Redmoon Theater - Critical Reception

Critical Reception

The company has been hailed by the Chicago Tribune as “impossibly inventive” and “full of visual wit,” and described by the Chicago Sun-Times as “one of the only theaters that can keep a 2-year-old and a 50-year-old equally enchanted and filled with wide-eyed wonder.” Working outdoors in public spaces as well as in both established theaters and non-traditional venues, Redmoon blends elements of ritual and symbol, spectacular physical performance and live music with exquisitely crafted objects and machines, producing works of stunning originality that are capable of delighting non-traditional audiences and conventional theater-goers alike.

Since the first Winter Pageant in 1991, Redmoon has received public and critical acclaim for its spectacle productions that tap into the collective memory and imagination of audiences. Through its productions and events Redmoon brings audiences together for transformative experiences.

Through spellbinding original productions and a unique voice that speaks across cultural boundaries, Redmoon draws in Chicagoans like no other theater company. It has gained a national reputation for both its one-of-a-kind visual style and its civic-focused ability to build community through creating unexpected theater events in unexpected places.

Read more about this topic:  Redmoon Theater

Famous quotes containing the words critical and/or reception:

    I know that I will always be expected to have extra insight into black texts—especially texts by black women. A working-class Jewish woman from Brooklyn could become an expert on Shakespeare or Baudelaire, my students seemed to believe, if she mastered the language, the texts, and the critical literature. But they would not grant that a middle-class white man could ever be a trusted authority on Toni Morrison.
    Claire Oberon Garcia, African American scholar and educator. Chronicle of Higher Education, p. B2 (July 27, 1994)

    To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.
    Lewis H. Lapham (b. 1935)