The hallmark of a Steep production is its ability to fuse the audience to emotion. Steep chooses edgy stories. The ensemble spirals into angst-driven turmoil. The intimate theatre space forces an amalgamation of performer and audience. There is no fourth wall. It’s more like an invisible flimsy blanket. A Steep audience feels what the character feels. There is a visceral response. Usually, Steep fans react with heart-pumping anxiety. In Motortown, I had that plus a strong urge to retch.
Read the rest of my review at Chicago Theater Beat.
Filed under: Steep Theatre Company
Tags: Alex Gillmor, Alison Siple, Ashleigh LaThrop, Brandy Reichenberger, Catherine Campbell, Chicago theater, Chris Chmelik, Dan Stratton, Eddie Reynolds, Heather Piatt, Joel Reitsma, Julia Siple, Julie Allen, Katy Walsh, Kendra Thulin, Kristin Leahey, Lauren Lassus, Lee Miller, Mary Rose O'Connor, Matt Hawkins, Matthew Chapman, Peter Moore, post, Robin Witt, Samantha Umstead, Sarah Hughey, Simon Stephens, Steep Theatre