Displaying items by tag: Kamille Dawkins

Lifeline Theatre’s production of "Native Son," directed by Ilesa Duncan and adapted by Nambi E. Kelley from Richard Wright’s seminal novel, is a masterful exploration of urban naturalism. With powerful performances and an incisive adaptation, the play captures the harrowing tale of Bigger Thomas, a young Black man whose life spirals out of control in 1930s Chicago.

The adaptation stays true to the novel’s brutal honesty, portraying a world where characters are shaped and ultimately doomed by forces beyond their control. Much like Upton Sinclair's "The Jungle," the narrative of "Native Son" is driven by the crushing weight of systemic racism and economic oppression. Duncan's direction ensures that every moment of this production is charged with a sense of inevitability, creating a haunting and immersive experience.

Nambi E. Kelley’s adaptation of "Native Son" powerfully employs W.E.B. DuBois's concept of "double consciousness" by dramatizing Bigger Thomas's internal conflict and the way he is perceived by the larger society. This duality is embodied in the character of The Black Rat, who represents Bigger's internal voice, and his awareness of the limitations imposed on him by a racially prejudiced society. Through dialogues and interactions with The Black Rat, Bigger’s consciousness is split between his self-perception and the identity forced upon him by systemic racism. This dramatization underscores the psychological toll of navigating a world where Bigger must constantly reconcile his personal identity with the dehumanizing stereotypes projected onto him by the white society, highlighting the perpetual struggle and fragmentation described by DuBois.

Tamarus Harvell delivers a riveting performance as Bigger Thomas, embodying the character's internal turmoil and external pressures with raw intensity. Harvell's portrayal captures the complexity of Bigger’s emotions—from his initial bravado and suppressed rage to his ultimate desperation and fear. His interactions with other characters reveal layers of vulnerability and frustration, making Bigger a deeply sympathetic figure despite his tragic actions.

Kamille Dawkins as Hannah, Bigger's mother, brings a poignant depth to her role. Her portrayal of a woman struggling to hold her family together amid relentless poverty and systemic racism is heart-wrenching. Dawkins' performance highlights the generational despair that permeates the Thomas family, adding a layer of emotional gravity to the narrative.

Mandy Walsh’s Mrs. Dalton is a study in benevolent racism. Blind and wealthy, Mrs. Dalton represents the liberal white America that believes in charity but remains blind to the systemic injustices it perpetuates. Walsh’s nuanced performance underscores the dissonance between Mrs. Dalton’s intentions and the impact of her actions on Bigger's life.

Laura Nelson as Mary Dalton and Nick Trengove as her boyfriend Jan play their roles with a blend of naivety and rebellious idealism. Their interactions with Bigger are uncomfortable, filled with well-meaning condescension that reflects their ignorance of the harsh realities faced by Black Americans. Nelson and Trengove adeptly capture the obliviousness of privileged youth, making their characters' tragic fates feel both inevitable and avoidable.

James Lewis, portraying The Black Rat, Bigger’s alter ego, adds a layer of psychological complexity to the production. This character, representing Bigger’s internal struggle and dual consciousness, is a haunting presence on stage. Lewis’ performance is both eerie and empathetic, providing insight into Bigger’s fragmented psyche and the pervasive influence of fear and anger.

Ashli Funches excels in her multiple roles as Bessie, Vera, and Leslie, showcasing her versatility and depth as an actress. Her portrayal of Bessie, in particular, is both tender and tragic, illustrating the collateral damage of Bigger’s actions and the broader societal constraints on Black women.

Gabe Fries as Detective Britten embodies the oppressive force of the law, delivering a performance that is both menacing and emblematic of institutional racism. His interactions with Bigger are charged with tension and prejudice, making the audience viscerally aware of the systemic barriers faced by the protagonist.

Dairyon Bolden’s Buddy, Bigger’s younger brother, brings a touch of innocence and hope to the bleak narrative. Bolden’s performance contrasts sharply with the despair surrounding him, emphasizing the devastating impact of systemic injustice on the younger generation.

The set design by Regina Garcia is both functional and symbolic, creating an oppressive urban environment that reflects the entrapment of the characters. The use of confined spaces and stark lighting enhances the sense of claustrophobia and inevitability that pervades the production. The minimalistic yet evocative set serves as a constant reminder of the harsh realities of Bigger's world. I wish the pre-show had featured music from the late 1930s to better immerse the audience in the play's historical setting.

Duncan’s direction ensures that every element of the production works in harmony to deliver a powerful message about race, poverty, and the human condition. The pacing is relentless, reflecting the constant pressure on Bigger as he navigates a world stacked against him. The use of sound and lighting to heighten tension and underscore critical moments is particularly effective, drawing the audience deeper into Bigger’s harrowing journey.

Lifeline Theatre’s "Native Son" is an important piece of theater, offering a poignant and unflinching look at a society riddled with racial and economic injustices. The stellar performances and Duncan’s incisive direction make this adaptation a must-see, offering a powerful reminder of the enduring relevance of Wright’s work. In capturing the essence of urban naturalism, this production not only honors the original novel but also provokes crucial reflections on contemporary issues of race and justice.

Highly Recommended

When: Through June 30

Where: Lifeline Theatre,  6912 N. Glenwood

Running time: 90 minutes

Tickets: $45 at

773-761-4477 and www.lifelinetheatre.com

Strawdog theatre begins its 2017-2018, 30th Anniversary Season with a Chicago Premiere of Barbecue by Robert O’Hara. Barbecue is performed at Steppenwolf’s 1700 Theatre as a LookOut Visiting Company.

In Strawdog’s Barbecue, a spirited trailer trash family is having a summer barbecue with an ulterior motive in mind: they want one of theirs, Barbara, to get help for her drug and alcohol problems. The most reasonable of them came up with the perfect rehab solution and wants other siblings to chime in. Squabbling around, as they normally do, smoking, drinking and calling each other names, the siblings can’t quite agree on most things except that their sister is an embarrassment to the whole family and definitely needs an intervention. They try to be considerate too, especially since the rehab might give Barbara “freezer burn”.

Without giving away too much, let’s just say that midway through the first Act there’s an intriguing race switch. The switching back and forth between the two races adds a fascinating dimension to the story and infuses the play with another cultural language; and plus, it’s cool to watch.

When Barbara finally shows up at the barbecue, everyone’s ready, albeit with a taser to subdue her if necessary. Taking turns, they present their arguments (mostly made up stories) to their bound and gagged sister, while making interesting bets for the outcome.

Robert O’Hara has such a great way with words; his characters are hilarious and wacky, they’re a fun bunch that’s keeping it real and holds nothing back. Director Damon Kiely chose a marvelously talented cast for the play that includes Strawdog Ensemble Members John Henry Roberts and Kamille Dawkins with guest artists Kristin Collins, Celeste Cooper, Anita Deely, Barbara Figgins, Deanna Reed Foster, Abby Pierce, Terence Simms and Ginneh Thomas. Minimalist set (set designer Joanna Iwanicka, props designer Leah Hummel) is to the point and doesn’t detract from the action on stage.

Act One ends with an unexpected twist. After the intermission, there’re more twists, the order of things gets changed, and the characters are propelled to fame and fortune. Enter Hollywood, wised up Barbara, a black movie star, and the race switch now makes sense. Second act’s takeaway message: “Everything is bullshit”. After all, life is all but a stage.

Barbecue is highly recommended and is being performed through September 30th. For more show information visit www.strawdog.org.

There was so much energy when I went into The Den Theatre, which I will rightfully chalk up to Haven Theatre Company’s infectious vibe. Upon entering, patrons were greeted with ear plugs before being thrust into a cloud of fog, as though attending a rock show. Curious, yet anxious, the crowd seemed spunky and exhibited a healthy amount of excitement in simply just being present. Unique and bold, “We’re Gonna Die” is the latest Haven Theatre Company production, and it’s engaging from the word “Go”.  

“We’re Gonna Die” features a live band, riveting storytelling and even some stand up comedy as the cast share true to life experiences in order to connect with the audience on a subject that not many choose to talk about – death. Its message is direct. Despite our darkest hours and personal tragedies, we are not alone.

When the show begins, Spencer Meeks who plays the guitar, gives us a brief history of the play and how it is part of a 12-part series. With his eyeliner meticulously applied, Meeks promptly kicks off the evening with a loud beat. 

Soon after, the main singer played by Isa Arciniegas emerges. She talks about her Uncle John and the experiences she shared with him when she was younger. The band breaks out into a song and it is quickly apparent that Isa is a natural entertainer. Arciniegas’ energy is contagious as she runs back and forth on the stage. She proceeds to tell the audience a couple more stories and concludes with a moving song about the death of her father. 

Soon, everything comes together. Many people are uncomfortable with death, and to be fair, death is sad. We miss the people we lost and are swiftly enveloped with so many different emotions, first asking ourselves how something so tragic could happen to questioning the fairness in death. As Arciniegas continues to sing, she profoundly exclaims, "We're all going to die!" 

In Young Jean Lee's “We’re Gonna Die” it is somehow made okay to be comfortable with death, a point made while jamming along with the show’s kick ass drummer played by Sarah Giovannetti. "We're all going to die!" is repeated over and over as confetti pours out from the ceiling along with balloons everywhere. Simply put, the play is a true celebration of life and a reminder that we all should live each day to the fullest since - we are all going to die. 

The talented cast and team for "We’re Gonna Die" includes: Isa Arciniegas (singers), Sarah Giovannetti (band), Jordan Harris (band), Elle Walker (band), Spencer Meeks (band) and Kamille Dawkins (singer u/s). The production team for We’re Gonna Die includes: Josh Sobel (director), Abhi Shrestha (assistant director), Julie Leghorn (stage manager), Krista Mickelson (production manager), Spencer Meeks (music director), Claire Chrzan (light designer), Izumi Inaba (costume designer), Mike Mroch (scenic designer), and Jon Martinez (choreographer).

Well-directed by Josh Shobel, “We’re Gonna Die” is an interesting play that sheds light on a scary subject. It is a play that really gave me a chance to reflect, as I am sure would be true with the rest of its audience. All in all, I left smiling and excited that I went to the newly renovated Den Theatre (1335 North Milwaukee) to see this very original and thought-provoking play. I recommend checking it out while you can as it will be performed through June 4th. Tickets are priced at $18 and can be purchased at www.haventheatrechicago.com. 

It’s time for some facts, and not the fake news facts. During the Chicago theatre season of 2015-2016, 25% of shows produced had female authorship. Only 36% of plays were directed by women. Someone reading might think that 36% isn’t all that bad and maybe it’s a step in the right direction. Well, let's put these numbers in perspective. 

This was a study undertaken by Kay Kron and Mariah Schultz as part of Kron’s Master Thesis at DePaul University. These stats were part of the study that were included full Jeff eligible season of Equity and Non-Equity theaters nominated for a Jeff Award in any category during Chicago’s 2015-2016 season. What does that even mean? Glad you asked. 

That means, 52 theatres, over 250 plays, which resulted in over 4,500 data points. Now, let's put those earlier numbers into perspective. That 36% means that about 90 women directed plays. 62 out of those 250 plays produced had female authorship. Here’s a few more numbers for you: 43% of actors hired were female. 89% of costume designers were female. Stats like these are the reason, as well as the current political climate, that people are speaking up. 

Dani Bryant decided to channel these numbers, as well as the spotlight that gender equality is currently under, into the fantastic show that is Gender Breakdown. Now, before I go any further I want to say that I am a 31-year-old white male. I am the demographic. I have never experienced discrimination of any kind. 

Gender Breakdown is 10 female identified performers telling their stories of the misogyny, segregation, and overall disrespect they have experienced throughout their careers. These women bare their soles on stage trying to shed a light on what it’s really like. Not only are these women sharing their stories, but a compilation of over 200 Chicago theater artists is played throughout the show sharing stories about how they have had to deal with the misogyny and typecasting within the Chicago theater system. 

Brianna Buckley, Jazmin Corona, Kamille Dawkins, Rula Gardnier, Kate Hawbaker-Krohn, Priya Mohanty, Siobhan Marguerite Reddy-Best, Carolyn Sinon, Aimy Tien, and Mia Vivens each command the stage with powerful performances retelling their own experiences that they have had. Each performance shows that they are not just a woman, but much more. They are dancers, intellectuals, mothers, daughters, performers. Strong women who don’t need to be told who are what they are because they already know who and what they are. 

One such segment of the show that stuck with me was the retelling of casting ads. They play it as if it’s a game show where the “host” will read REAL casting calls. Then the women play along to see if they meet the “criteria.” When I say criteria, I mean the actual outlandish bullshit that some producer, casting director, or even director scribbles down for how they see the female role. Such “criteria” ranges from: seeking a middle age woman (which apparently means 26-32), a cute, but dorky girl, must be willing to perform nude, skinny (as in 105 lbs), and any other type of superficial surface level adjective or phrase one can think of. 

While being a woman within the theatre, or entertainment community overall, is hard because men are running the show, it can be equally hard when you’re a minority within the minority. Priya Mohanty, who has here MBA from Duke in case you were wondering, spoke how she is often typecast since she is from India. Or that Kamille Dawkins might be better served playing the black servant instead of the lead because it’s a part that fits her better. 

While sitting through each performance I can remember laughing during many of the sets. For instance, the casting call bit that was mentioned earlier was played with a humoristic approach. I can remember several times where my laughter turned into a sudden realization that I was laughing at the degradation these women, all women for that matter, have faced. That realization soon turned into an uncomfortable feeling. That uncomfortable feeling though was welcomed because it helped bring on empathy. I can never be able to relate to any of these women’s stories (31-year-old white male remember), but the power to get the audience to empathize with these performers is the accomplishment. To understand where their rage, sadness, optimism is coming from is the mark of something wonderful.

There is no doubt that there needs to be a massive overhaul within the entertainment industry as whole. Productions like Gender Breakdown helps show the general public what really is going on, which can then hopefully enact change within the system itself. Gender Breakdown is just one step down the long road to progress, but it’s the right step. 

Collaboraction Theatre Company’s Gender Breakdown is being performed at the Flat Iron Arts Building in Wicker Park through March 19th. For more information click here. 

*Now extended through April 1st