, hippie kids today.