“The more you choose joy in spite of the circumstances, the better you are at honoring it, showing it, and receiving it from other people,” said Second City performer Jordan Savusa.

I spent a lot of time last week thinking about Savusa’s words, which he shared with a group of college students and instructors in Spokane, Wash., as part of the Kennedy Center American College Theater Festival’s region seven keynote speech. That’s partly because we spend a lot of time both in this newsletter and around the virtual water cooler at American Theatre’s Chicago branch talking about joy—the shows, artists, ideas, etc., that bring us or our field joy—and it was reassuring to see that theme recur some 1,700 miles away from where I’m used to having these conversations.

But it’s also because, whether he meant to or not, Savusa’s encouragement to follow joy and trust where that leads you became a de facto theme for the week for me. This was my second year attending region seven of the festival, leading its Theatre Journalism and Advocacy workshops. Now, I very much still feel like I’m learning in this business, but there’s a newly added nagging feeling at the back of my mind before leading a workshop like this—a feeling perhaps best summed up by a Tweet (Xeet?) from journalist Tulika Bose—“Is it *ethical* to be teaching journalism right now?”

Bose’s Tweet, and the follow-up replies, are mostly referring to formal training like journalism schools, programs that cost money and that are rightly evaluated on how well they prepare students for the real world of journalism. The KCACTF course doesn’t pretend to teach everything; it’s more of a chance for curious students to get some hands-on experience at reviewing and pitching articles while learning some of the ins and outs of the journalism industry.

But Bose’s underlying point remains. The journalism industry has been surrounded by its own veil of doom and gloom, despite some obvious positives like our magazine’s return to print. There are concerns every time a major outlet like the Los Angeles Times makes drastic cuts. It’s unsettling to see a slew of journalists worried they could lose years of work when an online staple like Vice threatens to simply shut down and delete everything. And that’s before getting to concerns about shrinking theatre coverage, specifically in regions across the country where culture and arts reporting can be some of the first on the chopping block at outlets looking to tighten their belts.

“Follow your joy despite the fear,” Savusa’s keynote reminds me. “Fear will always be a part of the process, but it will stop you at the wings, fill you with doubt. That’s what fear does. We all know that it wants you to see the abyss of darkness that lay ahead, but the joy is the candle that allows you to see possibility in every direction.”

Following that joy is exactly what led me to return to KCACTF for another year. We expected to have a similarly sized group this time as we did last year—around six folks in total. Instead we more than doubled that number, with 14 eager participants offering spirited conversations around works like What the Constitution Means to Me and Pass Over, both of which were performed at the region 7 festival. The excitement and genuine engagement in the idea of theatre journalism that I saw in that group is my candle, and reminder that it is journalists—both current and future generations of them—that will save this industry, if anyone will. Seeing that reminder in the eyes of 14 students had another thought from Savusa ringing in my ears: “Joy is infectious,” he said. “It brings us together.”

In that spirit, I want to share with you a few articles we published that are bringing me joy this month. First, my recent article talking to performer and Paralympian Katy Sullivan about her turn as the titular character in Chicago Shakespeare’s production of Richard III. My article, which looks at how Sullivan’s unique physicality added to this fascinating production, joined a deluge of coverage of the production, with articles ranging from Block Club Chicago to the Chicago Tribune to Chicago magazine to WTTW, all highlighting Sullivan’s venture into Richard’s story.

We also had stories highlighting a number of additional local works over the last few weeks. Amanda Finn wrote about Ma’at Production Association of Afrikan Center Theatre’s remount of Tad in 5th City, which explores Chicago’s changes after the assassination of Dr. Martin Luther King Jr. and the riots that followed. Emily McClanathan dove into the journey of the Goodman’s production of Highway Patrol, crafted from an online friendship that formed in Emmy winner Dana Delany’s Twitter DMs by Jen Silverman, Mike Donahue, Dane Laffrey, and Delany, who starred in the production. And finally, my colleague Gabriela took a wonderful look at bookstore/coffee shop The Understudy’s first full production, Hanna Kime’s The Best Damn Thing.

As I leave you, I share with you one final thought from Jordan Savusa that I hope you’ll keep in your back pocket, just as I know I will: “Follow your joy, no matter what.”

Now See This

Check out this glimpse at the world of The Matchbox Magic Flute, a new theatrical adaptation of Mozart’s opera from the mind of Mary Zimmerman. The show features a 10-person cast and a five-person orchestra as it follows Prince Tamino and Princess Pamina through adventures featuring dragons, a man who is a bird, and trials by fire and water. The acclaimed local production’s run has already been extended twice, now running through March 24.

Around Town

Gabriela catches us up on a few items you may have missed!

February marked a number of shows opening in the city, as well as key news breaking. I know they call New York the “city that never sleeps,” pero I think Chicago’s pretty close ahorita!

• Congo Square executive director Charlique C. Rolle is set to step down effective March 1. In a statement, she said, “Over four years, we navigated many transitions and a global pandemic, but it’s now time for me to rest and assess the next steps in my artistic and community building career.”
• Cleveland’s Playhouse Square has announced Karamu House as its first affiliate company. Karamu House president and CEO Tony F. Sias said, “As the oldest Black producing theatre in the nation, this alliance provides many opportunities for Karamu to expand our audience, share resources, and have an ongoing presence at the acclaimed Playhouse Square as we continue to produce theatre and events at our home in the historic Fairfax District.”
• Inspired by the film and album, stage musical Purple Rain is set for a world premiere in Prince’s hometown of Minneapolis, with story by Branden Jacobs-Jenkins and direction by Lileana Blain-Cruz. “Prince talked about adapting Purple Rain for the stage for years,” said former Prince manager L. Londell McMillan and Primary Wave Music founder and CEO Larry Mestel in a statement.
• For the Sun-Times, Jeff Johnson covered the Lyric Opera’s Champion, which chronicles the story of highly successful closeted gay boxer Emile Griffith “coming to grips with one haunting night in his life,” the lethal winning match with Benny “Kid” Paret. Composer Terence Blanchard incorporated a poignant quote from Griffith: “I killed a man, and the world forgave me. I loved a man, and the world wanted to kill me.”
• Chicago magazine’s Web Behrens sat with Champion’s fight consultant David Ortiz, who co-owns Hermosa-based boxing club The Barracks. On the rehearsal process, Ortiz said, “I’m having fun with it, man. It’s good to unplug from the actual sport and plug into the theatrics of it. It’s my first time working a bunch of actors, singers, and dancers.” On boxing, he expressed, “Today, it’s a lot more inclusive. Boxing gets a stigma for lives lost, but not enough credit for the lives it’s saved.”
• For the Chicago Reader People Issue, Kerry Reid sat with two iconic Chicago theatre artists:
  • Trouble in Mind, October Storm, and The Nacirema Society powerhouse Shariba Rivers, who officially entered acting in her 40s, offered stunning insight into her path. When her first independent film premiered, her grandmother said, “I never knew you used that kind of language… I want to tell you something. You are fulfilling my dreams. I always wanted to be an actor. But at the time that I was coming through as a young adult, the casting couch was real. And my mother would just not have me subject myself. So I gave up that dream.” Now Rivers asks her ancestors “for their permission” and help to “tell the story the way that it needs to be told,” she said.
  • Actor, co-artistic director of Gift Theatre, and founder and executive director of Chicago Inclusion Project Emjoy Gavino likes to tell young people and students, “You have to live with the consequences of not speaking up and not saying anything and not advocating for what you would have wanted. And that is sometimes more harmful than not getting the job because so-and-so wouldn’t cast you.” I appreciated her remarks on the segregated nature of Chicago and its theatremaking. On founding the Chicago Inclusion Project, she said, “Some were from storefront, some were Equity, some were Asian, Black, members of the disabled community. It was like we could all only work together during A Christmas Carol. I just thought, ‘When am I gonna just do a play with all of you that has nothing to do with magic?’”
• Raven Theatre and the Block Museum are tackling climate justice with Paul Michael Thomson’s brother sister cyborg space and an art exhibition curated by Sharmila Wood, “Actions for the Earth,” respectively. Dilpreet Raju reported on Block guest curator’s Stephanie Smith’s perspective in the Reader: “Neither art piece is going to reverse the Keeling Curve, but Smith argued it may just offer us some comfort in knowing that this is everyone’s planet to care for.”
• Kimzyn Campbell, Irene Hsiao, and Kerry Reid gave a rundown of some pieces from the 6th Chicago International Puppet Theater Festival in the Reader, from companies like including Wakka Wakka, Papermoon Puppet Theatre, Figurentheater Wilde & Vogel, Grupa Coincidentia, Manual Cinema, as well as independent artists. As they put it, “Creation myths, sci-fi, monsters, Baudelaire, and physician-assisted suicide were just some of the themes in this year’s celebration,” known for its clever technical intricacy and breadth.
• Disney Theatrical Group is planning a major new 30th anniversary tour of Beauty and the Beast, set to officially open in Chicago in July 2025, reports Chris Jones for the Chicago Tribune.
• Free Street Theater, “the oldest continuously operating off-Loop company in the city,” will expand into a larger home and revive There Is a Future / Tenemos un Futuro, which focuses on environmental justice issues. Organizers gathered to discuss this updated version of the show, as Free Street engagement manager Elizabeth Nungaray, who also co-directs There Is a Future, noted that “there is a direct connection for south-side residents between the stories Free Street puts onstage (and in the parks) and their lived experiences,” reported Reid for the Reader in her column, which also highlighted comedy company The Revival and its move from Hyde Park to South Loop.
• In a piece for the Tribune, Christopher Borelli investigated the phenomenon of “Broadway Raves,” musical theatre-filled nights out brought by dance-party promoter Ethan Maccoby. Crowds aged “millennial-ish and younger, full of casual fans, theatre kids and theatre industry professionals” are drawn in by the social media and the allure of an interactive, campy night out.
• In another Ghost Light column, Reid gave us insight into Invictus Theatre Company finding a new home at Windy City Playhouse, as well as the Fat Theatre Project’s kick-off.
• The Non-Equity Jeff Awards nominations have been announced, with coverage by Miriam Di Nunzio in the Chicago Sun-Times and by Doug George in the Chicago Tribune. At this year’s 50th anniversary ceremony, A. A. Cristi noted in Broadway World, you can make nominations for a special award “to honor the achievement of an individual or organization making a significant and lasting contribution to the Chicago theater community.”

Chicago Chisme

Every month, Jerald and Gabriela check in with Chicago/Midwest theatre artists about what’s getting them out of bed in the morning and keeping them up at night. This winter, we’re fending off the cold by holding tight to our inspirations. More below from Yao Dogbe, a powerful actor seen in Richard III and Twelfth Night at Chicago Shakespeare, and Michelle Renee Bester, who is directing the world premiere of Loy A. Webb’s Judy’s Life’s Work at Definition Theatre.

What piece of art has inspired you recently (theatre or otherwise)?

Yao: This past summer I had the pleasure of understudying an Off-Broadway play called The Doctor, written by Robert Icke. The protagonist, Dr. Ruth Wolff (Juliet Stevenson), faces a moral dilemma when she refuses to allow a priest to administer last rites to a young girl who has just had an abortion, sparking a controversial and divisive public debate. The play delves into complex issues surrounding race, religion, gender, and the power dynamics within society. 

For me, this story speaks about truth in a very alluring way. It feels that we live in a world today where the nature of truth can be complicated. As a first-generation African American man, my understanding of truth and justice stems from my life experience. This story exposes the pros and cons of cancel culture in modern society in a very beautiful and meaningful way. In an imperfect world filled with imperfect people, is there room for grace? This play pushes all these questions out into the atmosphere & forces the audience to question their own bias and/or prejudice. This is the type of artwork that truly inspires me. Theatre is an art medium for empathy, and I feel that this play encompasses that profoundly. 

Michelle: A piece of art that has inspired me recently was the Tyler Perry documentary on Prime Video. It was so motivational and inspiring because of the “push, regardless of the obstacles set before you” narrative that was told. Tyler Perry wrote, directed, starred, and produced shows for years with little to no support, but he knew it was a gift from God and he was simply being obedient to what he was to do with that gift. Now here we are and he’s one of the most successful people in the business while still opening doors for others. It’s an incredible feat, and I found myself wanting to push myself even harder to achieve goals I never thought to set for myself because they seemed intimidating or afraid of what others may have to say.

What are you most looking forward to in this upcoming year in theatre?

Yao: This summer I will have the joy of leading a two-hander as Booth in TopDog/Underdog at RoundHouse Theatre in Bethesda, Md. This play has a very special place in my heart for a variety of reasons, but I’d like to focus on brotherhood and familial ties. I was raised with two older brothers, and I must say that the love and competition that grows out of brotherhood is something that I feel very personally. As the younger brother, I would look up to my older brothers in ways that they may not have always perceived. Being younger allows a person to witness life through the lens of another person, and potentially avoid mistakes. I think younger siblings gain a unique sense of wisdom for their age. One of the things that stands out to me quite a bit is the shared memories gained from having older siblings. These memorable moments in a person’s life history helps to create a deep bond. This is where I connect with Booth as the younger brother.  

The reason I am looking forward to this production in particular is that last year I had a vision of doing a visual art exhibition for the show. My first degree is in fine arts and graphic design, and it’s been so long since I’ve shared this part of myself with the world. I’ll be creating works from the perspective of the character (Booth), using a few different mediums such as charcoal, clay, and acrylic paint. I think this will give both the audience and myself a deeper connection to the mind of the character and even the mind of a Black man. It will be vulnerable for me, but in a good way. I’ll be documenting the entire creation of the exhibition as well.

Michelle: I’m most looking forward to more original work being produced and new talent being given a chance to show that they’re capable of. I’m excited about the stories that have yet to be told finally being given a stage. I’m looking forward to my own personal growth as a writer, director, and actress this year in theatre. I want to continue to push myself and actors to do their very best while also learning about the material and themselves.

Shoot your shot. What artist or company are you dreaming of working with, or what show are you dreaming of working on?

Yao: Being a first generation Ghanaian man, I’d be lying if I said I hadn’t dreamt of playing a version of T’Challa in the multiverse of the MCU…haha.

Michelle: The Salon is a show I’m writing and will be directing at the Black Ensemble Theater this summer. It’s a dream come true for me because it will not only serve as an incredibly entertaining show that the entire family can enjoy, but also I’m able to give my sister, an entrepreneur in the beauty industry and salon owner, her flowers in real time. Black beauty is an important topic that should be discussed and celebrated, which is what I intend to do, and I am beyond excited about it!