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The Boston Celtics are back in the NBA Finals for the first time since 2010, facing the Golden State Warriors. But long before Thursday’s Game 1 (9 p.m. ET on ESPN), one fan decided to get a tattoo celebrating something that he felt was just a matter of time: Boston Celtics, 2022 world champions.

A huge Celtics fan, Jack Bienvenue, 18, of Wellfleet, Massachusetts, got a tattoo of a championship banner his team hasn’t even won yet. Asked about how he decided to get the ink, Bienvenue points to the bounce back the Celtics had over the second half of the season.

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“It was March 21st, the exact day. We were on a winning streak of 10 games I guess. We were rolling a bit,” Bienvenue said. “It seemed like we were finally getting the pieces together. We were finally putting the puzzle together, and I thought it seemed like (a title) was destined to happen. That this team would make a historical run to the finals, which they have, and just gotta finish the job. We got four more to win.”

Bienvenue’s friends were shocked at the ink on his left arm.

“Everyone was like, …’this guy is crazy,” Bienvenue said. “Of course, I thought it was a little crazy myself. It was definitely a shock to most of my friends.

“It was kind of a spontaneous idea, too. I didn’t even have the whole thing planned out. I was already thinking about doing something for a Boston tattoo. I knew this artist and I wanted to do it, then a just called him and said ‘I had a great idea for a tattoo, I’ll be right there after school. So I drove there. It didn’t even take me a little to convince him to put it in my arm.”

Golden State is the favorite to win the series.

It will be only the second time the Warriors and Celtics have met in the NBA Finals. The last time was the 1964 finals when Golden State was called the San Francisco Warriors and led by Wilt Chamberlain. On the other side, Boston was led by Bill Russell and coming off five titles in a row. The Celtics won that series, 4-1.

The Boston Celtics and Golden State Warriors are set to meet with the NBA championship on the line. You can catch all the action on ABC and the ESPN app.

Game 1: Thursday, 9 p.m. ET at GS
Game 2: Sunday, 8 p.m. ET at GS
Game 3: Wednesday, 9 p.m. ET at BOS
Game 4: June 10, 9 p.m. ET at BOS
Game 5: June 13, 9 p.m. ET at GS*
Game 6: June 16, 9 p.m. ET at BOS*
Game 7: June 19, 8 p.m. ET at GS*

*If necessary

Bienvenue, of course, believes that the Celtics will win this season, but not easily.

“I’ll say Celtics in 7 (games). It’s not going any less than 6 games,” he said. “It’s going to be a very fun series to watch, very competitive. Steph Curry wants to keep his legacy and Jason Tatum wants to kind of get his to start. It will be a battle for sure.”

Lucas Cunha contributed to this report.

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There was a time when I would talk to people in the U.S. about anime and I’d get one of two responses: either a slightly orientalizing over-enthusiasm, or a blank stare, usually followed by the suggestion that surely animation was for children and not serious moviegoing adults. Thankfully, that era is behind us. From all of Hayao Miyazaki’s films streaming on HBO Max to English-language live-action adaptations of shows like Death Note and Cowboy Bebop, anime has entered the cinematic mainstream. 

If there’s one quibble I have, it’s that in the U.S., with a few exceptions, it’s hard to watch anime on the big screen, where the animation has a chance to become so vivid it almost swallows its viewer. (I write this from Tokyo now, with imminent plans to see Masaaki Yuasa’s most recent film Inu-Oh at a movie theater tomorrow night.) But this month, Chicago filmgoers are lucky enough to experience not one but four genre-defining anime classics on the silver screen as part of Anime Auteurs, a series put on by Facets. 

To begin with is a Mamoru Oshii double feature, starting with his seminal 1995 film masterpiece Ghost in the Shell. A tightly wound sci-fi thriller, the film follows the story of a government agent named Major Motoko Kusanagi. It’s 2029 and she is trailing something or someone known as “the Puppet Master” that infects humans with a computer virus. In a way, this may be both the most straightforward and the most subtle of the offerings. Oshii uses the archetypal mystery to ask questions about the nature of life—who is alive and who gets to decide? Here is a film that not only changed the course of anime but altered film as a whole; viewers may recognize sequences in the film that inspired live action classics like the Wachowski sisters’ Matrixtrilogy. (In Japanese with subtitles, 83 min.)

Following Oshii’s Ghost in the Shell is a lesser known film called Angel’s Egg. A collaboration with Yoshitaka Amano, this film sharply contrasts the narrative drive of Ghost in the Shell, dwelling instead in imagistic meditation. Awash in blue, gray, and creamy off-white, in a way the plot of this film is timeless and simple: girl meets boy. Of course, one must then factor in the foggy decrepit future setting, the mysterious egg the girl is protecting, and the questionable motives of the boy she comes across. There is also very, very little dialogue, a feature which in other films may cause confusion but in this one allows the viewer’s own imagination to roam free within the frame. (In Japanese with subtitles, 71 min.)

Of all the films on display at Facets, Masaaki Yuasa’s Mind Game is the only film I do not have prior viewing experience or a screener for, so I can’t say much except that the trailer looks incredible. (And if you’ve seen Japan Sinks: 2020 on Netflix, he directed that, so you may have an idea of the kind of precise, devastating work he’s capable of.) Mind Game also takes a simple premise—a feckless man has a crush on his childhood sweetheart—and turns it inside out. In this case, the man dies, which catalyzes a series of metaphysical transformations which Mind Game illustrates by employing several sharply contrasting types of animation. (In Japanese with subtitles, 103 min.) 

Anime Auteurs screening series
​​Ghost in the Shell: Friday, June 3, 7:30 PM
Angel’s Egg: Friday, June 3, 9:30 PM
Mind Game: Friday, June 17, 7 PM
Paprika: Thursday, June 30, 7 PM
Facets, 1517 W. Fullerton; $12 general admission, $10 Facets members; facets.org/programs/anime-auteurs

Finally, there’s Satoshi Kon’s Paprika, a poignant, heart-expanding mind-whirling film that follows a psychoanalyst who uses a device called a DC Mini to enter her clients’ dreams. There, she transforms into her alter ego known as Paprika, who must act to stop a group of terrorists who are making people go insane by twisting their dreamscapes. (If the story sounds familiar, it may be because Christopher Nolan’s Inception was inspired by and/or borrows heavily from Kon’s film.) Ambitious, fast-paced, endlessly entertaining, and thought-provoking in equal measure, Paprika helps elucidate the boundary between reality and fantasy, asking us to think deeply about the moments in our day-to-day life that are rooted in our subconscious. The film is especially bittersweet when considering it was Kon’s last full-length feature before his sudden death from pancreatic cancer, acting as a fabulist taste into what the future of animation may have held if only he had been with us for longer. (In Japanese with subtitles, 90 min.)

Taken together, Oshii, Yuasa, and Kon’s work all showcase how cutting edge animation can be, precisely because it is not bound by the dreary laws of physics. Here, in these hand- and digitally drawn worlds, timelines overlap, worlds warp, and dreams become reality. Perhaps it’s the singular power of animation and anime that, because it is not bound by the particulars of the everyday, it can ask fundamental questions of our existence through fantastic universes and provocative stories.

Read More

There was a time when I would talk to people in the U.S. about anime and I’d get one of two responses: either a slightly orientalizing over-enthusiasm, or a blank stare, usually followed by the suggestion that surely animation was for children and not serious moviegoing adults. Thankfully, that era is behind us. From all of Hayao Miyazaki’s films streaming on HBO Max to English-language live-action adaptations of shows like Death Note and Cowboy Bebop, anime has entered the cinematic mainstream. 

If there’s one quibble I have, it’s that in the U.S., with a few exceptions, it’s hard to watch anime on the big screen, where the animation has a chance to become so vivid it almost swallows its viewer. (I write this from Tokyo now, with imminent plans to see Masaaki Yuasa’s most recent film Inu-Oh at a movie theater tomorrow night.) But this month, Chicago filmgoers are lucky enough to experience not one but four genre-defining anime classics on the silver screen as part of Anime Auteurs, a series put on by Facets. 

To begin with is a Mamoru Oshii double feature, starting with his seminal 1995 film masterpiece Ghost in the Shell. A tightly wound sci-fi thriller, the film follows the story of a government agent named Major Motoko Kusanagi. It’s 2029 and she is trailing something or someone known as “the Puppet Master” that infects humans with a computer virus. In a way, this may be both the most straightforward and the most subtle of the offerings. Oshii uses the archetypal mystery to ask questions about the nature of life—who is alive and who gets to decide? Here is a film that not only changed the course of anime but altered film as a whole; viewers may recognize sequences in the film that inspired live action classics like the Wachowski sisters’ Matrixtrilogy. (In Japanese with subtitles, 83 min.)

Following Oshii’s Ghost in the Shell is a lesser known film called Angel’s Egg. A collaboration with Yoshitaka Amano, this film sharply contrasts the narrative drive of Ghost in the Shell, dwelling instead in imagistic meditation. Awash in blue, gray, and creamy off-white, in a way the plot of this film is timeless and simple: girl meets boy. Of course, one must then factor in the foggy decrepit future setting, the mysterious egg the girl is protecting, and the questionable motives of the boy she comes across. There is also very, very little dialogue, a feature which in other films may cause confusion but in this one allows the viewer’s own imagination to roam free within the frame. (In Japanese with subtitles, 71 min.)

Of all the films on display at Facets, Masaaki Yuasa’s Mind Game is the only film I do not have prior viewing experience or a screener for, so I can’t say much except that the trailer looks incredible. (And if you’ve seen Japan Sinks: 2020 on Netflix, he directed that, so you may have an idea of the kind of precise, devastating work he’s capable of.) Mind Game also takes a simple premise—a feckless man has a crush on his childhood sweetheart—and turns it inside out. In this case, the man dies, which catalyzes a series of metaphysical transformations which Mind Game illustrates by employing several sharply contrasting types of animation. (In Japanese with subtitles, 103 min.) 

Anime Auteurs screening series
​​Ghost in the Shell: Friday, June 3, 7:30 PM
Angel’s Egg: Friday, June 3, 9:30 PM
Mind Game: Friday, June 17, 7 PM
Paprika: Thursday, June 30, 7 PM
Facets, 1517 W. Fullerton; $12 general admission, $10 Facets members; facets.org/programs/anime-auteurs

Finally, there’s Satoshi Kon’s Paprika, a poignant, heart-expanding mind-whirling film that follows a psychoanalyst who uses a device called a DC Mini to enter her clients’ dreams. There, she transforms into her alter ego known as Paprika, who must act to stop a group of terrorists who are making people go insane by twisting their dreamscapes. (If the story sounds familiar, it may be because Christopher Nolan’s Inception was inspired by and/or borrows heavily from Kon’s film.) Ambitious, fast-paced, endlessly entertaining, and thought-provoking in equal measure, Paprika helps elucidate the boundary between reality and fantasy, asking us to think deeply about the moments in our day-to-day life that are rooted in our subconscious. The film is especially bittersweet when considering it was Kon’s last full-length feature before his sudden death from pancreatic cancer, acting as a fabulist taste into what the future of animation may have held if only he had been with us for longer. (In Japanese with subtitles, 90 min.)

Taken together, Oshii, Yuasa, and Kon’s work all showcase how cutting edge animation can be, precisely because it is not bound by the dreary laws of physics. Here, in these hand- and digitally drawn worlds, timelines overlap, worlds warp, and dreams become reality. Perhaps it’s the singular power of animation and anime that, because it is not bound by the particulars of the everyday, it can ask fundamental questions of our existence through fantastic universes and provocative stories.

Read More

Joel Kim Booster’s comedic talents are so vast and impressive that they were never going to be confined to just one medium. 

After studying theater at Millikin University in Decatur, Illinois, and impressing with a play at the Chicago Fringe Festival right out of school, Booster wrote and acted in storefront theater for several years. Following his strong start in the world of theater, Booster decided to try his hand at stand-up comedy after it was suggested to him by his friend Beth Stelling.

“Chicago is such a great incubator for people who want to write or perform or do stand-up. For me, it was always about finding a platform to tell a story. But I didn’t see a lot of gay comics. I didn’t see a lot of comics that were talking about things I was interested in,” Booster tells the Chicago Reader in a phone interview. 

Booster’s first stand-up performance was as the opener at a variety show fundraiser.“It was a very safe opportunity. The stakes felt low and I happened to do well that night. Then I bombed for two years as I performed all over the place.”

Booster was so eager to replicate the feeling he got from his debut gig that he never gave up. By 2014, he’d moved to New York to pursue his comedy career. In 2016, he performed a set on Conan. Soon he began writing for the acclaimed television shows Billy on The Street, Big Mouth, and The Other Two. 

This was just the beginning. This summer sees Booster move into another new medium with Fire Island, his debut feature film as a writer, which he also stars in alongside his real-life best friend, Saturday Night Live star Bowen Yang. Heavily inspired by Jane Austen’s Pride and Prejudice, the romantic comedy follows a group of best friends as they enjoy a weeklong vacation on Fire Island, the famous hotspot for queer culture that’s located just off Long Island, New York. 

“The idea came when I went to Fire Island for the first time with Bowen and I brought Pride and Prejudice with me to read. I realized how relevant Jane Austen’s observations about class and how we communicate were. Especially the very subtle ways that gay men suppress each other and separate each other into upper and lower classes. It just became very clear to me.”

Booster actually originally wrote Fire Island for television. His half-hour pilot script was passed on by Comedy Central. It was eventually accepted by Quibi, only for the short-form streaming platform to fold in December 2020, before the pilot could be shot. 

Rather than giving up on the project, Booster pivoted and turned it into a feature film. On June 30, 2021, Searchlight Pictures announced that they’d bought Booster’s script, which he had sought to make as original as possible. 

“It had become boring to me to watch movie after movie where people are dealing with coming out or homophobia,” Booster explains. “It was much more interesting to me to deal with the everyday issues that gay men face. Such as body fascism and class and how we can overcome them.”

Fire Island
R, 105 min.
Streaming on Hulu June 3.

As well as being a rom-com, Fire Island is also a celebration of friendship, insists Booster—in particular, his friendship with Yang, which was a refuge during their rise through the comedy circuit. 

“It’s a story about my friendship with Bowen and the power that comes from knowing someone inside and out,” admits Booster, who says that much of what happens in Fire Island actually happened to them. 

While Fire Island takes place around 900 miles away from Plainfield, Illinois, where he was raised by the “conservative, white, evangelical family”  who adopted him from South Korea, Booster sees it as the natural next step in his work.  

“The first several years of my work were primarily focused on how I was raised and moving beyond that. I had to explain where I was coming from and how being an Asian guy who was gay and adopted affected me as a person. Now that stuff isn’t at the forefront of my stand-up and work. It only tangentially touches on it and it’s mainly focused on my POV. I’m just so happy that I make my living doing all of this.”

Read More

Joel Kim Booster’s comedic talents are so vast and impressive that they were never going to be confined to just one medium. 

After studying theater at Millikin University in Decatur, Illinois, and impressing with a play at the Chicago Fringe Festival right out of school, Booster wrote and acted in storefront theater for several years. Following his strong start in the world of theater, Booster decided to try his hand at stand-up comedy after it was suggested to him by his friend Beth Stelling.

“Chicago is such a great incubator for people who want to write or perform or do stand-up. For me, it was always about finding a platform to tell a story. But I didn’t see a lot of gay comics. I didn’t see a lot of comics that were talking about things I was interested in,” Booster tells the Chicago Reader in a phone interview. 

Booster’s first stand-up performance was as the opener at a variety show fundraiser.“It was a very safe opportunity. The stakes felt low and I happened to do well that night. Then I bombed for two years as I performed all over the place.”

Booster was so eager to replicate the feeling he got from his debut gig that he never gave up. By 2014, he’d moved to New York to pursue his comedy career. In 2016, he performed a set on Conan. Soon he began writing for the acclaimed television shows Billy on The Street, Big Mouth, and The Other Two. 

This was just the beginning. This summer sees Booster move into another new medium with Fire Island, his debut feature film as a writer, which he also stars in alongside his real-life best friend, Saturday Night Live star Bowen Yang. Heavily inspired by Jane Austen’s Pride and Prejudice, the romantic comedy follows a group of best friends as they enjoy a weeklong vacation on Fire Island, the famous hotspot for queer culture that’s located just off Long Island, New York. 

“The idea came when I went to Fire Island for the first time with Bowen and I brought Pride and Prejudice with me to read. I realized how relevant Jane Austen’s observations about class and how we communicate were. Especially the very subtle ways that gay men suppress each other and separate each other into upper and lower classes. It just became very clear to me.”

Booster actually originally wrote Fire Island for television. His half-hour pilot script was passed on by Comedy Central. It was eventually accepted by Quibi, only for the short-form streaming platform to fold in December 2020, before the pilot could be shot. 

Rather than giving up on the project, Booster pivoted and turned it into a feature film. On June 30, 2021, Searchlight Pictures announced that they’d bought Booster’s script, which he had sought to make as original as possible. 

“It had become boring to me to watch movie after movie where people are dealing with coming out or homophobia,” Booster explains. “It was much more interesting to me to deal with the everyday issues that gay men face. Such as body fascism and class and how we can overcome them.”

Fire Island
R, 105 min.
Streaming on Hulu June 3.

As well as being a rom-com, Fire Island is also a celebration of friendship, insists Booster—in particular, his friendship with Yang, which was a refuge during their rise through the comedy circuit. 

“It’s a story about my friendship with Bowen and the power that comes from knowing someone inside and out,” admits Booster, who says that much of what happens in Fire Island actually happened to them. 

While Fire Island takes place around 900 miles away from Plainfield, Illinois, where he was raised by the “conservative, white, evangelical family”  who adopted him from South Korea, Booster sees it as the natural next step in his work.  

“The first several years of my work were primarily focused on how I was raised and moving beyond that. I had to explain where I was coming from and how being an Asian guy who was gay and adopted affected me as a person. Now that stuff isn’t at the forefront of my stand-up and work. It only tangentially touches on it and it’s mainly focused on my POV. I’m just so happy that I make my living doing all of this.”

Read More

Back in 1996, the late playwright August Wilson delivered an address at the annual conference for Theatre Communications Group, the national service organization for theaters in the U.S. Entitled “The Ground on Which I Stand,” Wilson’s speech (later released as a book) took aim at racism and Eurocentrism in American theater, particularly when it comes to funding in the arts. “Black theatre doesn’t share in the economics that would allow it to support its artists and supply them with meaningful avenues to develop their talent and broadcast and disseminate ideas crucial to its growth,” said Wilson. “The economics are reserved as privilege to the overwhelming abundance of institutions that preserve, promote, and perpetuate white culture.”

That dynamic is still present, and it also affects funding for Latino arts organizations. But on May 16, leaders in Latino arts in Chicago got together for “Quienes Somos—¡Aqui Estamos! (Who We Are—We Are Here!), the Chicago Latino Arts and Culture Summit.”

Sponsored by the Paul M. Angell Family Foundation, the summit brought together representatives from 22 local arts organizations (including the Chicago Latino Theater Alliance, the International Latino Cultural Center, the National Museum of Mexican Art, and the Puerto Rican Arts Alliance) with decision-makers in the foundation world to address the chronic issues of underfunding and other structural challenges facing them.

Wendy Mateo, co-artistic director of Teatro Vista, echoed Wilson’s 26-year-old observation during the summit by noting, “We have to work double to get a fraction of what predominantly white institutions have historically received. We are often forced to partner with these institutions because it raises our visibility or gives us the credit we need. But what happens when we partner? The larger institutions mine us for their new audiences. They don’t give us an equitable portion of the box office. They apply for our grants. They think the credit is enough. Funders, please stop redirecting funds that should go to marginalized artists through predominantly white institutions. We don’t need the credit, we need the funds.”

I checked in with Mateo, as well as Mike Angell, cofounder and director of the Paul M. Angell Family Foundation, and Carlos Hernández Falcón, executive director and founder of the Puerto Rican Arts Alliance, to get their perspectives on why the summit was necessary and what they hope the next steps will be.

Angell, whose foundation has been in operation since 2011, says, “Our performing arts program focuses primarily on classical music and theater. Several years ago, Teatro Vista submitted an application, which we funded. They were the first [of the Latino arts organizations]. So we got to know them. And not long after Myrna Salazar [cofounder and executive director of CLATA] and Carlos Tortolero [founder and president of the National Museum of Mexican Art] came to tell me about CLATA, which had formed just recently. [CLATA produces the annual Destinos Chicago International Latino Theater Festival.] And so it’s through them that we got to know more of the Latino theater companies, and it was such an eye-opener and a wonderful thing. And so we’ve been funding the Latino theaters in Chicago, most of them, for several years now.”

Angell notes that his foundation had previously held small discussion groups with Latino arts leaders prior to the pandemic. “I was speaking with a number of groups and I mentioned to them that it was my wish that arts groups would come out of the pandemic with big plans, because I was fearful that the public was too accustomed to going without live arts performances. And then I realized if I’m going to be asking others to go big, what can we do that’s big? So the idea came out in March of 2021 to expand the luncheon to a full-day event that went beyond a pleasant social gathering to something whereby the leaders of more of Chicago’s Latino arts groups could get together, network, discuss topics of interest to them.” Angell shared the idea with Audra Yokley, program officer for the performing arts at the foundation, and the summit took off from there.

The summit provided breakout sessions on “Racism and the Latino Community,” “Fundraising and Technical Support,” and “Advocacy and Media Presence.” 

For Mateo, one crucial need filled by the event was building more bridges to other organizations. “I was an independent artist for so long in this community and always looking for a place to call home,” she says. “And the way that we would create our artistic home was really by our collaboration, that we created across community with people, with artists, with different partnerships or producers. Lorena [Diaz, co-artistic director for Teatro Vista] and I both were excited in our [new] roles that we would be able to do that on this level. We want to be able to create collaborations across organizations, because if the pandemic taught us anything, it’s that we cannot survive alone. We can’t survive without our community. We can’t survive without our audience.” She adds, “I’m excited about creating solidarity, not only across multiple disciplines in the Latino community, but outside of the Latino community, creating strategic partnerships with Black organizations, uplifting them, making sure that there’s amplification of that.”

Founded by Hernández Falcón 25 years ago, the Puerto Rican Arts Alliance has provided support for music performance, studio arts training for youth, and much more, including, as Hernández Falcón notes, “an archive program that stores and researches the Puerto Rican community in the midwest, through the digitization and preservation of historical photographs from our community.” He led the breakout on fundraising and tech support.

“To run a nonprofit organization, you have to wear many hats,” he notes. “For Latino and other organizations of color, to me, it’s like three or four times more of a challenge than other mainstream institutions, because we have been just so marginalized by funders. While we’ve been receiving support by funders, over the years, you know there’s just a big gap. Much of the money that goes to the arts organizations in Chicago and throughout the country goes to mainstream white organizations.” 

Roughly a third of Chicago’s population is Latino, and it’s growing, as illustrated by data shared during the conference by Dr. Teresa Córdova, director of the Great Cities Institute at the University of Illinois-Chicago. So that makes it even more vital that arts organizations that reflect the diversity of those communities receive equitable funding.

“We’re trying to advocate and demonstrate that we’re here,” says Hernández Falcón. “And the idea here is that we need people to learn that and to dig deeper into who we are as part of the cultural fabric in Chicago, as a cultural community in Chicago. There’s two things going on here. Number one is that there are rich individuals, there are well-funded foundations who think about art as being Eurocentric, who think that is fine, right? ‘That is what I fund. That is how I am programmed. Those are my values. That’s what my heart thinks about when I fund art.’ And what we’re trying to do here is to change that mind frame and say, ‘Look, there’s a broader community out here in Chicago that’s not just the Art Institute or the Field Museum.’” 

There may be hopeful signs; the National Museum of Mexican Art received a record-breaking $8 million grant last year from billionaire MacKenzie Scott (ex-wife of Amazon founder Jeff Bezos, who has pledged to support “smaller arts organizations creating these benefits with artists and audiences from culturally rich regions and identity groups that donors often overlook.”)

And in terms of Angell’s hope that Latino arts organizations would find ways to come back big, it’s worth noting that Teatro Vista’s current production, Somewhere Over the Border, Brian Quijada’s acclaimed new musical about his mother’s trek from El Salvador to the U.S. in the late 70s, has one of the biggest budgets in the company’s history, and will be filmed as well for livestreaming later this year, so it’s accessible to wider audiences. Mateo notes that the stories of Central Americans are sometimes overlooked by people in the U.S., as are other intersectional identities. “We’re working to build solidarity amongst organizations. Blackness is alive in Latine culture. Indigeneity is alive in Latine culture, and we need to recognize that intersection.”

“Make an investment in our organizations, and you’re gonna get a bigger bang for your investment, because your funding is gonna go right into the Chicago communities,” says Hernández Falcón. “The future of our communities are the populations that exist in Chicago, and the Latino community is thriving. And we can make Chicago communities bigger and stronger by supporting the arts and in our case, supporting the Latino arts.”

Closing the House

Even as Latino arts organizations were envisioning a stronger future, one longtime Chicago company announced it was closing up shop. House Theatre of Chicago, founded 21 years ago by a group of theater grads from Southern Methodist University, made its mark with epic storytelling and physical productions, often utilizing and/or deconstructing “hero’s journey” narratives. Some of their hits included The Sparrow, Death and Harry Houdini (featuring magician Dennis Watkins, whose long-running The Magic Parlour has been at the Palmer House for several years), and The Terrible Tragedy of Peter Pan.

The Tragedy of King Christophe at House Theatre ended up being the last production in the company’s history. Credit: Michael Brosilow

In a May 31 press release, House board president Renee Duba said, “Thanks to the hard work and patience of so many—as well as the Shuttered Venue Operating Grant funding we qualified for—we were able to rise from the challenges of the initial pandemic hibernation and point the company in a new direction. . . . However, our strategic assessment looking to the future made it clear that we did not have the financial momentum or audience/donor support to continue beyond this fiscal year. We chose instead to maximize our current year programming and to honor all present commitments and partnerships with a thoughtfully planned exit from the Chicago theater scene—and a wealth of pride in what The House Theatre of Chicago has accomplished.”

Original founding artistic director, Nathan Allen, left during the pandemic in 2020, and the company, aiming to move in the direction of more diversity, brought on Lanisse Antoine Shelley in March of 2021.

Shelley produced two shows for House: The Snow Queenthis past winter, featuring Shelley’s own adaptation of the Hans Christian Andersen classic, and the just-closed The Tragedy of King Christophe by West Indian poet and activist Aimé Césaire, which focused on the story of a general-turned-tyrant in post-revolution Haiti. (Shelley was born in Haiti and adopted by parents in the U.S.) 

In a May 31 Chicago Tribune article about House’s closing, Chris Jones quotes Allen as saying, “We were a unicorn in that we operated on 70% earned income and attracted audiences who didn’t go to the theater. . . .  In many ways, that was our kryptonite. When we couldn’t sell tickets in the pandemic, we were toast. Smaller companies had a far better chance than us of making it through.”

Whether that imminent toasting was made clear to Shelley when she was brought on board is in question. Jones also quoted former company member Josh Horvath, who told him, “She brought to us a company that would be more inclusive, one that would get rid of the ‘white bro’ culture, dive into digital productions, uplift other artists outside of the theatrical realm, and foster more community outreach on the West Side of Chicago,” and expressed his belief that the board owed Shelley “an apology” for lack of transparency about the financial situation.

When I interviewed Shelley just after she took the position, she told me, “From the very beginning, from the very first interview and even in my first proposal, I told [the board] who I was. . . . Which is an artist, a woman who is passionate about diversity and inclusivity, and passionate about a global experience, because that is my perspective. That is where I will be drawing my inspiration from. And from the beginning they said, ‘Yes, we see you and we are interested in that vision.’”

Read More

Back in 1996, the late playwright August Wilson delivered an address at the annual conference for Theatre Communications Group, the national service organization for theaters in the U.S. Entitled “The Ground on Which I Stand,” Wilson’s speech (later released as a book) took aim at racism and Eurocentrism in American theater, particularly when it comes to funding in the arts. “Black theatre doesn’t share in the economics that would allow it to support its artists and supply them with meaningful avenues to develop their talent and broadcast and disseminate ideas crucial to its growth,” said Wilson. “The economics are reserved as privilege to the overwhelming abundance of institutions that preserve, promote, and perpetuate white culture.”

That dynamic is still present, and it also affects funding for Latino arts organizations. But on May 16, leaders in Latino arts in Chicago got together for “Quienes Somos—¡Aqui Estamos! (Who We Are—We Are Here!), the Chicago Latino Arts and Culture Summit.”

Sponsored by the Paul M. Angell Family Foundation, the summit brought together representatives from 22 local arts organizations (including the Chicago Latino Theater Alliance, the International Latino Cultural Center, the National Museum of Mexican Art, and the Puerto Rican Arts Alliance) with decision-makers in the foundation world to address the chronic issues of underfunding and other structural challenges facing them.

Wendy Mateo, co-artistic director of Teatro Vista, echoed Wilson’s 26-year-old observation during the summit by noting, “We have to work double to get a fraction of what predominantly white institutions have historically received. We are often forced to partner with these institutions because it raises our visibility or gives us the credit we need. But what happens when we partner? The larger institutions mine us for their new audiences. They don’t give us an equitable portion of the box office. They apply for our grants. They think the credit is enough. Funders, please stop redirecting funds that should go to marginalized artists through predominantly white institutions. We don’t need the credit, we need the funds.”

I checked in with Mateo, as well as Mike Angell, cofounder and director of the Paul M. Angell Family Foundation, and Carlos Hernández Falcón, executive director and founder of the Puerto Rican Arts Alliance, to get their perspectives on why the summit was necessary and what they hope the next steps will be.

Angell, whose foundation has been in operation since 2011, says, “Our performing arts program focuses primarily on classical music and theater. Several years ago, Teatro Vista submitted an application, which we funded. They were the first [of the Latino arts organizations]. So we got to know them. And not long after Myrna Salazar [cofounder and executive director of CLATA] and Carlos Tortolero [founder and president of the National Museum of Mexican Art] came to tell me about CLATA, which had formed just recently. [CLATA produces the annual Destinos Chicago International Latino Theater Festival.] And so it’s through them that we got to know more of the Latino theater companies, and it was such an eye-opener and a wonderful thing. And so we’ve been funding the Latino theaters in Chicago, most of them, for several years now.”

Angell notes that his foundation had previously held small discussion groups with Latino arts leaders prior to the pandemic. “I was speaking with a number of groups and I mentioned to them that it was my wish that arts groups would come out of the pandemic with big plans, because I was fearful that the public was too accustomed to going without live arts performances. And then I realized if I’m going to be asking others to go big, what can we do that’s big? So the idea came out in March of 2021 to expand the luncheon to a full-day event that went beyond a pleasant social gathering to something whereby the leaders of more of Chicago’s Latino arts groups could get together, network, discuss topics of interest to them.” Angell shared the idea with Audra Yokley, program officer for the performing arts at the foundation, and the summit took off from there.

The summit provided breakout sessions on “Racism and the Latino Community,” “Fundraising and Technical Support,” and “Advocacy and Media Presence.” 

For Mateo, one crucial need filled by the event was building more bridges to other organizations. “I was an independent artist for so long in this community and always looking for a place to call home,” she says. “And the way that we would create our artistic home was really by our collaboration, that we created across community with people, with artists, with different partnerships or producers. Lorena [Diaz, co-artistic director for Teatro Vista] and I both were excited in our [new] roles that we would be able to do that on this level. We want to be able to create collaborations across organizations, because if the pandemic taught us anything, it’s that we cannot survive alone. We can’t survive without our community. We can’t survive without our audience.” She adds, “I’m excited about creating solidarity, not only across multiple disciplines in the Latino community, but outside of the Latino community, creating strategic partnerships with Black organizations, uplifting them, making sure that there’s amplification of that.”

Founded by Hernández Falcón 25 years ago, the Puerto Rican Arts Alliance has provided support for music performance, studio arts training for youth, and much more, including, as Hernández Falcón notes, “an archive program that stores and researches the Puerto Rican community in the midwest, through the digitization and preservation of historical photographs from our community.” He led the breakout on fundraising and tech support.

“To run a nonprofit organization, you have to wear many hats,” he notes. “For Latino and other organizations of color, to me, it’s like three or four times more of a challenge than other mainstream institutions, because we have been just so marginalized by funders. While we’ve been receiving support by funders, over the years, you know there’s just a big gap. Much of the money that goes to the arts organizations in Chicago and throughout the country goes to mainstream white organizations.” 

Roughly a third of Chicago’s population is Latino, and it’s growing, as illustrated by data shared during the conference by Dr. Teresa Córdova, director of the Great Cities Institute at the University of Illinois-Chicago. So that makes it even more vital that arts organizations that reflect the diversity of those communities receive equitable funding.

“We’re trying to advocate and demonstrate that we’re here,” says Hernández Falcón. “And the idea here is that we need people to learn that and to dig deeper into who we are as part of the cultural fabric in Chicago, as a cultural community in Chicago. There’s two things going on here. Number one is that there are rich individuals, there are well-funded foundations who think about art as being Eurocentric, who think that is fine, right? ‘That is what I fund. That is how I am programmed. Those are my values. That’s what my heart thinks about when I fund art.’ And what we’re trying to do here is to change that mind frame and say, ‘Look, there’s a broader community out here in Chicago that’s not just the Art Institute or the Field Museum.’” 

There may be hopeful signs; the National Museum of Mexican Art received a record-breaking $8 million grant last year from billionaire MacKenzie Scott (ex-wife of Amazon founder Jeff Bezos, who has pledged to support “smaller arts organizations creating these benefits with artists and audiences from culturally rich regions and identity groups that donors often overlook.”)

And in terms of Angell’s hope that Latino arts organizations would find ways to come back big, it’s worth noting that Teatro Vista’s current production, Somewhere Over the Border, Brian Quijada’s acclaimed new musical about his mother’s trek from El Salvador to the U.S. in the late 70s, has one of the biggest budgets in the company’s history, and will be filmed as well for livestreaming later this year, so it’s accessible to wider audiences. Mateo notes that the stories of Central Americans are sometimes overlooked by people in the U.S., as are other intersectional identities. “We’re working to build solidarity amongst organizations. Blackness is alive in Latine culture. Indigeneity is alive in Latine culture, and we need to recognize that intersection.”

“Make an investment in our organizations, and you’re gonna get a bigger bang for your investment, because your funding is gonna go right into the Chicago communities,” says Hernández Falcón. “The future of our communities are the populations that exist in Chicago, and the Latino community is thriving. And we can make Chicago communities bigger and stronger by supporting the arts and in our case, supporting the Latino arts.”

Closing the House

Even as Latino arts organizations were envisioning a stronger future, one longtime Chicago company announced it was closing up shop. House Theatre of Chicago, founded 21 years ago by a group of theater grads from Southern Methodist University, made its mark with epic storytelling and physical productions, often utilizing and/or deconstructing “hero’s journey” narratives. Some of their hits included The Sparrow, Death and Harry Houdini (featuring magician Dennis Watkins, whose long-running The Magic Parlour has been at the Palmer House for several years), and The Terrible Tragedy of Peter Pan.

The Tragedy of King Christophe at House Theatre ended up being the last production in the company’s history. Credit: Michael Brosilow

In a May 31 press release, House board president Renee Duba said, “Thanks to the hard work and patience of so many—as well as the Shuttered Venue Operating Grant funding we qualified for—we were able to rise from the challenges of the initial pandemic hibernation and point the company in a new direction. . . . However, our strategic assessment looking to the future made it clear that we did not have the financial momentum or audience/donor support to continue beyond this fiscal year. We chose instead to maximize our current year programming and to honor all present commitments and partnerships with a thoughtfully planned exit from the Chicago theater scene—and a wealth of pride in what The House Theatre of Chicago has accomplished.”

Original founding artistic director, Nathan Allen, left during the pandemic in 2020, and the company, aiming to move in the direction of more diversity, brought on Lanisse Antoine Shelley in March of 2021.

Shelley produced two shows for House: The Snow Queenthis past winter, featuring Shelley’s own adaptation of the Hans Christian Andersen classic, and the just-closed The Tragedy of King Christophe by West Indian poet and activist Aimé Césaire, which focused on the story of a general-turned-tyrant in post-revolution Haiti. (Shelley was born in Haiti and adopted by parents in the U.S.) 

In a May 31 Chicago Tribune article about House’s closing, Chris Jones quotes Allen as saying, “We were a unicorn in that we operated on 70% earned income and attracted audiences who didn’t go to the theater. . . .  In many ways, that was our kryptonite. When we couldn’t sell tickets in the pandemic, we were toast. Smaller companies had a far better chance than us of making it through.”

Whether that imminent toasting was made clear to Shelley when she was brought on board is in question. Jones also quoted former company member Josh Horvath, who told him, “She brought to us a company that would be more inclusive, one that would get rid of the ‘white bro’ culture, dive into digital productions, uplift other artists outside of the theatrical realm, and foster more community outreach on the West Side of Chicago,” and expressed his belief that the board owed Shelley “an apology” for lack of transparency about the financial situation.

When I interviewed Shelley just after she took the position, she told me, “From the very beginning, from the very first interview and even in my first proposal, I told [the board] who I was. . . . Which is an artist, a woman who is passionate about diversity and inclusivity, and passionate about a global experience, because that is my perspective. That is where I will be drawing my inspiration from. And from the beginning they said, ‘Yes, we see you and we are interested in that vision.’”

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