Theatre In Chicago

In The Belly Of The Whale: Full-Body Makeover in Samuel D. Hunter's The Whale

Tue, 23 Apr 2013 12:49:03 -0500

When we first see Charlie, he gives his weight as somewhere between 500 and 600 lbs. If this were merely a few extra pounds, a few extra layers of clothing—some of them quilted or waffle-textured, perhaps—would be the solution. For localized corpulence (think Falstaff or Fezziwig), a leotard lined with foam rubber would do the trick. In Samuel D. Hunter's The Whale, however, our hero's professed goal is suicide, achieved by means of obesity-related maladies such as high blood pressure leading to congestive heart failure, making his size an important element in the play's dramatic structure.

The visual presence necessary to convey the magnitude of the threat imposed upon our would-be martyr is a challenge, even for actor and plus-size model Dale Calandra. Not only must his character's gargantuan physique be believable in every detail, but he must be ambulatory within its confines—albeit employing the aid of walkers and wheelchairs.

Costume designer Janice Pytel shares the secret of the costume dubbed "a whole-body crinoline" by one critic.

"The costume is basically a two-piece mesh suit consisting of pants with pull-on legs and a sleeveless top that zips up the back. It has a series of pockets and pouches built into it that are designed to replicate the way fat accumulates on a human body. Since it does this differently on different people, we chose a look that concentrated the extra flesh on the lower half of Charlie's body, with no padding on his arms or shoulders, and only minimal padding on his back."

What exactly is he padded with? "The stuffing is a combination of polyester beads, which provide the proper weight and sagging action when he stands or sits, and fiber-fill pillows, along with some loose fiber-fill. I worked closely with Kate Murphy at Chicago Custom Costumes, who engineered it based on my designs."

How much does the costume weigh and how long did it take Dale to become accustomed to moving in it? "The suit weighs about fifty pounds. We conducted numerous fittings before the start of rehearsals, so it was completed by the time they got onstage. Rehearsals typically last longer than actual performance, however, so often Dale would rehearse in just the top portion—that is, the back and belly part, as opposed to the legs and butt."

What kind of maintenance is required on the whole outfit? "The suit is completely washable, though it has to be unstuffed and the padding washed separately, then re-inserted. Dale needs about 10-15 minutes to get into the suit every night. He can't use the bathroom once he puts it on, but we took pains to make it as comfortable and cool as possible for him."

The critical praise lavished upon Hunter's bleak parable of sacrifice and redemption evidences the reality of Charlie's plight and the sympathy generated by his appearance for the nearly two intermissionless hours of the show's duration. Audiences will never look at a fat man in quite the same way again.

The Whale runs at Victory Gardens Theater through May 5.

Mary Shen Barnidge
Contributing Writer

2013 Non-Equity Jeff Award Nominations Announced

Tue, 23 Apr 2013 08:04:16 -0500

The Jeff Awards Committee announced 120 nominations in 25 categories of Non-Equity Jeff Awards for productions that opened between April 1, 2012, and March 31, 2013. The Non-Equity Awards honor excellence in Chicago theatres not under a union contract. Jeff judges attended opening nights of 146 productions offered by 65 Non-Equity producing organizations. The judges recommended 54 of those shows, making them eligible for Non-Equity Jeff Award nominations. Thirty-three theatre companies received nominations.

Bohemian Theatre Ensemble, with a mix of musicals and plays in their tiny Glenwood Arts District storefront, earned 14 nods, the most of any theatre company. "The Spitfire Grill," a musical journey of a young woman just released from prison into a small town, and their production at Theater Wit of "Floyd Collins," a musical about a trapped cave explorer, each garnered 5 nominations.

The 2013 nominations also recognized the strong seasons at The Hypocrites, the new Den Theatre, and Circle Theatre. The Hypocrites scored 12 nominations for three works: four for "The Mikado," their humorous adaptation of the Gilbert and Sullivan opera, four for another new adaptation of "The Fall of the House of Usher," by Edgar Allen Poe, three for "Coriolanus," their version of Shakespeare's play about the traitor of Rome in 1605, and one for "Romeo Juliet," an adaptation of the Shakespeare classic. Circle Theatre scored 11 nominations, including seven for "Reefer Madness," a musical satire of the 1936 movie, and four for "When the Rain Stops Falling," a play featuring four generations of a family from 1959 to 2039. The Den Theatre, a newly eligible theatre, had a smashing debut, with 11 nominations, including seven for "City of Dreadful Night," an atmospheric 1940's crime drama, and four for "The Quality of Life", an explosive play about loss and survival.

Blake Montgomery who adapted and performed "Charles Dickens Begrudgingly Performs A Christmas Carol. Again." at The Building Stage is the declared recipient in the Solo Performance category, and "Smokey Joe's Cafe" from Theo Ubique Cabaret Theatre (which is currently running in a transfer at The Royal George Theatre) is the declared recipient in the Production of a Revue category.

2013 nominations also reward the efforts of Non-Equity Theatres producing New Works and New Adaptations in Chicago, citing 10 total nominations for world premieres. Four nominated new plays included David Cerda's "Sexy Baby" at Hell in a Handbag Productions, Tony Fiorentino's "The Feast" at The Prop Thtr, Bill Jepsen's "Never a Bridesmaid" at Polarity Ensemble Theatre, Carla Stillwell's "Bodies" at MPAACT, and one musical, Leo Schwartz's "Under a Rainbow Flag" at Pride Films and Plays. New Adaptations recognized two City Lit Theater Company productions, "Peyton Place" adapted by Paul Edwards and "Opus 1861" adapted by Elizabeth Margolius and Terry McCabe, two productions from The Hypocrites, "Romeo Juliet" adapted by Sean Graney and "The Mikado" adapted by Graney and Kevin O'Donnell, and The Building Stage production of "Charles Dickens Begrudgingly Performs A Christmas Carol. Again." by Blake Montgomery.

The 40th Annual Non-Equity Jeff Awards Ceremony will be held on Monday, June 3, 2013, at the Park West, 322 W. Armitage, Chicago, IL. Doors open for a cash bar at 6:00 p.m., with a light buffet at 6:30 p.m., and the presentation ceremony at 7:30 p.m. Tickets are $40 in advance, $45 at the door. A group rate of $35 is available for parties of 10 or more. Festive cocktail attire is suggested, and the public is cordially invited. Tickets may be purchased online with a credit card at www.jeffawards.org or by mail with the downloadable mail-order form. For more information contact John Glover, Non-Equity Wing Chair, at nonequitywing@jeffawards.org. Follow live twitter feeds from the ceremony and behind the scenes at @josephjefferson.

The Jeff Awards has been honoring outstanding theatre artists annually since it was established in 1968. With up to 52 members representing a wide variety of backgrounds in theatre, the Jeff Awards is committed to celebrating the vitality of Chicago area theatre by recognizing excellence through its recommendations, awards, and honors. The Jeff Awards fosters the artistic growth of area theatres and theatre artists and promotes educational opportunities, audience appreciation, and civic pride in the achievements of the theatre community. Each year The Jeff Awards evaluates over 250 theatrical productions and holds two awards ceremonies annually. Originally chartered to recognize only Equity productions, the Jeff Awards established the Non-Equity Wing in 1973 to celebrate outstanding achievement in non-union theatre. The next Equity Awards Ceremony, honoring productions presented under union contracts, will be held on Monday, November 4, 2013, at the Drury Lane Oakbrook in Oakbrook Terrace.

2013 NON-EQUITY JEFF AWARD NOMINEES

PRODUCTION - PLAY
"City of Dreadful Night" - The Den Theatre
"The Cripple of Inishmaan" - Redtwist Theatre
"Flare Path" - Griffin Theatre Company
"The Quality of Life" - The Den Theatre
"When The Rain Stops Falling" - Circle Theatre

PRODUCTION - MUSICAL
"Avenue Q" - NightBlue Performing Arts Company
"The Mikado" - The Hypocrites
"Reefer Madness" - Circle Theatre
"The Spitfire Grill" - Bohemian Theatre Ensemble
"Under A Rainbow Flag" - Pride Films and Plays

PRODUCTION - REVUE
"Smokey Joe's Cafe" - Theo Ubique Cabaret Theatre

DIRECTOR - PLAY
Jonathan Berry - "Moment" - Steep Theatre Company
John Gawlik - "When The Rain Stops Falling" - Circle Theatre
Lia D. Mortensen - "The Quality of Life" - The Den Theatre
Kimberly Senior - "The Cripple of Inishmaan" - Redtwist Theatre
Ron Wells - "City of Dreadful Night" - The Den Theatre
Robin Witt - "Flare Path" - Griffin Theatre Company

DIRECTOR - MUSICAL OR REVUE
Brenda Didier - "Smokey Joe's Cafe" - Theo Ubique Cabaret Theatre
Sean Graney - "The Mikado" - The Hypocrites
Matthew Gunnels - "Reefer Madness" - Circle Theatre
Kyle Hamman - "Improbable Frequency" - Strawdog Theatre Company
David Zak - "Under A Rainbow Flag" - Pride Films and Plays

ENSEMBLE
"Flare Path" - Griffin Theatre Company
"Idomeneus" - Sideshow Theatre Company
"Jar The Floor" - eta Creative Arts Foundation
"The Mikado" - The Hypocrites
"Moment" - Steep Theatre Company
"Opus 1861" - City Lit Theater Company
"Smokey Joe's Cafe" - Theo Ubique Cabaret Theatre

ACTOR IN A PRINCIPAL ROLE - PLAY
Adam Brown (Chris) - "Long Way Go Down" - Jackalope Theatre
Sam Guinan-Nyhart (Tony) - "City of Dreadful Night" - The Den Theatre
Steve O'Connell (Coriolanus) - "Coriolanus" - The Hypocrites
Brian Parry (Johnnypateenmike) - "The Cripple of Inishmaan" - Redtwist Theatre
Jeremy Trager (Hauptmann) - "Hauptmann" - Bohemian Theatre Ensemble
Alex Weisman (Richard) - "Ah, Wilderness!" - Eclipse Theatre
Ron Wells (Neil) - "The Quality of Life" - The Den Theatre

ACTOR IN A PRINCIPAL ROLE - MUSICAL
Jim DeSelm (Floyd Collins) - "Floyd Collins" - Bohemian Theatre Ensemble
Adam Fane (Princeton / Rod) - "Avenue Q" - NightBlue Performing Arts Company
Jason Grimm (Lecturer) - "Reefer Madness" - Circle Theatre
Peter Oyloe (Hank Williams) - "Hank Williams: Lost Highway" - Filament Theatre Ensemble
Ryan Stajmiger (Jimmy) - "Reefer Madness" - Circle Theatre

ACTRESS IN A PRINCIPAL ROLE - PLAY
Kristin Collins (Theresa Bedell) - "Boy Gets Girl" - Raven Theatre
Vanessa Greenway (Countess Skriczevinsky) - "Flare Path" - Griffin Theatre Company
Anna Hammonds (Lizzie Curry) - "The Rainmaker" - Bohemian Theatre Ensemble
Laura McClain (Miss Elizabeth Bennet) - "Pride and Prejudice" - Lifeline Theatre
Lindsey Pearlman (Maria) - "Never the Bridesmaid" - Polarity Ensemble Theatre
Cheryl Roy (Beverly) - "The Receptionist" - Steep Theatre Company
Liz Zweifler (Jeanette) - "The Quality of Life" - The Den Theatre

ACTRESS INA PRINCIPAL ROLE - MUSICAL
Landree Fleming (Mary Lane) - "Reefer Madness" - Circle Theatre
Kelli Harrington (Rose Vibert) - "Aspects of Love" - Theo Ubique Cabaret Theatre
Casi Maggio (Kate Monster) - "Avenue Q" - NightBlue Performing Arts Company
Laura Savage (Percy) - "The Spitfire Grill" - Bohemian Theatre Ensemble

SOLO PERFORMANCE
Blake Montgomery (Charles Dickens) - "Charles Dickens Begrudgingly Performs A Christma Carol. Again." - The Building Stage

ACTOR IN A SUPPORTING ROLE - PLAY
Walter Briggs (Jim) - "The Glass Menagerie" - Mary-Arrchie Theatre Co.
Anthony DiNicola (Miguel Valequez) - "American Storm" - Theatre Seven of Chicago
Dan Granata (Bernard) - "Arcadia" - New Leaf Theatre
Leonard Kraft (Les Kennkat) - "Boy Gets Girl" - Raven Theatre
Nate Santana (Jim Curry) - "The Rainmaker" - Bohemian Theatre Ensemble
Phil Timberlake (Mr. Collins) - "Pride and Prejudice" - Lifeline Theatre

ACTOR IN A SUPPORTING ROLE - MUSICAL
Greg Foster (Skeets Miller) - "Floyd Collins" - Bohemian Theatre Ensemble
Jon Harrison (Homer Collins) - "Floyd Collins" - Bohemian Theatre Ensemble
James Nedrud (Russell) - "Under A Rainbow Flag" - Pride Films and Plays
Gerald Richardson (Tee-Tot) - "Hank Williams: Lost Highway" - Filament Theatre Ensemble
Jason Richards Smith (Nicky / Trekkie Monster) - "Avenue Q" - NightBlue Performing Arts Company

ACTRESS IN A SUPPORTING ROLE - PLAY
Joanne Dubach (Laura) - "The Glass Menagerie" - Mary-Arrchie Theatre Co.
Felisha McNeal (Lola) - "Jar The Floor" - eta Creative Arts Foundation
Susan Monts-Bologna (Linda) - "Kin" - Griffin Theatre Company
Mary Redmon (Elizabeth Law (Older)) - "When The Rain Stops Falling" - Circle Theatre
Ann Sonneville (Helena) - "Kin" - Griffin Theatre Company

ACTRESS IN A SUPPORTING ROLE - MUSICAL
Nancy Kolton (Hannah) - "The Spitfire Grill" - Bohemian Theatre Ensemble
Laura Lindahl (Shelby) - "The Spitfire Grill" - Bohemian Theatre Ensemble
Danni Smith (Wife / Aunt Monica) - "See What I Wanna See" - Bailiwick Chicago
Rochelle Therrien (Jenny Dillingham) - "Aspects of Love" - Theo Ubique Cabaret Theatre
Colette Todd (Giulietta Trapani) - "Aspects of Love" - Theo Ubique Cabaret Theatre

NEW WORK
David Cerda - "Sexy Baby" - Hell in a Handbag Productions
Tony Fiorentino - "The Feast" - The Prop Thtr
Bill Jepsen - "Never the Bridesmaid" - Polarity Ensemble Theatre
Leo Schwartz - "Under A Rainbow Flag" - Pride Films and Plays
Carla Stillwell - "Bodies" - MPAACT

NEW ADAPTATION
Paul Edwards - "Peyton Place" - City Lit Theater Company
Sean Graney - "Romeo Juliet" - The Hypocrites
Sean Graney & Kevin O'Donnell - "The Mikado" - The Hypocrites
Elizabeth Margolius & Terry McCabe - "Opus 1861" - City Lit Theater Company
Blake Montgomery - "Charles Dickens Begrudgingly Performs A Christmas Carol. Again."
- The Building Stage

CHOREOGRAPHY
Brenda Didier - "Smokey Joe's Cafe" - Theo Ubique Cabaret Theatre
Brigitte Ditmars - "Reefer Madness" - Circle Theatre

ORIGINAL INCIDENTAL MUSIC
Jonathan Gullien - "Elephant's Graveyard" - Red Tape Theater
Daniel Knox - "The Glass Menagerie" - Mary-Arrchie Theatre Co.
Christopher Kriz - "Pride and Prejudice" - Lifeline Theatre
Christopher Kriz - "The Woman in White" - Lifeline Theatre
Mikey Moran - "City of Dreadful Night" - The Den Theatre

MUSIC DIRECTION
Alan Bukowiecki - "Floyd Collins" - Bohemian Theatre Ensemble
Robert Ollis - "Under A Rainbow Flag" - Pride Films and Plays
Gary Powell - "Opus 1861" - City Lit Theater Company
Jeremy Ramey - "Smokey Joe's Cafe" - Theo Ubique Cabaret Theatre
Tom Vendafreddo - "The Spitfire Grill" - Bohemian Theatre Ensemble

SCENIC DESIGN
Henry Behel - "City of Dreadful Night" - The Den Theatre
Scott Davis - "Funeral Wedding: The Alvin Play" - The Strange Tree Group
Jack Magaw - "The Cripple of Inishmaan" - Redtwist Theatre
Joe Schermoly - "Flare Path" - Griffin Theatre Company
Joey Wade - "The Fall of the House of Usher" - The Hypocrites

LIGHTING DESIGN
Kevin D. Gawley - "The Woman in White" - Lifeline Theatre
Jared Moore - "Coriolanus" - The Hypocrites
Jared Moore - "The Fall of the House of Usher" - The Hypocrites
Mac Vaughey - "Idomeneus" - Sideshow Theatre Company
Cat Wilson - "City of Dreadful Night" - The Den Theatre

COSTUME DESIGN
Theresa Ham - "Pygmalion" - Stage Left Theatre and BoHo Theatre
Bill Morey - "Pride and Prejudice" - Lifeline Theatre
John Nasca - "Reefer Madness" - Circle Theatre
Kate Setzer Kamphausen - "Sexy Baby" - Hell in a Handbag Productions
Alison Siple - "The Fall of the House of Usher" - The Hypocrites

SOUND DESIGN
Christian Gero - "Flare Path" - Griffin Theatre Company
Christopher Kriz - "The Dumb Waiter" - TUTA Theatre Chicago
Christopher Kriz - "Floyd Collins" - Bohemian Theatre Ensemble
Mikey Moran - "City of Dreadful Night" - The Den Theatre
Rick Sims - "The Fall of the House of Usher" - The Hypocrites

ARTISTIC SPECIALIZATION
Kevin Bellie - Projection Design - "When The Rain Stops Falling" - Circle Theatre
Ryan Bourque - Fight Choreography - "Coriolanus" - The Hypocrites
Noah Ginex - Master Puppeteer / Puppetry Design - "Avenue Q" - NightBlue Performing Arts Company
Jacob Green - Wig Design - "Sexy Baby" - Hell in a Handbag Productions

Revising The Gospels: Finding Faith in The Book of Mormon

Thu, 18 Apr 2013 11:30:38 -0500

No one can deny the success of The Book of Mormon—the runaway hit musical by Trey Parker and Matt Stone, that is. The irony is that it isn't really about the gospel according to the Church of Latter-Day Saints. To understand why, it is necessary to look at the evolution of religious sects in general.

"Evolution"—you heard that word right. The fundamental beliefs may remain the same, but quite frequently, their practice changes over time. Within Christian sects, for example, we don't see as many flagellants nowadays as in Medieval times, "mortification of the flesh" no longer being regarded as a measure of individual piety, nor in America do we hear of trials calling for the execution of heretics—and while the communal practice of symbolically devouring the body of its founder may puzzle those outside the faith, the purpose behind the act is today understood to be a metaphor.

The Mormon church is a relatively new congregation, however, its birth tracing from 1830, when the Reverend Joseph Smith claims to have received a divine missive comprising the LDS ethos to this day. To be sure, in 1852, Brigham Young, one of its chief proponents, interpreted the sacred texts in a manner advocating racial inequality within its hierarchy, but by 1978, wiser minds (corroborated by visions from on high, so they maintained) prevailed, and the exclusionary doctrine was rescinded.

Therein lies the secret to Book of Mormon's widespread appeal: any society continuing beyond its initial membership, sooner or later, must take cognizance of the human values—kindness, tolerance, compassion, preservation of life—shared by creeds the world over, summarized in our culture under the title of "The Golden Rule." The turning point in Parker and Stone's story is the moment when Elder Cunningham, a missionary with more heart than brains, acknowledges the inability of his dogma to address the spiritual needs of those it would comfort, driving him to equivocate, even embellish, in his zeal to banish the despair he witnesses.

Is this sacrilege? Perversion of Holy writ? Some speaking today might say so, but imagine the outrage among post-Renaissance priests upon being told that sculptors' depictions of Moses wearing bovine horns—among them, such classical masters as Michelangelo—were based in a too-literal translation of the Hebrew "qaran" into Latin as "Cornuta esset facies sua." A few millenniums hence, after the old sermons are passed down to its descendants by imperfect mortals employing imperfect means, who knows what hybrid scriptures may answer the universal yearning of mortals for mystical explanations giving order to a contradictory and often terrifying universe?

The Book of Mormon runs at the Bank of America Theatre through September 8.

Mary Shen Barnidge
Contributing Writer

Rock-And-Roll Will Never Die: Smokey Joe's Cafe Appeal Crosses Generations

Mon, 15 Apr 2013 08:50:31 -0500

There are some who declare that Jerry Leiber and Mike Stoller wrote the Rock-and-Roll songbook—or the first few chapters, at least—but nobody guessed that an evening of top-40 songs dating from the mid-20th century would prove so popular that Theo Ubique would be turning away customers after a run of nearly three months. Granted, the award-winning company has forged its reputation on intimate shows in the very intimate No Exit CafÉ, with the performers waiting tables between acts, but eventually the time came when, with the help of commercial producers SJCChicago, Smokey Joe's CafÉ moved to bigger quarters.

Skin Deep: Tattoos in TimeLine's Concerning Strange Devices From the Distant West

Mon, 1 Apr 2013 08:49:51 -0500

He is a Japanese ricksha driver, his body tattooed in blue and green and purple, and we can't take our eyes off him. This is because the other two characters onstage—a Gilded-Age American matron and a sybaretic expatriate photographer—are likewise riveted by his exotic body decoration, their shared curiosity drawing our gaze in his direction. Since we in 2013 are less unnerved by the notion of living flesh as a canvas, we soon notice that only his torso and thighs are covered in the colored inks, even as we later gasp at the sight of a huge tattooed black rose worn like a cloak on a native girl's bare back.

Before the end of Naomi Iizuka's Concerning Strange Devices From the Distant West, though, the question will cross our minds, "Is that real, or do they paint it on every night?"

It takes four artists to answer this provocative query. The process began before the start of rehearsals with Nan Zabriskie, credited in the playbill as "Tattoo Technical Consultant," and her research into the technologies for reproducing tattoos onstage, after which her findings were evaluated by the production staff in terms of time, labor, budget and actors' allergies.

"His legs are painted, but that's a body suit Kroy is wearing on top," says Associate Costume Designer Ricky Lurie, speaking of Kroydell Galima, who plays the nearly-naked ricksha driver, but also a modern-day art dealer dressed in a shirt with short sleeves, open collar and no visible skin art. "It's not because he has to appear without them in other scenes, but because it would have taken eight hours every night to do all of it by hand."

How are the patterns kept the same from night to night? "We experimented for several weeks before a local tattoo parlor suggested that it would be quicker, cleaner and easier to adapt existing designs in the creation of our graphics and then apply them with transfer paper from the shop—the way they do a tattoo before inking it in."

Once the pictures are in place, it's the job of Janet Howe and Austin Pettinger to color them in for each performance. "Kroy has about ten transferred images on his legs," Howe reports, "He has to stand perfectly still for two hours while I paint them in and Austin fills in the spaces between. Tiffany [Villarin]'s rose is all completely free-hand, however—Austin does it all."

Are audiences impressed? Howe laughs, "During the talk-backs, people are always asking if the tattoos are real. Kroy and Tiffany sometimes threaten to say, 'Why, yes, the tattoos are real—that's why I was cast'—but they're only joking."

"Actors also have to be careful offstage," Zabriskie adds, "I recall another show where an actress whose role required fake gang tattoos had to dress in sweaters every day to hide them from the teachers at her daughter's nursery school!"

"Kroy and Tiffany are great troupers, arranging their schedules to come in the afternoons, but Austin and Janet have the application process down to a science," Lurie observes, "The backstage action is almost zen-like."

Concerning Strange Devices From the Distant West runs at Timeline Theatre through April 14.

Mary Shen Barnidge
Contributing Writer

The Midas Gun: Golden Weapon in Bengal Tiger at the Baghdad Zoo

Sun, 3 Mar 2013 19:24:32 -0600

Even sharing the stage with flying topiary animals and the ghost of a dead tiger, it commands our attention immediately: a gold-plated Desert Eagle .44 caliber semi-automatic pistol, alleged to have belonged to Uday Hussein—Saddam's playboy son—and looted by American troops during the invasion on the dictator's palace. The distinctive firearm is then passed from one owner to another, sometimes coveted for its material value, sometimes for its symbolism. Throughout its travels, it remains shiny and untarnished—also loaded and ready to fire.

Clearly, this is no ordinary "Weapons R Us" theatrical hardware. How hard was it to find a stageworthy sidearm with a surface of sufficient splendor?

"Lookingglass got the gun from a props and weapons company called The Specialists Ltd." reports fight designer Matt Hawkins, "They had already built one for the New York production of Bengal Tiger, so it was available and ready for rental."

The Desert Eagle .44 is a hand-held pistol, but onstage, it looks big enough to mount on the back of a truck! Hawkins—who also drilled the Uzi-wielding actors in Chicago Shakespeare's Julius Caesar—concurs, "It is a very big gun. It is the biggest gun I've ever handled."

Its size sometimes makes for nervous audiences seated a bare ten feet away—even with prop weapons, unforeseen mishaps can occur. Fortunately, Hawkins is a firm believer in taking safety measures.

"There's no ammunition in the gun when the characters are struggling with each other to gain possession of it. We load it with blank cartridges only for the two scenes that call for it to be fired. Even then, there's a little bit of powder-flash that shoots out of the barrel with this kind of firearm, which is why we never point the gun at another actor [when it's loaded]—it's always aimed off-line or down the aisles."

What's the hardest task faced by the actors who fire the weapons? "First, they hope the safety hasn't accidentally been switched on, because then, the gun won't fire. Second, they have to predict in what direction the spent shell will drop. Finally, there's the closing rounds—those are the blanks that don't have powder in them. They make the gun appear to be fully loaded, but they often cause the gun to jam."

How have the audiences been responding? "During previews, the noise drew a few stifled squeals, but now they're mostly prepared for the blast."

Have any playgoers asked where they can buy one? Hawkins laughs. "I haven't heard of anyone inquiring."

Bengal Tiger at the Baghdad Zoo runs at Lookingglass Theatre through March 17.

Mary Shen Barnidge
Contributing Writer

Look, Ma! No Wires: Dennis Watkins' Mysterious Flight to The Magic Parlour

Wed, 6 Feb 2013 08:02:58 -0600

"Teleportation" is the name given to slight-of-hand tricks involving an object disappearing, then re-appearing somewhere else. Actors can also find themselves working in two productions running concurrently, hurrying from curtain call at one theater to sign-in at another. The distance may span a few blocks or hundreds of miles, as it did for Philip E. Johnson in 2005, when he would finish his solo act at a Renaissance Faire in Kenosha, Wisconsin, then drive to a Shakespeare Festival in Bloomington, Illinois—a commute of nearly four hours—to portray the lead role in Macbeth that same evening.

Dennis Watkins premiered The Magic Parlour, his late-nite magic show, in 2010 at Wicker Park's Chopin Theater, also home to House Theatre of Chicago, in which he is a founding member. Two years ago, however, he received an offer to do his popular one-man show at the sumptuous Palmer House in the Loop. With the opening of House Theatre's play, The Magnificents, Watkins has barely an hour to travel from the playhouse at Ashland and Division Streets to the landmark hotel at Monroe and Wabash Avenues, where he arranges his equipment in the wood-paneled private salon set aside for his weekly appearance, dresses in his formal clothes, and at 10:30, proceeds to dazzle the guests in attendance with his legerdemain.

"I wish we could have [parking] spaces marked off in the hotel garage!" Watkins sighs, "What I usually do after Magnificents is to jump into a taxicab. We usually take the expressway to Monroe Street and I enter through the front doors. This means I have to take a cab back to the Chopin later, to pick up my own car, but at least I don't have to deal with downtown parking, myself."

Does he keep a spare supply of Magic Parlour props and costume pieces at the Palmer House to guard against—heaven forbid—forgetting to bring some important piece of paraphernalia? "Some of the bigger set pieces stay at the Palmer House, where a stage manager sets them up in the room, along with the lights. When I arrive, I unpack my gear, load up my pockets and I'm ready to go!"

Watkins first determined his route while starring in last summer's Death and Harry Houdini, a biodrama with action encompassing strenuous stunts involving escapes from padlocked chains and water tanks. The Magnificents is a quieter play, about an aging prestidigitator, played by Watkins. "I'm not as drained for the Magic Parlour this time as I was during Houdini, when I was sometimes slow getting the show started," he confesses, "but once we're rolling, it's so much fun that I can't help but be caught up in the excitement, no matter how tired I am."

The Magic Parlour is swiftly-paced, and front-row spectators have reported seeing Watkins break a sweat onstage. Asked whether he maintains any special fitness regimen to maintain his stamina, he admits, "I'm not as diligent as I'd like, but I'd say I live pretty healthy."

Has he ever been late for The Magic Parlour? Watkins smiles ruefully, "The closest we ever came was the Friday that Lollapalooza ended, just as I got downtown. The streets were choked with people, and traffic in the Loop was shut down completely! Fortunately, most of the audience didn't anticipate the delay either, so we were all in the same boat, waiting at the dock to sail."

The Magic Parlour runs at the Palmer House on an open run
The Magnificents runs at the Chopin Theatre through March 10

Mary Shen Barnidge
Contributing Writer

The Motherf**ker with the Hat and Other You-Can't-Say-That Plays

Wed, 6 Feb 2013 08:02:06 -0600

It started in 2001 with Bailiwick Repertory's production of Mark Ravenhill's Shopping And F**king, a brutal look at youths forced by poverty to commit distasteful deeds, its name derived from publishing trade jargon for a popular fiction genre featuring rich people behaving badly. David Zak, former Bailiwick artistic director, reminisces about displaying the uncensored title on the company's Belmont Avenue theater marquee.

"We had one group who bought tickets under the impression that the play was a ribald comedy," Zak recalls, "What made us decide to spell it with the asterisks was a phone call from a woman who told us—in a whisper—that a prankster had tampered with our sign and put bad language on it, but that she couldn't say out loud what it was, because her children were in the car."

How did newspapers deal with the word back then? "Except for the Reader, I don't think any publications listed the play's title in full," Zak shrugs, "But when we did All-American Genderf**k Cabaret last summer at Mary's Attic, it didn't cause any kind of a stir, although we opted to use asterisks in our e-mails in order to bypass the spam filters."

A cozy little revue in Andersonville named for a liberating behavior is one thing, but Stephen Adly Guirgis' The Motherf**ker With The Hat at the famous Steppenwolf Theatre, with its international reputation mandating extensive media coverage, is quite another.

Steppenwolf's Communications director, Jeffrey Fauver, reports no problems yet, "No subscribers have expressed any nervousness over the title, but we had to negotiate the number of asterisks with a few publications. In our print and digital materials, we spell the title word as 'Motherf**ker', using two asterisks to blank out the 'u' and the 'c.' I've learned recently, however, that some editorial guidelines call for three or more."

What about radio and television, where someone has to speak the explosive epithet? "Broadcast does present unique challenges," Fauver smiles, "We've been suggesting that announcers say 'The Mother-effer with the Hat' or 'The Mother with the Hat'—but since our own broadcast advertising hasn't begun yet, we're still working out this part."

"I think you'll always have people who object to what they feel is outrageous language," Zak concedes, "But it always helps to have people talking about your show."

The Motherf**ker with the Hat plays at Steppenwolf Theatre through March 3.

Mary Shen Barnidge
Contributing Writer

No-Passing Zone: Parking the Taxi for Hellcab

Wed, 6 Feb 2013 08:01:30 -0600

When Will Kern's Hellcab Does Christmas first opened in 1992, technical director Robert G. Smith had to remove the street doors of the Hull House at Broadway and Belmont in order to squeeze the front half of a Yellow Cab into the multi-purpose facility. Profiles Theatre's twentieth anniversary revival of the long-running hit, now titled simply Hellcab, is mounted in a single-wide storefront, its performance space in the rear accessed by hallways barely accommodating ordinary furniture, let alone the Crown Victoria sedan that production director and Co-Artistic Director Darrell W. Cox, along with scenic designer Shaun Renfro, proposed bringing on stage.

"It's a 303 Taxi," says Profiles Co-Artistic Director Joe Jahraus, "Konstantin Khrustov, who plays the driver in the play, has a friend who works for a tow company in the suburbs and remembered them bringing in a taxi from a closed 303 office in Mount Prospect. They couldn't get it to start, so they towed it to a mechanic, who gutted the engine, gas tank and transmission. After that, we towed it to the alley behind our Main Stage theater where Jim Moore and Rick Julien, our technical directors, cut off its roof."

That's when the problems began. "The plan was to move the car in one piece," reports Moore, "but the Main Stage has no freight access, so that left the front door. We assembled a big crew to tip the chassis on its side and load it onto some reinforced dollies—some of which broke and had to be rebuilt—and pushed it out to the sidewalk where the glass doors leading to the playhouse lobby had been taken off."

Did this operation attract attention? This is Uptown, after all. "Oh, pedestrians really enjoyed watching this huge car rolling down Broadway on its side like a giant fishing trophy!" Julien recalls, "This being Chicago, of course, many tried to pretend they didn't notice anything—that was the funniest part!"

So did the boat—uh, the car—go into the bottle? Moore grimaces, "Even though we'd measured repeatedly, it was still a tight fit with car parts jutting out all over the surface. We started at three o'clock in the afternoon and by one in the morning, we'd got it as far as the lobby. THEN, the door from the lobby to the auditorium wasn't wide enough, so we cut through the wall—twelve inches of concrete-with an industrial saw to get it onto the stage. Oh, and built a new door frame."

It was all worth the trouble, however, says Cox, "The original hellcab had hidden stagehands turning the wheels like puppeteers. Our steering mechanism is still intact, so the tires actually move when Konstantin turns them. Since he doesn't leave the cab much once his day has begun, we kept the front doors, but took them off in back to facilitate the flow of the 33 passengers—some wearing stiletto heels, some equipped with disability canes, and some carrying concert-sized accordions—who pop in and out of the rear seat."

Hellcab runs at the Profiles Theatre Main Stage to January 27.

Mary Shen Barnidge
Contributing Writer

Stage Directing: William Brown goes for the contact of conversation

Fri, 30 Nov 2012 13:52:42 -0600

At heart, director William Brown is a minimalist, or perhaps more accurately, chamber musician. The Chicago theater veteran, who early in life saw his future as an opera singer, loves those intimate scenes for two or three actors getting deeply into the characters' lives -- what he calls parsing a text.

"I've been an actor all my life, and nothing thrills me more than a two-person scene," says Brown. "those moments when people sit down and talk to each other, and the theater grows hushed, are special for me. No tricks, you simply honor the nature of real conversation between two people who need something from each other and are trying to understand each other."

Brown, a native West Virginian who arrived in Chicago during the city's theatrical flowering of the 1980s, won notice as an actor before finagling his first directing assignment in 1998 at the young Writers' Theatre in Glencoe.

"Actually, I resorted to extortion and blackmail," he says with a laugh, recalling his negotiation with Writers' artistic director Michael Halberstam. "Michael wanted me to play Elyot in (Noel Coward's) 'Private Lives.' That was back before Writers' reputation had really taken off. I told him I'd play Elyot if I could direct (Tennessee Williams') 'Glass Menagerie.' And that's how I got my first directing job in Chicago.

"I really wanted to do 'Glass Menagerie.' I come from a big Southern family. I respond to Tennessee. I once directed 'Night of the Iguana at American Players Theatre — outside, on a hot summer night. That was perfect."

Brown's history as director at the al fresco American Players Theatre in Spring Green, Wis., is long and diverse. It is notably dotted with Shakespeare, half a dozen plays ranging from "All's Well That Ends Well" and "A Midsummer Night's Dream" to last summer's "Troilus and Cressida."

"All credit to William Shakespeare," the director says. "The emotional depth, poetry and truth in Shakespeare's work is unparalleled. I don't know any other way to say it. His plays are still about us. There's something excruciatingly modern about 'Troilus,' even though it's set during the Trojan War. When it gets down to it, those characters are just folks — venal, dishonest, loving.

"They're not gods or even heroes. The gods are left completely out of it. Here's Shakespeare insisting that we're responsible for our own lives and actions."

Both Brown's zeal for Shakespeare — he's associate director of Montana Shakespeare in the Parks' summer program -- and for acting were sparked during his student days as a voice major at West Virginia University, where he played Edgar in "King Lear."

"Musicians have a leg up on Shakespeare," he says. "You have to understand that it's essentially music, and then you ride the music. Even in college I was recognized as a singing actor, and I landed a lot of non-musical roles that meant a lot to me. I love the act of telling a story, and I guess that's what led me eventually into directing.

"I was also lucky enough to work with some great directors. I realized at some point that I had my own opinions about things like lighting, viewpoint, even hemlines. I guess that's when I decided I wanted to be a director."

Still, upon graduation from West Virginia, Brown migrated to New York with his dream of an opera career. There, a wise vocal coach would advise the aspiring singer that a starry life on the opera stage was unlikely.

"I had to change direction, but it was hardly a one-eighty turn to acting, just an adjustment," Brown says. "I stayed on in New York for three years before deciding to try my luck in San Francisco. New York is tough, and I felt I might get lost in the crowd. I knew too many people waiting tables in their seventh year."

After a stretch with San Francisco's American Conservatory Theatre, Brown announced to astonished friends that he was taking a flier to the burgeoning theater scene in Chicago. The rest is a personally rewarding history as director at TimeLine Theatre, Goodman Theatre and Northlight Theatre in addition to numerous plays at Writers'.

"I'm not rich or famous," he says, "but I get to tell stories with wonderful actors and some of the finest designers of lighting, sets and costumes in the country. And every story is different, no matter how many times you tell it."

Lawrence B. Johnson
Contributing Writer
Editor ChicagoOntheAisle.com

Saving Face: Alien Visages In A Klingon Christmas Carol

Thu, 29 Nov 2012 22:14:46 -0600

If you don't know what a Klingon is, any Star Trek enthusiast will be happy to acquaint you with this tribe of warriors recognizable by their distinctively scarred foreheads—a hereditary deformity tracing its source to a plague centuries earlier. As with such fantasy-epics as The Lord of the Rings or the Harry Potter series, the culture of the fictional worlds in which Klingons dwell has been analyzed extensively by its devotees, but not until 2007 did Commedia Beauregard, a Minnesota-based theatre company specializing in translated plays, propose an adaptation of Charles Dickens' classic holiday fable, A Christmas Carol, performed entirely in the artificial Klingon language.

A Klingon Christmas Carol presented challenges to its creators not only anthropological and linguistic (during performances, the English text is projected on screens above the stage for the benefit of exclusively terrestrial audiences), but visual as well. The Klingons depicted in the television series were generic starship crewmen in military dress, but Dickens' fable encompasses a wide diversity of ages, genders and personalities—from the crabbed SQuja' ("Scrooge") to his meek subordinate QachIt and the latter's sickly youngest son, tImHom. How do the actors convey the appearance of these various personae while encumbered by corrugated rubber patches glued to their brows?

Christopher Kidder-Mostrom helms the makeup duties for the now Chicago-based branch of the company, basing his execution on the original designs by Bill Hedrick for the original Minneapolis production.

"When you're dealing with prosthetic makeup," explains Kidder, "There are three fundamental options: foam latex allows the skin to breathe, but has to be replaced too often. Silicone is flexible, but it's expensive and, again, it doesn't last for long. That leaves poured latex, which is uncomfortably rigid and seals off the pores, but is sturdy enough to last the whole run."

What this means for the actors is that all facial expression from the eyes up no longer exists. "Our acting style for this show is based in body-oriented techniques like DelSarte or Michael Chekhov. Eventually, through rehearsal, we develop a physical vocabulary—somewhere along the lines of, 'When a Klingon does this, it means that'. We also rely on snarls, smiles and lots of mouth movement to convey the characters' emotions. They're not Vulcans, after all."

The problems don't end after the show opens, however. "The first actor who played SQuja' didn't know that he was allergic to latex until the show committed to a multi-week run." recalls Kidder, "Sweat also tends to pool up underneath the prosthetic patch and then trickle into the actors' eyes—some actors use sections of kotex underneath their headpieces to absorb the moisture, others apply the adhesive over a larger area to eliminate the spaces where it collects, and a few lucky ones apparently just don't perspire through their foreheads."

What do the actors, who must apply and remove the grotesque visages every night, have to say? Kevin Alves, who plays SQuja' in the current run, shrugs, "Lots of water, toweling off and powder to keep it all from dripping," while Christina Romano, who plays his childhood sweetheart Bel, confides, "The hardest part is acting without your eyebrows, because if you move your forehead, it loosens the headpiece. Even so, I only used two bottles of spirit gum to stick it on for last year's run—but a metric ton of cotton balls to clean the latex mask and my own face."

Commedia Beauregard's production of A Klingon Christmas Carol runs in the Raven Theatre's East Stage through December 30.

Mary Shen Barnidge
Contributing Writer

Bathing Beauties: Splashing and Shivering in Bulrusher

Mon, 12 Nov 2012 22:16:34 -0600

In the Chicago Theater roster of aquatic spectacle, Mary Zimmerman's Metamorphoses first comes to mind. Then, there was Pegasus Players' production of The Frogs in the Truman College swimming pool or The Neo-Futurists' Fake Lake in the Welles Park natatorium. Storefront-circuit regulars might even recall Michael Shannon, Amy Landecker and Guy Van Swearingen wrestling in a spa-sized hip-bath for Red Orchid's Victims of Duty.

The challenge presented in Bulrusher, Eisa Davis' coming-of-age story, lies in the pantheism engendered by its setting amid the pastoral splendor of the Pacific Northwest. Its title protagonist was plucked from the river when only a baby—origins bestowing on her the power to foresee the future. The arrival of a same-sex companion for this feral waif leads to idylls in a hidden cove, where the shoreline dock is overgrown with reeds, grasses and flora of forests primeval. Here, the comrades twice strip to their undies (and none of those transparent-when-wet numbers, either) for a dip in nature's baptismal font before donning their clothes again to face a world not meant for innocents.

Since Davis' script does not specify live water onstage, an easy option for Congo Square Theatre would have been to suggest the riverbank Eden through the use of lights and projections, but director TaRon Patton declared the sight, and sound, and palpable feel of the water intrinsic to the magic necessary in establishing Bulrusher's mystical connection to the source of her birth.

What this means was that scenic designer Andrei Onegin had to figure a way for the stage at the Beacon Street Arts Center to house a bathtub of sufficient volume to allow two athletic young women to frolic in its shallow depths. The answer was a frame constructed from decking-lumber treated with a water-resistant coating, and a plastic-lined basin into which 150 gallons of water is pumped every night before the show. "We use an electric pump, so there's not a lot of labor involved," Onegin shrugs, "It takes about two hours each night."

This is not just any water, however! The design concept also raised questions about the effect on the actors' health after wearing damp clothes in a drafty auditorium for five nights a week. Hospital-grade portable sitz-baths equipped with their own heating mechanisms being expensive, and swim apparel altered to look like underwear proving likewise impractical, the next best option was to fill the tub with hot water.

"Andrei instructed the crew to warm up the pool every night," Patton assures me, noting that the high-wattage incandescent lights aimed at the stage generate warmth as well, "Ericka [Ratcliff] and Tamberla [Perry] also change everything from the skin out during intermission—but I'm sure the water still gets pretty chilly, especially by the second act. Both of them had to acclimate to the temperature in order to maintain the intensity of the scene and the dialogue while pulling on dry jeans and dresses over dripping tank shirts and shorts."

The intensity with which the actresses cleave to one another with virginal passion is unlikely to be diminished by a dip in a tepid mountain stream, no matter how panoramic its surrounding landscape.

Congo Square Theatre's production of Bulrusher runs at the Beacon Street Arts Center through November 25.

Mary Shen Barnidge
Contributing Writer

Theatre In Chicago's 2012 Holiday Show Round-Up

Wed, 7 Nov 2012 09:00:14 -0600

By now it's no secret that, every holiday season, the Goodman Theatre puts on a classic production of A Christmas Carol, that the House Theatre puts on a hip production of The Nutcracker, or that several theatres put on competing productions of It's A Wonderful Life. I have written about each of those in the past, and they all continue to be well-crafted, popular, and valid holiday entertainments. But it is also no secret that Chicago has a vast array of smaller storefront and warehouse venues putting on an equally vast array of theatre, and the holidays are no exception. And many of these are just as well-crafted and valid as the bigger crowd-pleasers, but due to their size, location, or subject matter tend to get overlooked. So for this year's Holiday Show Round-Up I'd like to highlight some of those more obscure, unusual, and off-off-off-Loop holiday productions that fly well under the radar like a sled pulled by reindeer (how else do you think the man avoids being shot down year after year?).

For example: It's A Wonderful Santa Land Miracle Nut-Cracking Christmas Story...Jews Welcome. The title of this inclusive holiday romp brought to you by Street Tempo Theatre at Stage 773 typifies what the Chicago storefront scene has to offer during the season: generous helpings of tongue-in-cheek, mostly good-natured send-ups of holiday traditions. This show in particular also includes "singing, dancing, stories, interactive games, and non-holiday-specific eggnog."

Chicago is of course an improv town, and so Christmastime in Chicago would be somewhat less than complete without a couple of improv-based holiday offerings. From your old friends The Second City comes The Second City Dysfunctional Holiday Revue, playing at the Paramount Theatre in downtown Aurora. It is billed as "a comedy act that delivers a healthy dose of seasonal satire with holiday film classics, family gatherings, [and] improvised Christmas carols." And at Chemically Imbalanced Comedy there is Scenes With Santa. CIC's house improv team, Meow Meow Ruff, will join up each week with a different college improv ensemble to put on an "interactive night of holiday-themed comedy, based on audience suggestions."

If you and yours are looking for something more musical and Fabulous (with a capital F), We Three Lizas might be for you. Produced by About Face Theatre in the Steppenwolf Garage space, We Three Lizas is a world-premiere "dark, sexy holiday musical" about one Conrad Ticklebottom who, in an attempt to conjure the great Queen of Wishes, inadvertently summons Liza Minelli instead.

Commedia Beauregard (CommBeau for short) is presenting A Klingon Christmas Carol at the Raven Theatre space. I know I've written about this one in the past, and I will continue to do so for as long as it exists, simply because it does exist. IN ORIGINAL KLINGON WITH ENGLISH SUBTITLES. Also includes "narrative analysis" from the Vulcan Institute of Cultural Anthropology. Bring Grandma.

A lot of the self-described "antidotes" to the typical earnest, heartstring-pulling holiday story tend to be, as mentioned, in the vein of ironic parody. On the other hand, Hellcab. Presented by Profiles Theatre (natch), Hellcab is a gritty, urban night-in-the-life drama of a Chicago cabbie as he recounts the various colorful characters who populate the back seat of his taxi one Christmas Eve.

And finally, a couple for the kiddies. These last two aren't exactly "storefront" or "unusual", but they are relatively new productions, and one of them is a Chicago premiere, so they warrant a quick mention.

First, Madeline's Christmas. Madeline and her vine-covered old house in Paris are coming to Theatre of Western Springs starting November 30. This one gives me a twinge of nostalgia. My sister was a Madeline fan when she was little (and I may or may not have watched a couple of the videos with her at one point).

The Chicago premiere of Dr. Seuss' How The Grinch Stole Christmas! The Musical is coming to the Cadillac Palace Theatre downtown for two weeks starting December 5. This popular Broadway stage version of Mr. Geisel's much-loved parable is narrated by Max the Dog and features the hit song "You're A Mean One, Mr. Grinch", as well as "Welcome Christmas" and many more.

There are many more holiday shows than these to be found all over Chicagoland, for all audiences. Bear in mind, though, that not every show is for all audiences. Be an informed consumer and investigate beforehand the material and appropriate age levels of the play you want to see.

For a complete list of the holiday shows in Chicago go to our Holiday Plays In Chicago page.

Luke Heiden
Contributing Writer

Minnie's Private Wrangler: Live Mice On Stage in The Woman In White

Thu, 4 Oct 2012 11:19:59 -0500

In Wilkie Collins' early Victorian thriller, The Woman In White, the villainous Count Fosco is fond of small animals—even to traveling accompanied by a collection of caged birds and mice. Robert Kauzlaric's adaptation for Lifeline Theatre dispenses with the portable aviary, but retains the rodent contingent with a cameo appearance by a genuine live mouse.

"Fosco's affection for his pets—in several chapters of the novel, he is, literally, covered in them—lends him a certain charm that gradually gives way to menace," observes adapter Robert Kauzlaric, "While we couldn't completely realize that vivid image in so limited a space, we thought that a short scene with at least one live critter would go a long way to capturing that feeling."

The Count and Countess Fosco arrive carrying three miniature pagoda-like cages strung on a rod like that of a carnival peddler, but these are occupied solely by painted mannequins, says Kauzlaric. Fosco's mascot figures in the play's action for only one scene, where the urbane aristocrat expounds on his curious menagerie while cuddling one of his furry charges.

"We have two mice alternating in the role—named Fanny and Hester, after characters who appear in the novel, but not the play," Kauzlaric explains, adding that Fanny is the more outgoing of the pair, and so, is most frequently the one seen onstage. Between shows, the performing fauna live in the Lifeline offices above the auditorium. "In my capacity as Lifeline's marketing director, I'm at the theater seven days a week, so it's easy for me to take care of them. Mice are nocturnal, so they mostly snooze in their cage on the shelf behind my desk—though Fanny likes to get up every few hours for some water and exercise."

How much rehearsal did Fanny and Hester require? "They were introduced to the company near the beginning of rehearsals, and after we moved into the theater, they would sit with me as they got used to the fuss and bustle. We were a little concerned about their reaction to the lights and music, but they didn't seem to notice."

Christopher M. Walsh, who plays Fosco, is a large man and when he cradles Fanny or Hester in his cupped hands, a few playgoers interpreted this to mean that he was shielding the tiny captive from the surrounding hullabaloo. Kauzlaric stoutly refutes this impression. "Oh, Fanny takes in everything going on around her! During the part where Fosco holds her up near my face, often she'll sit up on her hind legs and say hello. Chris' hands provide her a more comfortable environment to explore than if she were surrounded by open space."

So what's the pre-performance ritual for these non-equity Minnies? "During the show, their cage is kept in the greenroom on its own table. Just before the scene, they are transferred to a smaller cage backstage where Chris can easily find them. Then, after the scene, they are returned to the greenroom and Chris has a break to wash his hands before his next entrance."

How have playgoers responded to these beasties? "We wondered about that," Kauzlaric confesses, "It takes our average audience a minute or two to realize that the mouse is real, during which you can hear the recognition spread throughout the house. There's lots of cooing, but occasionally, we hear a grunt of discomfort. Fortunately, the scene is brief enough that Fanny is back in her cage before anyone has time to get antsy."

Where do Fanny and Hester intend to retire after the show finishes its run? "They'll come home with me," Kauzlaric replies, "Unless the rest of the Lifeline administrative staff—Alex [Kyger], Allison [Cain], and Dorothy [Milne]—just can't bring themselves to say goodbye to our little friends."

The Woman In White runs at Lifeline Theatre through October 28.

Mary Shen Barnidge
Contributing Writer

Watch Your Tail: Creatures From The Blue Lagoon in Seascape

Fri, 28 Sep 2012 08:51:02 -0500

You almost expect to hear squeals of "Look! Dinosaurs!" the moment they appear. Indeed, so fascinating are the pair of reptiles who constitute half the onstage personnel in Remy Bumppo's production of Seascape that at one performance, an ostensibly adult theatergoer, finding herself in close proximity to one of the scaly beasts, couldn't resist trying to pull on its tail. These saurian personages are not cuddly kiddie-show fauna, however, but dignified participants in Edward Albee's somber symposium on evolution, civilization and survival.

This means that costume designer Rachel Laritz must reverse centuries of skeletal development in adapting human physiology as we know it to prehistoric anatomical structure. To begin with, lizard tails are extensions of the spine and, as such, must move in alignment with the actors' torsos. This, in turn, makes for arms and legs spraddled in almost-prone posture. (Imagine doing push-ups in spread-eagle position.) All this must be accomplished without excessive strain on the performers' own backs, while still permitting them the lightning-strike mobility characteristic of their species.

Laritz first addressed the issue of the tails, which are not as heavy as they appear, but can stretch to nearly six feet when fully extended. "The tails are anchored to a canvas harness reinforced by webbing in the back and heavyweight spandex in front—like a very tight-fitting pair of briefs—as well as to thigh-straps and suspenders to help distribute their bulk. After those are in place, the actors put on their body-suits, which are then snapped and hooked to the tails."

Those tails look so solid—what gives them their heft? "Basically, foam, with a tunnel of plastic beads on the bottom, like you find in Beanie Babies." Laritz recalls that during the planning stages, she and Harlan Ferstl, the production's draper, visited a foam-manufacturer to review their options as regards materials. "We wanted something buoyant and lightweight that we could shape to our desired purposes, and that would move on its own, even after the actor has stopped. So not only did the actors wearing them have to learn to navigate around them—as you would with bustles or panniers—but so did the other actors onstage as well."

Acclimating to this cumbersome silhouette is not a skill quickly acquired. "They had the tails on as early as the second week, as soon as they had finished their tablework and were on their feet, after which they had three weeks in the rehearsal room and one in the theater during tech. What proved more challenging was the low/wide stance on all fours, with their wrists constantly bent and their weight resting on their inner knees in order to allow the tail to continue in a straight line, instead of curling upward, as it would if they crawled like humans do."

This is without counting makeup, head coverings and "underwear"—actually athletic foundation garments and compression gear. What's the remedy for aches and pains? "Yoga stretches. Epsom baths. They also wear wrist braces, knee pads and ace bandages. Oh, and unfortunately, no bathroom breaks after they're in their tails and skin." she adds in tones of regretful sympathy, "Not once they're armored up under all those layers."

Remy Bumppo Theatre's production of Seascape runs at the Greenhouse through October 14.

Mary Shen Barnidge
Contributing Writer

What's For Supper? Edible Props in Steep Theatre's Moment

Tue, 25 Sep 2012 13:17:46 -0500

Moment opens on the Lynch family preparing a dinner to celebrate the homecoming of the clan's prodigal son. Frozen microwavable quiches have been purchased, celery and carrots are chopped on the counter, a carton of eggs is dropped on the floor. One sibling munches a sandwich, visitors sip chilled beer and the hostesses maintain their serenity with freshly-brewed tea.

Turning On The Waterworks: Rain Effects in Fall of The House of Usher

Mon, 10 Sep 2012 12:43:03 -0500

Edgar Allen Poe's tale of the doomed twin siblings in The Fall of the House of Usher is a classic in American literature. In the original telling, the fate of the doomed mansion is to sink into the marshy New England soil. In the film version, it's destroyed by fire. Sean Graney's adaptation, however, has the family home swept away in the flooding generated by two weeks of rain saturating its foundations and the earth beneath them. The onset of this disaster is signaled by water suddenly gushing from the ceiling.

Straight Up, No Chaser: Directors In the Spotlight for ETA's 2012-2013 Season

Mon, 27 Aug 2012 10:04:34 -0500

The ETA Creative Arts Foundation was conceived as a self-contained organization, developing original scripts through its education and training programs, and then performing them under the supervision of artists affiliated with its teaching staff. The slate for their upcoming 2012-13 season, however, reads like a history of African-American Theater, with plays ranging from 1954 to 2007, each selected by the production's director.

Explains ETA Producing Director Kemati Porter, "This season's theme was born of a wish expressed by directors playing a part in in ETA's history to resurrect works by legendary African-American playwrights that might not be offered in other venues."

Runako Jahi is just happy to be directing The Amen Corner, James Baldwin's 1954 tale of a storefront preacher's crisis of faith. "Baldwin made a point of creating complex characters who were flesh-and-blood, who struggled in a most authentic way to find purpose in their lives.His love and respect for humanity/justice rang true in not only his novels, but his essays and plays as well. Directing his classic has been my dream project for over ten years. I'm grateful to finally do it."

Ceremonies In Dark Old Men dates from 1969, but Vaun Monroe sees no obstacle to audiences in 2012 responding to the "brilliant, complex and ruggedly masculine" themes invoked by author Lonne Elder III. "The characters are trapped in rituals that give them some relief from their economic and spiritual imprisonment, but also rob them of their ability to define themselves or determine their own lives. You can read the shooting count any Monday morning and see that this is a condition that we still grapple with today."

Mignon McPherson Stewart's attraction to the plays of Alice Childress (whose reputation as a female playwright of color is too often eclipsed by that of Lorraine Hansberry) was first sparked by Wine In The Wilderness, Childress' 1969 critique of the sexism prevalent in the rising black empowerment movement. It will be performed as a companion piece to Florence, written in 1950, which recounts a mother's ambivalence over her daughter's career decisions. Declares Stewart, "[Childress] confronts socio-political issues—in particular, how our ability to see others is limited by our preconceptions—with honesty and humor, writing about real people in real interactions." She smiles, "I don't think that members of ETA's audience will have any trouble recognizing these people."

Cheryl West's 2002 play, Jar The Floor, introduces a group of women supporting (and sometimes clashing with) one another through troubled times—a theme Ilesa Duncan finds to be timely nowadays. "The specificity of family dysfunction is deeply rooted in the African-American experience. In these difficult economic times, West's play continues to speak to audiences because the filial dynamic hasn't really changed—but she finds the comedy in it, even as she comments on their ills."

Katori Hall's 2007 Hoodoo Love, directed by Artisia Green, brings the season's chronology up to the present, despite its setting in Memphis during the 1930s. "African-Americans are very informed by the folk customs passed along through slave culture, and music is a universal language," Green observes, "The field hollers became the blues by which Hall's two struggling main characters overcome sorrow and pain to pick up the pieces of their lives. It also provides us with recognition—we find ourselves remembering the things our mothers, or grandmothers, used to tell us, and saying, 'ah-ha, that's where it came from!'."

ETA's season takes us from a storefront church to a ghetto barber shop, from an artist's studio in Harlem to a cozy home outside Chicago, through times of economic squalor, times of social revolution, and times of domestic tension, on a journey encompassing more than half a century of stubborn endurance and courage. Can anyone deny the potential of this exciting upcoming year?

The Amen Corner opens September 13. Visit www.etacreativearts.org for information on other productions.

Mary Shen Barnidge
Contributing Writer

Jeff Awards 2012 Equity Nominations Announced

Tue, 21 Aug 2012 08:00:02 -0500

The Jeff Awards Committee today announced 197 nominations in 34 categories for Chicago Equity theatrical productions, which opened between August 1, 2011, and July 31, 2012. The Jeff Awards judges attended opening nights of 118 Equity productions offered by 55 producing organizations. From these openings, 96 productions were "Jeff Recommended," which made them eligible for award nominations.

The 44th Annual Jeff Awards ceremony honoring excellence in professional theatre produced within the immediate Chicago area will be held on Monday, October 15, at Drury Lane Oakbrook, 100 Drury Lane, Oakbrook Terrace. Pre-show appetizers and cash bar will run from 6:00 p.m. to 7:30 p.m., and the Awards Ceremony, directed by Michael Weber, will begin at 7:30 p.m., with a buffet and reception immediately following. Musical numbers featuring cast members from nominated musicals and video segments from nominated plays will highlight the Jeff Awards ceremony. Advance purchase tickets, which include the ceremony and buffets, are $75 ($55 for members of Actors' Equity Association, United Scenic Artists, Stage Directors and Choreographers Society, Stage Managers' Association, The Dramatists Guild of America, and American Federation of Musicians). The evening is black tie optional and the public is cordially invited to attend. To purchase tickets, visit the Jeff Awards website at www.jeffawards.org.

Chicago Shakespeare Theater had 18 nominations, including seven for their reinvention of Stephen Sondheim's "Follies" with nods for Production - Musical - Large, Director Gary Griffin and Music Director Brad Haak, and five nods for Shakespeare's "Elizabeth Rex" including Production - Play - Large. Goodman Theatre also had 18 nominations, six for their enormous mounting of Eugene O'Neill's "The Iceman Cometh," including Production - Play - Large and Ensemble, four for their presentation of Teatro Vista's production of Candido Tirado's "Fish Men," including Production - Play - Midsize, and three for Danai Gurira's "The Convert," produced in association with Center Theatre Group and McCarter Theatre Center. With 17 nominations, Drury Lane Productions led the list of musical houses with six for "Hairspray," including Production - Musical - Large and Director - Musical and Choreography nods for Tammy Mader, five each for "The Sound of Music" and "Sweeney Todd," both receiving Production - Musical - Large nominations and for Directing by double nominee Rachel Rockwell. Most nominated individuals included scenic designers Jack Magaw and Todd Rosenthal, lighting designer Jesse Klug, and projections designer Mike Tutaj, each with three nods.

In the coveted Ensemble category, the Jeff Awards Committee nominated five productions: "Ameriville by Universes," presented by Victory Gardens Theater, "Clybourne Park" from Steppenwolf Theatre Company, Eugene O'Neill's "The Iceman Cometh" from Goodman Theatre, "Mr. Rickey Calls A Meeting" by Lookingglass Theatre Company, and "The Pitmen Painters" from TimeLine Theatre Company. Actors' Equity Association continues its support of the Equity Jeff Awards by sponsoring the Ensemble Award.

The strong Chicago tradition of supporting new works continued in 2011-2012 as five world premiere plays, two musicals, and five new adaptations received Jeff nominations. Chicago Dramatists' season included an impressive trio of nominated plays: "I Am Going to Change the World" by Andrew Hinderaker in which the well-planned corporate career disintegrates at the first interview, "Blizzard '67" by Jon Steinhagen where four carpooling Chicago businessmen struggle through a fateful 23-inch snow, and Sarah Gubbins' new play, co-produced with About Face Theatre, depicting two lesbian couples who respond quite differently to a pregnancy in "The Kid Thing." American Theater Company in special arrangement with The Araca Group presented Ayad Akhtar's "Disgraced," a stunning exploration of a young Muslim-American lawyer struggles to find his identity. TimeLine Theatre Company scored a nod with investigative journalist John Conroy's new play, "My Kind of Town," a story of one man's fight against a police torture scandal. The two new musicals receiving nominations are "Hero the Musical" by Aaron Thielen and Michael Mahler from Marriott Theatre and "Eastland: A New Musical" by Andrew White, Andre Pluess and Ben Sussman from Lookingglass Theatre Company. Three of the five nominated New Adaptations were reimagined plays - Tennessee Williams' "Camino Real" controversially adapted by Calixto Bieito and Marc Rosich at Goodman Theatre, Chekhov's "Three Sisters" updated by Tracy Letts at Steppenwolf Theatre, and "The Feast: an intimate Tempest," a miniature of Shakespeare's "The Tempest," redesigned by Jessica Thebus and Frank Maugeri for Chicago Shakespeare Theater in association with Redmoon - and two are adaptations of novels - E.L. Doctorow's "The March" crafted by Frank Galati for Steppenwolf Theatre Company and Ralph Ellison's "Invisible Man" adapted by Oren Jacoby for Court Theatre in association with Christopher McElroen Productions.

The Jeff Awards has been honoring outstanding theatre artists annually since it was established in 1968. With up to 52 members representing a wide variety of backgrounds in theatre, the Jeff Awards is committed to celebrating the vitality of Chicago area theatre by recognizing excellence through its recommendations, awards, and honors. The Jeff Awards fosters the artistic growth of area theatres and theatre artists and promotes educational opportunities, audience appreciation, and civic pride in the achievements of the theatre community. Each year the Jeff Awards evaluates over 250 theatrical productions and holds two awards ceremonies. Originally chartered to recognize only Equity productions, the Jeff Awards established the Non-Equity Wing in 1973 to celebrate outstanding achievement in non-union theatre. The next Non-Equity awards ceremony will be held on June 3, 2013, at the Park West.

2012 EQUITY JEFF AWARD NOMINEES

PRODUCTION - PLAY - LARGE

"Angels in America, Parts One and Two" - Court Theatre

"Clybourne Park" - Steppenwolf Theatre Company

"The Convert" - Goodman Theatre in association with Center Theatre Group and McCarter Theatre Center

"Elizabeth Rex" - Chicago Shakespeare Theater

"The Iceman Cometh" - Goodman Theatre

"In the Next Room or the vibrator play" - Victory Gardens Theater

"Invisible Man" - Court Theatre in association with Christopher McElroen Productions

"Mr. Rickey Calls A Meeting" - Lookingglass Theatre Company

"Oedipus el Rey" - Victory Gardens Theater

PRODUCTION - PLAY - MIDSIZE

"Blizzard '67" - Chicago Dramatists

"Chesapeake" - Remy Bumppo Theatre Company

"Death and Harry Houdini" - The House Theatre of Chicago

"Disgraced" - American Theater Company in special arrangement with The Araca Group

"Enron" - TimeLine Theatre Company

"Fish Men" - Goodman Theatre presents the Teatro Vista production

"Freud's Last Session" - Carolyn Rossi Copeland, Robert Stillman, and Jack Thomas present the Barrington Stage Production

"Immediate Family" - Paul Boskind, Ruth Hendel and Stephen Hendel by special arrangement with Goodman Theatre, and in association with About Face Theatre Company

"The Pitmen Painters" - TimeLine Theatre Company

PRODUCTION - MUSICAL - LARGE

"Eastland: A New Musical" - Lookingglass Theatre Company

"Follies" - Chicago Shakespeare Theater

"Hairspray" - Drury Lane Productions

"A Little Night Music" - Writers' Theatre

"The Pirates of Penzance" - Marriott Theatre

"The Sound of Music" - Drury Lane Productions

"Sweeney Todd" - Drury Lane Productions

PRODUCTION - MUSICAL - MIDSIZE

"A Catered Affair" - Porchlight Music Theatre

"The Christmas Schooner A Musical" - The Mercury Theater

"The Doyle & Debbie Show" - lonesome road productions in association with Jim Jensen and Lisselan Productions

"Rent" - American Theater Company and About Face Theatre

PRODUCTION - REVUE

"Stephen Sondheim's Putting it Together" - Porchlight Music Theatre

"We're All in This Room Together" - The Second City e.t.c.

DIRECTOR - PLAY

Nathan Allen - "Death and Harry Houdini" - The House Theatre of Chicago

J. Nicole Brooks - "Mr. Rickey Calls A Meeting" - Lookingglass Theatre Company

Robert Falls - "The Iceman Cometh" - Goodman Theatre

BJ Jones - "The Pitmen Painters" - TimeLine Theatre Company

Christopher McElroen - Invisible Man - Court Theatre in association with Christopher McElroen Productions

Amy Morton - "Clybourne Park" - Steppenwolf Theatre Company

Charles Newell - "An Iliad" - Court Theatre

Ron OJ Parson - "The Caretaker" - Writers' Theatre

Sandy Shinner - "In the Next Room or the vibrator play" - Victory Gardens Theater

Chay Yew - "Oedipus el Rey" - Victory Gardens Theater

DIRECTOR - MUSICAL

William Brown - "A Little Night Music" - Writers' Theatre

Amanda Dehnert - Eastland: A New Musical - Lookingglass Theatre Company

Gary Griffin - "Follies" - Chicago Shakespeare Theater

Tammy Mader - "Hairspray" - Drury Lane Productions

Dominic Missimi - "The Pirates of Penzance" - Marriott Theatre

Rachel Rockwell - "The Sound of Music" - Drury Lane Productions

Rachel Rockwell - "Sweeney Todd" - Drury Lane Productions

ENSEMBLE

"Ameriville by Universes" - Victory Gardens Theater

"Clybourne Park" - Steppenwolf Theatre Company

"The Iceman Cometh" - Goodman Theatre

"Mr. Rickey Calls A Meeting" - Lookingglass Theatre Company

"The Pitmen Painters" - TimeLine Theatre Company

ACTOR IN A PRINCIPAL ROLE - PLAY

Usman Ally (Amir) - "Disgraced" - American Theater Company in special arrangement with The Araca Group

Teagle F. Bougere (Invisible Man) - "Invisible Man" - Court Theatre in association with Christopher McElroen Productions

William J. Norris (Davies) - "The Caretaker" - Writers' Theatre

Martin Rayner (Sigmund Freud) - "Freud's Last Session" - Carolyn Rossi Copeland, Robert Stillman, and Jack Thomas present the Barrington Stage Production

Steven Sutcliffe (Ned Lowenscroft) - "Elizabeth Rex" - Chicago Shakespeare Theater

Larry Yando (Roy M. Cohen) - "Angels in America, Parts One and Two" - Court Theatre

ACTOR IN A PRINCIPAL ROLE - MUSICAL

Adrian Aguilar (Jon) - "tick...tick... BOOM!" - Porchlight Music Theatre

Bruce Arntson (Doyle Mayfield) - "The Doyle & Debbie Show" - lonesome road productions in association with Jim Jensen and Lisselan Productions

Clarke Hallum (Ralphie) - "A Christmas Story, The Musical" - Gerald Goehring, Roy Miller, Michael F. Mitri, Pat Flicker Addiss, Peter Billingsley, Mariano Tolentino, Louise H. Beard, Michael Filerman, Scott Hart, Timothy Laczynski, Bartner/Jenkins Entertainment, Angela Milonas and Bradford W. Smith

Andrew Lupp (Phil Davis) - "Irving Berlin's White Christmas The Musical" - Marriott Theatre

Kelvin Roston, Jr. (Jackie Wilson) - "The Jackie Wilson Story (My Heart is Crying, Crying)" - Black Ensemble Theater

Rashawn Thompson (Marvin Gaye) - "The Marvin Gaye Story (Don't Talk About My Father Because God is My Friend)" - Black Ensemble Theater

ACTRESS IN A PRINCIPAL ROLE - PLAY

Pascale Armand (Jekesai/Ester) - "The Convert" - Goodman Theatre in association with Center Theatre Group and McCarter Theatre Center

Janet Ulrich Brooks (Anya Botvinnik) - "A Walk in the Woods" - TimeLine Theatre Company

Kate Buddeke (Tanya) - "The North Plan" - Theater Wit

Diane D'Aquila (Queen Elizabeth I) - "Elizabeth Rex" - Chicago Shakespeare Theater

Kate Fry (Catherine Givings) - "In the Next Room or the vibrator play" - Victory Gardens Theater

Lia Mortensen (Lynn Fontanne) - "Ten Chimneys" - Northlight Theatre

Kelli Simpkins (Darcy) - "The Kid Thing" - Chicago Dramatists and About Face Theatre

ACTRESS IN A PRINCIPAL ROLE - MUSICAL

Jennifer Blood (Maria Rainer) - "The Sound of Music" - Drury Lane Productions

Lillian Castillo (Tracy Turnblad) - "Hairspray" - Drury Lane Productions

Shannon Cochran (Desiree Armfeldt) - "A Little Night Music" - Writers' Theatre

Rebecca Finnegan (Aggie Hurley) - "A Catered Affair" - Porchlight Music Theatre

Jenny Littleton (Debbie) - "The Doyle & Debbie Show" - lonesome road productions in association with Jim Jensen and Lisselan Productions

Liz McCartney (Mrs. Lovett) - "Sweeney Todd" - Drury Lane Productions

Caroline O'Connor (Phyllis Rogers Stone) - "Follies" - Chicago Shakespeare Theater

ACTOR OR ACTRESS IN A REVUE

Edgar Blackmon (Ensemble) - "Who Do We Think We Are?" - The Second City

McKinley Carter (Woman #1) - "Stephen Sondheim's Putting it Together" - Porchlight Music Theatre

Mike Kosinski (Ensemble) - "We're All in This Room Together" - The Second City e.t.c.

Adam Pelty (Man #1) - "Stephen Sondheim's Putting it Together" - Porchlight Music Theatre

SOLO PERFORMANCE

Greg Matthew Anderson (Kerr) - "Chesapeake" - Remy Bumppo Theatre Company

Timothy Edward Kane (Poet) - "An Iliad" - Court Theatre

Deborah Staples (Performer) - "The Blonde, the Brunette and the Vengeful Redhead" - Writers' Theatre

ACTOR IN A SUPPORTING ROLE - PLAY

Brad Armacost (Phil Hogan) - "A Moon for the Misbegotten" - Seanachaí Theatre Company

Ian Barford (Arly Wilcox) - "The March" - Steppenwolf Theatre Company

Brian Dennehy (Larry Slade) - "The Iceman Cometh" - Goodman Theatre

Alex Goodrich (Ellard Simms) - "The Foreigner" - Provision Theater

Harry Groener (General William Tecumseh Sherman) - "The March" - Steppenwolf Theatre Company

Ron Orbach (Nick Bottom) - "A Midsummer Night's Dream" - Chicago Shakespeare Theater

Dan Waller (Oliver Kilbourn) - "The Pitmen Painters"- TimeLine Theatre Company

Howard Witt (Adam Kirchbaum AKA Ninety-Two) - "Fish Men" - Goodman Theatre presents the Teatro Vista production

ACTOR IN A SUPPORTING ROLE - MUSICAL

Brandon Dahlquist (Count Carl-Magnus & Lieder Singer) - "A Little Night Music" - Writers' Theatre

Alex Goodrich (Kirk) - "HERO the Musical" - Marriott Theatre

Kevin Earley (Pirate King) - "The Pirates of Penzance" - Marriott Theatre

Ross Lehman (Major-General) - "The Pirates of Penzance" - Marriott Theatre

Michael Aaron Lindner (Edna Turnblad) - "Hairspray" - Drury Lane Productions

Rod Thomas (Orin Scrivello, Derelict, Customer, Radio Announcer, Bernstein, Mrs. Luce, Skip Snip, and Patrick Martin) - "Little Shop of Horrors" - Theatre at the Center

ACTRESS IN A SUPPORTING ROLE - PLAY

Cheryl Lynn Bruce (Mai Tamba) - "The Convert" - Goodman Theatre in association with Center Theatre Group and McCarter Theatre Center

Hannah Gomez (Maribel) - "Crooked" - Rivendell Theatre Ensemble, Mary Cross and Sharon Furiya

Patrese D. McClain (The Folk) -"Spunk" - Court Theatre

Polly Noonan (Sabrina Daldry) - "In the Next Room or the vibrator play" - Victory Gardens Theater

MaryAnn Thebus, (Vera) - "After the Revolution" - Next Theatre Company

Kristina Valada-Viars (Mandy Bloom) - "Time Stands Still" - Steppenwolf Theatre Company

Natalie West (Gail) - "The Butcher of Baraboo" - A Red Orchid Theatre

ACTRESS IN A SUPPORTING ROLE - MUSICAL

Dara Cameron (Susan Schmitty) - "HERO the Musical" - Marriott Theatre

Patti Cohenour (The Mother Abbess) - "The Sound of Music" - Drury Lane Productions

Hollis Resnik (Carlotta Campion) - "Follies" - Chicago Shakespeare Theater

Alene Robertson (Martha Watson) - "Irving Berlin's White Christmas The Musical" - Marriott Theatre

Christine Sherrill (Paulette) - "Legally Blonde The Musical" - Marriott Theatre

NEW WORK - PLAY OR MUSICAL

Ayad Akhtar - "Disgraced" - American Theater Company in special arrangement with The Araca Group

John Conroy - "My Kind of Town" - TimeLine Theatre Company

Sarah Gubbins - "The Kid Thing" - Chicago Dramatists and About Face Theatre

Andrew Hinderaker - "I Am Going to Change the World" - Chicago Dramatists

Jon Steinhagen - "Blizzard '67" - Chicago Dramatists

Aaron Thielen and Michael Mahler - "HERO the Musical" - Marriott Theatre

Andrew White, Andre Pluess and Ben Sussman - "Eastland: A New Musical" - Lookingglass Theatre Company

NEW ADAPTATION - PLAY

Calixto Bieito and Marc Rosich - "Camino Real" - Goodman Theatre

Frank Galati - "The March" - Steppenwolf Theatre Company

Oren Jacoby - "Invisible Man" - Court Theatre in association with Christopher McElroen Productions

Tracy Letts - "Three Sisters" - Steppenwolf Theatre Company

Jessica Thebus and Frank Maugeri - "The Feast: an intimate Tempest" - Chicago Shakespeare Theater in association with Redmoon

CHOREOGRAPHY

Tammy Mader - "Hairspray" - Drury Lane Productions

Matt Raftery - "The Pirates of Penzance" - Marriott Theatre

Jessica Redish - "Pippin" - The Music Theatre Company

Marc Robin - "Irving Berlin's White Christmas The Musical" - Marriott Theatre

Alex Sanchez - "Follies" - Chicago Shakespeare Theater

ORIGINAL INCIDENTAL MUSIC

Jenny Giering - "Elizabeth Rex" - Chicago Shakespeare Theater

Andrew Hansen - "A Walk in the Woods" - TimeLine Theatre Company

Lindsay Jones - "Timon of Athens" - Chicago Shakespeare Theater

Rob Milburn and Michael Bodeen - "A Midsummer Night's Dream" - Chicago Shakespeare Theater

Kevin O'Donnell - "Death and Harry Houdini" - The House Theatre of Chicago

David Singer - "Three Sisters" - Steppenwolf Theatre Company

MUSIC DIRECTION

Austin Cook - "Stephen Sondheim's Putting it Together" - Porchlight Music Theatre

Roberta Duchak - "The Sound of Music" - Drury Lane Productions

Roberta Duchak - "Sweeney Todd" - Drury Lane Productions

Brad Haak - "Follies" - Chicago Shakespeare Theater

Valerie Maze - "A Little Night Music" - Writers' Theatre

Robert Reddrick - "The Marvin Gaye Story (Don't Talk about My Father Because God is My Friend)" - Black Ensemble Theater

SCENIC DESIGN - MIDSIZE

Ira Amyx and Merje Veski - "A Moon for the Misbegotten" - Seanachaí Theatre Company

John Iacovelli - "Immediate Family" - Paul Boskind, Ruth Hendel and Stephen Hendel by special arrangement with Goodman Theatre, and in association with About Face Theatre Company

Jack Magaw - "Disgraced" - American Theater Company in special arrangement with The Araca Group

Brian Prather - "Freud's Last Session" - Carolyn Rossi Copeland, Robert Stillman, and Jack Thomas present The Barrington Stage Production

Chelsea M. Warren - "The Kid Thing" - Chicago Dramatists and About Face Theatre

SCENIC DESIGN - LARGE

Kevin Depinet - "The Iceman Cometh" - Goodman Theatre

Troy Hourie - "Invisible Man" - Court Theatre in association with Christopher McElroen Productions

Jack Magaw - "The Caretaker" - Writers' Theatre

Jack Magaw - "In the Next Room or the vibrator play" - Victory Gardens Theater

Dan Ostling - "Eastland: A New Musical" - Lookingglass Theatre Company

Todd Rosenthal - "Clybourne Park" - Steppenwolf Theatre Company

Todd Rosenthal - "An Iliad" - Court Theatre

Todd Rosenthal - "Red" - Goodman Theatre in association with Arena Stage at the Mead Center for American Theater

Walt Spangler - "Time Stands Still" - Steppenwolf Theatre Company

LIGHTING DESIGN - MIDSIZE

Jesse Klug - "The Amish Project" - American Theater Company

Jesse Klug - "Fish Men" - Goodman Theatre presents the Teatro Vista production

JR Lederle - "Chesapeake" - Remy Bumppo Theatre Company

Michael McNamara - "The Turn of the Screw" - First Folio Theatre

Ben Wilhelm - "Death and Harry Houdini" - The House Theatre of Chicago

LIGHTING DESIGN - LARGE

John Culbert - "Invisible Man" - Court Theatre in association with Christopher McElroen Productions

James F. Ingalls - "Camino Real" - Goodman Theatre

Natasha Katz - "The Iceman Cometh" - Goodman Theatre

Jesse Klug - "Sweeney Todd" - Drury Lane Productions

Keith Parham - "Red" - Goodman Theatre in association with Arena Stage at the Mead Center for American Theater

COSTUME DESIGN - MIDSIZE

David Hyman - "Rent" - American Theater Company and About Face Theatre

Branimira Ivanova - "Cloud 9" - The Gift Theatre

Lee Keenan - "Death and Harry Houdini" - The House Theatre of Chicago

Kate Murphy - "Absolute Hell" - The Gift Theatre

Michael Alan Stein - "The Nativity" - Congo Square Theatre Company

COSTUME DESIGN - LARGE

Jacqueline Firkins - "In the Next Room or the vibrator play" - Victory Gardens Theater

Rachel Anne Healy - "A Little Night Music" - Writers' Theatre

Virgil C. Johnson - "Follies" - Chicago Shakespeare Theater

Nancy Missimi - "The Pirates of Penzance" - Marriott Theatre

Nancy Missimi - "Irving Berlin's White Christmas The Musical" - Marriott Theatre

SOUND DESIGN - MIDSIZE

Victoria DeIorio - "Falling: A Wake" - Rivendell Theatre Ensemble

Mikhail Fiksel - "Fish Men" - Goodman Theatre presents the Teatro Vista production

Christopher Kriz - "The Turn of the Screw" - First Folio Theatre

Kevin O'Donnell and Harrison Adams - "Death and Harry Houdini" - The House Theatre of Chicago

Rick Sims - "Chesapeake" - Remy Bumppo Theatre Company

SOUND DESIGN - LARGE

Mikhail Fiksel - "Oedipus el Rey" - Victory Gardens Theater

Joshua Horvath and Kevin O'Donnell - "Angels in America, Parts One and Two" - Court Theatre

Rob Milburn and Michael Bodeen - "The 39 Steps" - Drury Lane Productions

Andre Pluess - "An Iliad" - Court Theatre

Josh Schmidt - "The March" - Steppenwolf Theatre Company

PROJECTIONS / MEDIA DESIGN

Maya Ciarrocchi - "Crowns" - Goodman Theatre

Seth Henrikson & Oddmachine - "Megacosm" - A Red Orchid Theatre

Alex Koch - "Invisible Man" - Court Theatre in association with Christopher McElroen Productions

Mike Tutaj - "I Am Going to Change the World" - Chicago Dramatists

Mike Tutaj - "A Midsummer Night's Dream" - Chicago Shakespeare Theater

Mike Tutaj - "A Walk in the Woods" - TimeLine Theatre Company

ARTISTIC SPECIALIZATION

Kurt Alger - Wig Design - "Hairspray" - Drury Lane Productions

Jesse Mooney-Bullock - 3D Puppetry Design - "The Feast: an intimate Tempest" -

Chicago Shakespeare Theater in association with Redmoon

Melissa Veal - Wig and Make-up Design - "Elizabeth Rex" - Chicago Shakespeare Theater

Dennis Watkins - Magic Designer - "Death and Harry Houdini" - The House Theatre of Chicago

MULTIPLE NOMINATIONS

BY THEATRE COMPANY

Chicago Shakespeare Theater - 18 (2 in association with Redmoon)

Goodman Theatre - 18 (2 in association with Arena Stage at the Mead Center for American Theater, 3 in association with Center Theatre Group and McCarter Theatre Center, 4 presenting the Teatro Vista production of "Fish Men")

Drury Lane Productions -17

Court Theatre - 15 (7 in association with Christopher McElroen Productions)

Marriott Theatre - 14

Steppenwolf Theatre Company - 12

Victory Gardens Theater - 10

Writers' Theatre - 10

TimeLine Theatre Company - 9

Porchlight Music Theatre - 8

American Theater Company - 7 (2 with About Face Theatre, 4 in special arrangement with The Araca Group)

Chicago Dramatists - 7 (3 with About Face Theatre)

The House Theatre of Chicago - 7

Lookingglass Theatre Company - 7

Remy Bumppo Theatre Company - 4

Black Ensemble Theater - 3

Carolyn Rossi Copeland, Robert Stillman, and Jack Thomas present the Barrington Stage Production of "Freud's Last Session" - 3

lonesome road productions in association with Jim Jensen and Lisselan Productions - 3

The Second City e.t.c. - 3

Paul Boskind, Ruth Hendel and Stephen Hendel by special arrangement with Goodman Theatre and in association with About Face Theatre Company - 2

First Folio Theatre - 2

The Gift Theatre Company - 2

A Red Orchid Theatre - 2

Rivendell Theatre Ensemble - 2 (1 with Mary Cross and Sharon Furiya)

Seanachaí Theatre Company - 2

BY PRODUCTION

"Death and Harry Houdini" - 7

"Follies" - 7

"Invisible Man" - 7

"Hairspray" - 6

"The Iceman Cometh" - 6

"In the Next Room or the vibrator play" - 6

"A Little Night Music" - 6

"The Pirates of Penzance" - 6

"Elizabeth Rex" - 5

"The Sound of Music" - 5

"Stephen Sondheim's Putting it Together" - 5

"Sweeney Todd" - 5

"Chesapeake" - 4

"Clybourne Park" - 4

"Disgraced" - 4

"Eastland: A New Musical" - 4

"Fish Men" - 4

"An Iliad" - 4

"Irving Berlin's White Christmas The Musical" - 4

"The March" - 4

"The Pitmen Painters" - 4

"Angels in America, Parts One and Two" - 3

"The Caretaker" - 3

"The Convert" - 3

"The Doyle & Debbie Show" - 3

"Freud's Last Session" - 3

"HERO the Musical" - 3

"The Kid Thing" - 3

"A Midsummer Night's Dream" - 3

"Mr. Rickey Calls a Meeting" - 3

"Oedipus el Rey" - 3

"A Walk in the Woods" - 3

"We're All in This Room Together" - 3

"Blizzard '67" - 2

"Camino Real" - 2

"A Catered Affair" - 2

"The Feast: an intimate Tempest" - 2

"I Am Going to Change the World" - 2

"Immediate Family" - 2

"The Marvin Gaye Story (Don't Talk About My Father Because God is My Friend)" - 2

"A Moon for the Misbegotten" - 2

"Red" - 2

"Rent" - 2

"Three Sisters" - 2

"Time Stands Still" - 2

"The Turn of the Screw" - 2

BY INDIVIDUAL

Jesse Klug - 3

Jack Magaw - 3

Kevin O'Donnell - 3

Todd Rosenthal - 3

Mike Tutaj - 3

Roberta Duchak - 2

Mikhail Fiksel - 2

Alex Goodrich - 2

Tammy Mader - 2

Rob Milburn and Michael Bodeen - 2

Nancy Missimi - 2

Andre Pluess - 2

Rachel Rockwell - 2

When The Ground Hits Back: Rubber Floors in The Monument

Fri, 10 Aug 2012 07:28:28 -0500

At first, it appears to be simply a painted floor, part of the decor in the Side Project's storefront black-box auditorium, but playgoers entering Idle Muse Theatre's production of The Monument may suddenly find themselves walking on a springy surface, not unlike that of a mattress. Closer inspection reveals it to be a thick layer of shredded tires, called "rubber mulch" and more commonly used in playgrounds. What is it doing in a play about citizens traumatized—and brutalized—by civil wars?

"The notion of 'The Land' is an ongoing motif throughout the play," observes director Evan Jackson, "The survivors of these nationalistic conflicts continue to be bound to the ground that they recently fought over. The characters talk about what happened to the land, and how they can make something of it in the aftermath. A synthetic cover creates a natural, sort of granular, effect—but at the same time, a dirty industrial feel, like a healthy environment damaged by man-made devastation."

Scenic Designer Dennis Mae concurs, "I've used rubber mulch before to express a peasant's connection to the land—and in this play, it enables us to render business like plowing and digging literally. We needed 150 cubic feet—about eighty 20-pound bags—to cover the entire floor to a depth of 2-3 inches, but since this is an outdoor product, it doesn't require much maintenance. After each performance, we use push-brooms to smooth it out for that nice 'full' look—and you can hose it down or spray it with disinfectants. For a short run like this, though, there's few of the sanitizing problems you'd get with an organic compound like actual soil."

The material is not only spongy, but scattered loose over the floor—did the actors have trouble adjusting? Jackson shrugs, "After an initial period of getting used to new footing and balance, it hasn't been difficult. I imagine it's like a sailor acquiring his 'sea legs'."

How about the spectators? "I'll admit to pushing the Artaud envelope," Mae confesses, "Forcing the audience to cope with the journey's terrain physically, as well as psychologically, was part of our aesthetic all along." Adds Jackson, "A bigger problem is that it gets in everything—hair, costumes, pockets..."

The play features a lot of extreme hand-to-hand violence. Does the rubber act like a gymnasium-mat to cushion the actors' falls? "I think they find landings easier than they would on the [Side Project's] hardwood floor," says Jackson, "but in this play, the physical obstacle that it presents heightens the emotional impact of the characters locked in a struggle with each other and this barren patch of dirt."

What will become of this expensive substance when the show finishes its run? Can it be recycled? Jackson laughs, "We've had conversations with the residents of the apartments above the theater. They want it for their back yard!"

Idle Muse Theatre Company's The Monument runs at The Side Project through August 26.

Mary Shen Barnidge
Contributing Writer

The Bare Facts: No-Clothes Acting at the Naked July Festival

Thu, 26 Jul 2012 13:31:31 -0500

Onstage nudity—the artistic variety, not the Gentlemen's Club kind—is nothing new. Experimental theatre groups in New York's Greenwich Village like the Living Theatre took it all off back in the 1950s, as did the casts of Hair and Oh, Calcutta in the 1960s. Steppenwolf actor Jim True skinny-dipped in full view of playgoers for the 1989 premiere of The Grapes of Wrath, and just recently, in Timon of Athens, silver-fox Ian McDiarmid displayed his well-toned gluteals at Chicago Shakespeare. Despite this, many theatergoers continue to display nervousness at the prospect of National Pastime Theater's multi-disciplinary event featuring art, music, dance and drama centered on the theme of beauty-in-birthday-suits.

For the actors in the two plays slated for this year's Naked July Festival, however, going bare is simply another aspect of their craft. Shrugs Chris Kossen, who—along with Kris Hyland—spends the major part of Cal Yeoman's Richmond Jim lounging in a west village apartment with nothing on but the tape deck that supplies the scene its mood music, "I've worked nude in projects with artists, photographers, painters, sculptors, and never experienced any problems. Kris and I were at ease with each other from the beginning of rehearsals. We touch bases before each performance to 're-bond'—this helps us both to be comfortable getting nude and intimate together."

In Jose Rivera's References to Salvador Dali Make Me Hot, Alison Chemers plays an allegorical figure in the style of Federico Garcia-Lorca named Cat, whose sheltered house-bound upbringing is meant to contrast with the free-range amorality of the seductive Coyote, played by Cameron Peart. These animal totems are suggested by scenic artist Gary Shirmer's expressionistic representations, rendered in body-paint applied directly to the performers' freshly-washed skin.

Salvador Dali director Keely Haddad-Null rehearsed the two actresses alone while they acclimated to moving without the physical restrictions of fabric and seams. "[How you hold your body] is very different when you don't have clothes on," Chemers observes, "especially when Cameron and I have to get very up-close and personal with each other. We joked a lot about the nudity, which put us both at ease for getting painted before running our scenes. Neither of us think twice now about taking off our clothes and getting into our 'costumes'. I'd never been one-hundred-percent stark naked in a play before, but now I think that there's nothing more freeing for an actor! I'm a cat showing off for an audience, and that's empowering!"

Have your friends and family seen the play? What do they think about your "wardrobe"? Chemers laughs, "I invited everyone. I'm very lucky that my family and boyfriend are such good sports to come see my shows no matter what happens onstage. Afterward, my dad hugged me, and then said 'I haven't seen you this naked since I changed your diapers!'."

National Pastime Theater's Naked July Festival runs through August 11.

Mary Shen Barnidge
Contributing Writer

Here's What In Your Eye: Slinging Mud in Mary-Arrchie Theatre's Electra

Thu, 26 Jul 2012 13:30:51 -0500

Even to urban dwellers many generations removed from the soil, mud is a profoundly disturbing image—representing, as it does, both the source of all life on our planet and the ultimate fate lying at the end of its existence. So when Sonya Moser, in adapting Euripedes' tragedy of Electra for modern audiences, searched for a Central Visual Metaphor to invoke her heroine's obsessive desire for revenge on her likewise murderous mother, the answer lay in this primal substance. Before our story is over, we will witness slimy wet earth squeezed through fingers, smeared on faces and hurled at walls in a frenzy of sheer animal rage.

If this were staged outdoors, after the manner of the original Greeks, creating a wallow big enough to bathe a dozen hogs would be simple. This collaboration between Mary-Arrchie Theatre and Illinois State University, however, is housed in the second-floor Angel Island loft on a corner of Lakeview boasting barely enough green space to sustain a potted geranium. Despite Alexander K's painted scenic drop depicting Argos as a rural midwestern prairie community, Electra is forced to mix up her mud onstage in a bucket pre-filled with dry dirt, after dragging forth a fully-functional hose for the purpose.

"What we use is just plain old topsoil," director Moser admits, "The cheapest we could find. Daniel Machalinski, our technical director, brought it in all at once—if you look closely, you can probably see the bags just offstage left behind the performers. Emily Nichelson [who plays the role of Electra] measures out precisely fifteen cups of it every night."

How do you dispose of it after the show—especially washing it out of the costumes—without clogging the theater's drains? "We are trying hard not to ruin Mary-Arrchie's plumbing! We dilute it further with more water before pouring it down the sinks, and we scotch-guard the garments to make them water-repellent, though eventually the white dresses start to fade gray."

What about the actors? Do they clean up in the sinks, too, or are the tiny Angel Island dressing rooms equipped with showers? Moser laughs, "They wear their mud like a badge of honor! There is a shower at Angel Island, and the actors were very psyched about it at first, during our very hot tech week. Now, some of them wash in the sinks, and some shower at a nearby apartment where they are staying."

All that said, if playgoers strolling home from the five theaters strung out over Broadway between Grace and Buena Streets should come upon what looks like a group of young people on a zombie-crawl asking for directions to the lake, three blocks to the east, there's no need to be perturbed—it is summer, after all!

Mary-Arrchie Theatre Company's Electra runs at Angel Island through July 29.

Mary Shen Barnidge
Contributing Writer

Stage Directing: Nick Bowling changed his tune about theater

Mon, 2 Jul 2012 15:23:12 -0500

Nick Bowling doesn't beat around the bush about directing: "I'm all about finding the conflict in a play, that's what I'm all about. It's conflict that generates dramatic energy and drives a play toward its climax."

You're thinking this is one serious theater guy, and he is. But what Bowling's terse self-analysis doesn't reveal is the heart of a director who thinks of himself first and foremost as a child of the great American musical. That's where Bowling, the associate artistic director of TimeLine Theatre, made his start. And asked what sort of play he secretly wishes to get his hands on, he answers in a quick word: Sondheim.

"I was a dancer and choreographer from high school, and my early dreams were all focused on musical theater," says Bowling, who grew up in Sumner, Iowa, and pursued his ambitions through studies at Catholic University in Washington, D.C. But his perspective changed when he came to DePaul University for post-graduate work in directing.

"I'm not sure I was conscious of leaving musicals when I came to DePaul," he says. "I'd taught music and taught dancing, and I knew every musical. So I had a real understanding of that side of it, but not a strong understanding of acting and the bigger picture of directing. I knew instinctively that I needed to leave musical theater in order to come back to it properly."

One thing Bowling would learn about actors is that "they have the most difficult job in the world. They never know what's coming next. It's a life of leaping — on stage and off, between jobs. You never have a clear future in front of you. An actor lives in that immediate place of nothing being for sure.

"I could never live that life. But actors are also open to anything. I love people who open doors, who open up doors in my head. I love nothing more than an actor who comes to me and says, 'What if....?'"

Bowling the music man couldn't possibly have foreseen the doors that would open with his move to DePaul. There he became pals with a group of other theater students and caught their bug for straight drama. This new circle founded TimeLine, which observes its 15th anniversary this season. It was Bowling who served as the new company's first artistic director.

But he very soon went to Court Theatre to work with artistic director Charles Newell, for what would prove to be a second education in the craft of theater and the art of directing.

"Charlie taught me an appreciation of straight theater," says Bowling. "He also gave me one of my hardest and most valuable lessons. After watching a play I directed, he told me, 'I wanted to see more of your imagination on stage.' That was tough to take, like your teacher telling you the most painful thing you've ever heard. But I took it to heart and began to rethink my approach to directing."

Like many others in the theater world, Bowling also continued to bounce around — out to the periphery of the game when, willy-nilly, he ended up with an administrative gig in the corporate world that would last for 10 years. But he continued to direct, and in 2010 made a full re-entry when PJ Powers, artistic director at TimeLine and another of its co-founders, lured him back into the ensemble as associate artistic director.

The range of Bowling's directorial skills have been on view this season at TimeLine from Lee Blessing's two-hander "A Walk in the Woods," about the personal interplay of an American arms negotiator and his Russian counterpart, to John Conroy's more elaborately cast "My Kind of Town," dealing with allegations of torture by Chicago police. If sustaining a play with just two actors looks like a vacation for the director, Bowling counsels a closer look.

"It's like coloring with just two crayons," he says. "How interesting is that? But then you begin to understand the complex possibilities of combining those two colors. At the opposite extreme, with something like 'The Front Page,' a rugged portrait of the newspaper business in the 1920s (which he directed last season at TimeLine), with 16 or 17 men and women on stage, you can feel like a traffic cop just trying to keep people from running into each other. The ideal for me is a cast of six to nine. You get to spend a lot time with everybody."

That's about where he was with the Harvey Fierstein-John Bucchino musical "A Catered Affair" — about a mother's desperate need to mortgage her future on a fancy wedding for her daughter -- this season at Porchlight Theatre.

"'A Catered Affair' reminded me of my roots," says Bowling of this intensely serious play transfigured by a score of operatic emotional resonance. "Grimy plays take a toll on your soul. There's a joy about musicals that still lifts me."

Lawrence B. Johnson
Contributing Writer
Lawrence B. Johnson is the editor of Chicago On the Aisle

Priscilla Queen Of The Desert and Catch Me If You Can coming to Chicago

Mon, 25 Jun 2012 09:25:08 -0500

Broadway In Chicago announced two Chicago premieres in their 2013 Spring season: Tony Award-winning Priscilla Queen Of The Desert and Catch Me If You Can. Priscilla Queen Of The Desert will play the Auditorium Theatre of Roosevelt University (50 East Congress Parkway) for two weeks only, March 19 - 31, 2013. Catch Me If You Can will play the Cadillac Palace Theatre (151 West Randolph Street) for a two-week engagement April 2 - 14, 2013.

Priscilla Queen Of The Desert

This spectacular show tells the uplifting story of a trio of friends on a road trip of a lifetime, who hop aboard a battered old bus searching for love and friendship in the middle of the Australian outback and end up finding more than they could ever have dreamed. An international hit with over 500 dazzling, 2011 Tony Award-winning costumes, Priscilla Queen Of The Desert features a hit parade of dance-floor favorites including "It's Raining Men," "Finally" and "I Will Survive." The Hollywood Reporter calls Priscilla Queen Of The Desert "funny and fabulous! Joyous entertainment with eye-popping visuals and unexpected heart!" The New York Post declares "Queen of Broadway! A feel-good show with a big, joyous heart! PRISCILLA ramps up the thrills!" The New York Times raves "Performed with gleaming verve! Every conceivable surface has been decked with sequins, spattered with colored lights, or trimmed in feathers and fringe."

Catch Me If You Can

Based on the hit DreamWorks film and the incredible true story that inspired it, Catch Me If You Can is the high-flying, splashy new Broadway musical that tells the story of Frank W. Abagnale, Jr., a teenager who runs away from home in search of the glamorous life. With nothing more than his boyish charm, a big imagination and millions of dollars in forged checks, Frank successfully poses as a pilot, a doctor and a lawyer - living the high life and winning the girl of his dreams. But when Frank's lies catch the attention of FBI agent Carl Hanratty, Carl chases Frank to the end...and finds something he never expected. This delightfully entertaining musical has been created by a Tony Award-winning "dream team," with a book by Terrence McNally (The Full Monty, Ragtime), a swinging score by Marc Shaiman & Scott Wittman (Hairspray), choreography by Jerry Mitchell (Hairspray, Legally Blonde) and direction by Jack O'Brien (Hairspray, The Full Monty, Dirty Rotten Scoundrels).

Tickets are available now for groups of 15 or more by calling Broadway In Chicago Group Sales at (312) 977-1710. Catch Me If You Can and Priscilla Queen Of The Desert will part of the 2013 Spring Season, which will go on sale this fall. Individual tickets will go on sale at a later date.

For a complete list of Broadway In Chicago shows visit our Broadway In Chicago page.

Hangin' The The Baze! with Eric and Andy!

Mon, 18 Jun 2012 07:46:59 -0500

If you know anything about Eric and Andy, then you know that we love The Vampire Diaries on television! Through a generous donation from the Make-A-Wish Foundation, we were recently invited to tour the set and meet some of these L.A. stars! Well, while we were there, who did we run into? None other than the host of Chicago's "The Interview Show", and former popular Red Eye columnist, the great Mark Bazer!

Hey Mark! Thank you for joining us here on the set of The Vampire Diaries!

It's amazing to be here.

We're so excited too! There's a replica of a dead vampire here that is so realistic!

I just hope it doesn't scare you as you ask questions.

Ok, let's cut through all this BS, Mark. Here's what we need to know. Why did you stop writing that first opinion column for the Red Eye?

I like making mistakes.

We have this theory about Red Eye. We think it is like 24 hour old Twitter in paper form. How did you like working there and why did you even get that job in the first place?

I think Red Eye predates Twitter, no? Anyhow, I liked it! The people were great, and I could write what I wanted. What could be better? Other than not writing and staring at walls. I got the gig when the editor in chief discovered me sitting at a malt shop in a small town in Iowa.

NOTHING predates Twitter! Anyway, you had that job, and now what are you up to? Do you have a regular job like...

Do you want to end the sentence or should I end it for you?

...waiting tables or selling Arbonne?

I do have a regular job. I work at Leo Burnett, on the new-business team. And then I do The Interview Show at The Hideout once a month. And I also handle the lineup for my son's t-ball team. Not making the lineup, mind you, just making sure the kids know when it's their turn to hit.

So, but your first love is writing? Please tell us that is true.

OK. Writing is my first love.

So, now you do The Interview Show. What is that?

It's an interview show. The idea, for real, was to do a talk show that fell somewhere between Conan and Charlie Rose.

Which one do you like better? We love Charlie Rose because it's like he's interviewing people in limbo. A dark void of questions.

Funny. I was just thinking this feels like a bright expanse of questions.

We have always wanted to do an interview show that was sort of a mix of Arsenio and Maury. What sort of guests do you like to go for? Who is interesting to you in Chicago and what issues do you run into with scheduling bigger guests?

Well, for the first three years, Oprah wanted to be on the show every month. But then she moved, and we had to get creative. Um, I like having chefs on a lot. They are very talkative, by and large, they are both passionate about what they do and, usually, showmen. Scheduling. Yeah, that's the tough part. We do the show the first Friday of the month, so we rely on people without social lives.

What do you mean showmen?

Tap dancing, mainly.

We would love to see some soft-shoe on your show. Now, what do you think of The Hideout? Isn't it in the middle of a warehouse district? We always feel like there's either a shiv or a hug around every corner.

Don't forget the city's supply of garbage trucks across the street! The Hideout is the best. I'm a lucky man.

Do you ever reach out to the Theatre Community? What type of theatre do you go see?

Yeah. We've had a bunch. Just had Brian Dennehy. Before that we had Marc Grapey. Two of my favorite guests were TJ & Dave. The one problem with having theater people - and this is a testament to them - is that often actors don't want to feel like they're hogging the spotlight in an ensemble cast. But once they agree to the show, it's always great. Loved having Letts on the show. And John Mahoney and Rob Belushi were a great pair on together. I could go on. But I will not!

What do you look for in a guest? I mean... when you are searching for next month's guests, what makes them stand out to you?

The main thing is they're into it. There is some publicity that comes out of it for them, but it's certainly not on the level of being in the Trib or on TV. So, just wanting to do it. And then being up for a conversation on a stage. Also, I like to have at least one guest each month who has some real name recognition to help get people out to the show.

So, where does the future lie for the Bazer family? Do you plan on expanding the show into other mediums like radio or the internets?

We'll probably develop several apps. We are online! I need to do a better job at that. A new site is going up soon. And a podcast. What else should I do? Any ideas?

Maybe you should do it on the bus! So, let me ask you something. We know why we do interviews, but what do you get out of it? Is it an actual interest thing? Do you miss that sweet Red Eye spotlight?

I do it merely to share all of the great talent in Chicago with the community. I see myself as a messenger of creativity, a force for ... yeah, ego's probably a part of it. I don't know. The honest answer is that I really like the give and take on stage - it sounds cliche and corny, but it's a very alive feeling on the stage. A very focused feeling. I don't know if that makes sense. I also like the prep for the show.

See, now that sounds great! That makes you sound like a neo-Merv Griffin. We love putting neo- in front of things! So, Mark...when is the next show and do you have any guests booked yet that you can tease for us? Come on, give us a little tease!

August 3. Mick Napier from the Annoyance. 25 years for them, which is awesome. And Jennifer Estlin, president of the Annoyance, with him. Then John Monopoly who helped Kanye early in his career, manages King Louie, a rising rapper here. Just a big force in Chicago rap. And then the guys from Shame That Tune, Brian and Abraham. And Oprah will probably stop by as well.

Mark, we like to end every interview with a secret from our guest. Here on this set of The Vampire Diaries, and us just in our underpants...is there anything exclusive that you can tell us?

Hmm. That's a tough one. I guess my biggest secret is that I still sleep on Red Eye sheets.

Well, ain't no one sleepin' on you, Mark Bazer host of The Interview Show!

Aw shoot!

Now get the hell out of here.

Gladly.

Eric Roach, Anderson Lawfer

Hell On Wheels: Rolling with The Jammer

Mon, 11 Jun 2012 12:01:31 -0500

We think of America in the 1950s as a sedentary age, when the upheaval of two world wars and the Great Depression gave way to an atmosphere of placid security. This impression, it must be noted, is chiefly based in commercial images spawned by the boom economy and promoted by an advertising industry coming into its own as the powerful social influence it is today.

Far from reflecting leisurely lifestyles, the universe of Rolin Jones' The Jammer is defined by its steadily-increasing velocity. Our humble hero begins his journey as a taxicab driver in Brooklyn looking forward to nothing more than a contented future with his likewise unremarkable sweetheart, until a promoter persuades him to seek his fortune in the (literal) fast-track world of competitive skating.

Before long, we find him dashing from one tournament to the next on the bus that he shares with a pack of borderline psychopaths united in their quest for fame through the quasi-gladiatorial spectator sport popularized under the name of "Roller Derby." It doesn't stop there, either—when our bruised and battered protagonist finally meets his moment of truth, it occurs high atop a Coney Island roller-coaster.

Did I mention that the stage for this Pine Box Theater production is only 24 feet wide and 20 feet deep?

"There is plenty of athletic spectacle within the confines we've given ourselves," director Vincent Teninty assures those skeptical of his company's ability to bring off this early work by the author of The Intelligent Design of Jenny Chow, "The play is more about the characters' relationships than it is about Roller Derby—which is simply the frame for this group of outcasts growing to love and appreciate each other. I never asked how many people in the cast actually knew how to skate. The goal of [movement choreographer] Matt Hawkins and the production team was to create the impression of professional skaters, while allowing the actors to engage one another without losing focus."

Rolin Jones is a playwright fond of writing his own stage directions. Did these include the routes of the various vehicles—the roller-coaster, in particular, where the centrifugal pulls occur abruptly and everyone must respond simultaneously.

"Jones includes a lot of stage directions, it's true," Teninty admits, "but for the roller coaster scene, he just specified when it climbs and plummets. I directed the movement on the vehicles, but the actors and I, together, sat through each sequence to find the best times for the turns and whoopsies."

Did the roller-coaster riders rehearse their responses in silence first and add the gasps, screams, etc. later on, the way it's done in stage combat? "For the most part, everything was rehearsed with spoken dialogue from the start," Teninty recalls, "This cast works incredibly well as an ensemble. Their positive energy and their willingness to follow instruction made the entire show fun to direct."

Pine Box Theater's production of The Jammer runs at the Athenaeum through July 1.

Mary Shen Barnidge
Contributing Writer

Filament Finds Its Rhythm Traveling Hank Williams' Lost Highway

Wed, 6 Jun 2012 13:27:58 -0500

A little over a stone's throw down Lincoln Avenue from where the Apollo Theatre's evergreen production of Million Dollar Quartet is running, another musical will begin playing for Chicago audiences who can't get enough of that show's mix of familiar vintage songs and music star biographies. That's when the Filament Theatre Ensemble's production of Hank Williams: Lost Highway opens at the Athenaeum Theatre.

Co-directed by Filament Artistic Director Julie Ritchey and Associate Artistic Director Omen Sade, with a book by Randal Myler and Mark Harelik, Hank Williams: Lost Highway is the musical biodrama of the man many consider the father of country music. Hank Williams had 11 number one hits on the Billboard country charts, wrote a body of classic songs that have been covered by everyone from Tony Bennett to George Thorogood, set the blueprint for nearly every country artist that followed him, and was dead before age 30. Lost Highway tells his remarkable life story with a combination of dramatic flashbacks, narration from various characters, and over 20 of Hank Williams' best-known songs, including "Hey Good Lookin'", "Move It On Over", "I'm So Lonesome I Could Cry", "Your Cheatin' Heart", and the title song. Filament ensemble member and two-time Jeff Award-winner Peter Oyloe, who is playing Hank, explained the show's appeal recently on the Talk Theatre In Chicago podcast: "[Filament has] always been in love with this genre of music, and Hank Williams in particular is at the pinnacle of this musical genre; he's right at the cusp of where folk music meets blues meets the beginning of country-western music. And so we were really drawn to how smart, well-researched, and beautiful the script is, how funny it is, as well as how entertaining...[and] we love to do at least one production per year that has a large component of music."

In some ways, Williams was the prototypical rock star, predating even Elvis Presley, and his life story is a variation on the timeless rise-and-fall arc. From a hardscrabble Alabama childhood, he came up through the "hillbilly music" circuit, was a fixture on the Grand Ole Opry, and became a superstar before the sudden flood of money and fame, the excesses of the lifestyle and his own lifelong demons did him in.

Besides Oyloe, the cast also includes fellow Filament ensemble member Mary Spearen as Hank's first wife Audrey Williams. Hank's band, the Drifting Cowboys, consists of Sam Quinn on lead guitar, Jesse Woelfel on stand-up bass, Eric Labanauskas on fiddle, and Tim McNulty on pedal steel guitar. "It's been a joy working with this band," says Oyloe. "They have a real respect for the genre and it really comes through in the passion and enthusiasm that they bring to this music." Rounding out the cast are Gerald Richardson as blues singer Tee-Tot, Danon Dastugue as Hank's mother Mama Lilly, Bill O'Neill as record producer Fred Rose, and Bryce Gangel as The Waitress.

Audience members who wish to dig into the life and times of Hank Williams, and all of these characters' histories, more fully either before or after they see the show are encouraged to visit Filament's ongoing blog series at www.filamenttheatre.org/category/blog/hank-williams/.

Luke Heiden
Contributing Writer

2012 Non-Equity Jeff Award Recipients

Mon, 4 Jun 2012 22:01:53 -0500

At the Non-Equity Jeff Awards held at Park West on Monday, June 4, Theo Ubique Cabaret Theatre took most awards with 6 honors for their jewel box production of A Light in the Piazza" including Production-Musical, Director-Musical for Fred Anzevino and Brenda Didier, Principal Actress for Kelli Harrington, Supporting Actor for Justin Adair, Music Director for Jeremy Ramey and, in a new award recognition, Dialect Coach for Eva Breneman. The Hypocrites' avant-garde play "Sophocles: Seven Sicknesses" accrued 4 awards for Production-Play, Director and New Adaptation for Sean Graney, and Lighting Design for Jared Moore. "Punk Rock" by Griffin Theatre Company collected the Ensemble award, Director-Play for Jonathan Berry, and Principal Actor-Play for Joey DeBettencourt.

An audience of over 600 enjoyed the gala evening featuring musical production numbers from Bailiwick Chicago's "Passing Strange" and "Violet," Griffin Theatre's "Spring Awakening," and Theo Ubique's "Pump Boys and Dinettes" and "The Light in the Piazza." Emcees Vanessa Greenway, an artistic associate at Griffin Theatre, and Terry Hamilton, an associate artist at TimeLine Theatre Company, presided over an evening that recognized 141 nominations in 25 categories from 49 productions and ultimately honored 34 recipients from 15 theatres with 31 awards celebrating excellence in all aspects of Chicago Non-Equity theatre. Director for the ceremony was Ronna Kaye, and Non-Equity Chair Doug Bradburd produced the event.

The Building Stage claimed 3 awards for "Moby-Dick" with New Adaptation honors going to Blake Montgomery, Original Incidental Music to Kevin O'Donnell, and an award for Percussion (Artistic Specialization) to Casey Baker, Kevin O'Donnell and Mike Przygoda. "Urinetown The Musical" from Circle Theatre took awards for Choreography by Artistic Director Kevin Bellie and Costume Design of Jesus Perez, while Chuck Sisson received the Principal Role-Musical nod in Circle's "The Baker's Wife." Redtwist Theatre took home 2 honors for "Opus" with Sound Design by three-time nominee Christopher Kriz and Music Coach (Artistic Specialization) for Zhanna Bullock, and Jacqueline Grandt received Principal Actress-Play award for her gritty role as Agnes in "Bug."

The New Work awards, an integral part of the fabric of Chicago theatre, went to Shepsu Aakhu for his play "Speaking in Tongues: The Chronicles of Babel" produced by MPAACT, where he is a founding member, and to New Yorker Deirdre O'Connor for "Assisted Living," which played in a much extended run at Profiles Theatre.

Additional acting awards were presented to Melanie Keller for Principal Role-Actress in "East of Berlin & The Russian Play" at Signal Ensemble Theatre, to Aaron Kirby for Actor in a Supporting Role-Play in "Dark Play or Stories for Boys" at Collaboraction, to Sasha Gioppo for Actress in a Supporting Role-Play in "Red Light Winter" at Mary-Arrchie Theatre Company, and to Dana Tretta for Actress in a Supporting Role - Musical in "Pippin" at Bohemian Theatre Ensemble.

On behalf of the Jeff Awards, Chair Diane Hires welcomed the audience and presented the Special Award to Chicago Park District's Theater on the Lake, which celebrates its 60th Anniversary this month. Theater on the Lake was honored for developing new audiences for Non-Equity theaters and artists and expanding theater opportunities throughout the Chicago community. In the early years of this Park District program, Chicago's up-and-coming talent participated in neighborhood theatre programs, and the best plays were honored in a showcase of amateur community theatre performances on the lake. In recent years, the Theater on the Lake Program has grown in scope, remounting a cross section of the city's most outstanding plays from both Non-Equity and Equity theaters.

The Jeff Awards has been honoring outstanding theatre artists annually since it was established in 1968. With an active contingent of 50 members representing a wide variety of backgrounds in theatre, the Jeff Awards is committed to celebrating the vitality of Chicago area theatre by recognizing excellence through its recommendations, awards, and honors. The Jeff Awards fosters the artistic growth of area theatres and theatre artists and promotes educational opportunities, audience appreciation, and civic pride in the achievements of the theatre community. The Jeff Awards evaluates over 250 theatrical productions and holds two awards ceremonies annually. Originally chartered to recognize only Equity productions, the Jeff Awards established the Non-Equity Wing in 1973 to celebrate outstanding achievement in non-union theatre. The next Equity Awards Ceremony, honoring productions presented under union contracts, will be held on Monday, October 15, 2012, at the Drury Lane Oakbrook in Oakbrook Terrace.

2012 Non-Equity Jeff Award Recipients

PRODUCTION - PLAY
"Sophocles: Seven Sicknesses" - The Hypocrites

PRODUCTION - MUSICAL
"The Light in the Piazza" - Theo Ubique Cabaret Theatre

DIRECTOR - PLAY
Jonathan Berry - "Punk Rock" - Griffin Theatre Company
Sean Graney - "Sophocles: Seven Sicknesses" - The Hypocrites

DIRECTOR - MUSICAL
Fred Anzevino and Brenda Didier - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

ENSEMBLE
"Punk Rock" - Griffin Theatre Company

ACTOR IN A PRINCIPAL ROLE - PLAY
Joey DeBettencourt - "Punk Rock" - Griffin Theatre Company

ACTOR IN A PRINCIPAL ROLE - MUSICAL
Chuck Sisson - "The Baker's Wife" - Circle Theatre

ACTRESS IN A PRINCIPAL ROLE - PLAY
Jacqueline Grandt - "Bug" - Redtwist Theatre
Melanie Keller - "East of Berlin & The Russian Play" - Signal Ensemble Theatre

ACTRESS IN A PRINCIPAL ROLE - MUSICAL
Kelli Harrington - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

ACTOR IN A SUPPORTING ROLE - PLAY
Aaron Kirby - "Dark Play or Stories for Boys" - Collaboraction

ACTOR IN A SUPPORTING ROLE - MUSICAL
Justin Adair - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

ACTRESS IN A SUPPORTING ROLE - PLAY
Sasha Gioppo - "Red Light Winter" - Mary-Arrchie Theatre Co.

ACTRESS IN A SUPPORTING ROLE - MUSICAL
Dana Tretta - "Pippin" - Bohemian Theatre Ensemble

NEW WORK
Shepsu Aakhu - "Speaking in Tongues: The Chronicles of Babel" - MPAACT
Deirdre O'Connor - "Assisted Living" - Profiles Theatre

NEW ADAPTATION
Sean Graney - "Sophocles: Seven Sicknesses" - The Hypocrites
Blake Montgomery - "Moby-Dick" - The Building Stage

CHOREOGRAPHY
Kevin Bellie - "Urinetown the Musical" - Circle Theatre

ORIGINAL INCIDENTAL MUSIC
Ovidiu Iloc - "The Word Progress on My Mother's Lips Doesn't Ring True" - Trap Door Theatre
Kevin O'Donnell - "Moby-Dick" - The Building Stage

MUSIC DIRECTION
Jeremy Ramey - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

SCENIC DESIGN
Amanda Rozmiarek - "The Price" - Raven Theatre

LIGHTING DESIGN
Jared Moore - "Sophocles: Seven Sicknesses" - The Hypocrites

COSTUME DESIGN
Jesus Perez - "Urinetown the Musical" - Circle Theatre

SOUND DESIGN
Christopher Kriz - "Opus" - Redtwist Theatre

FIGHT DESIGN
Matt Hawkins - "Cyrano" - The House Theatre of Chicago

DIALECT COACHING
Eva Breneman - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

ARTISTIC SPECIALIZATION
Casey Baker, Kevin O'Donnell and Mike Przygoda - Percussion - "Moby-Dick" - The Building Stage
Zhanna Bullock - Music Coach - "Opus" - Redtwist Theatre

2011-2012 Non-Equity Statistics
In the season ended March 31, 2012, the Jeff Awards Committee judged the opening nights of 154 Non-Equity productions from 71 Non-Equity producing organizations. Of these, 64 productions were recommended by the opening night judges and became eligible for nominations.

Multiple Recipients

THEATRES:
Theo Ubique Cabaret Theatre - 6
The Hypocrites - 4
The Building Stage - 3
Circle Theatre - 3
Griffin Theatre - 3
Redtwist Theatre - 3

PRODUCTIONS:
"The Light in the Piazza" - 6
"Sophocles: Seven Sicknesses" - 4
"Moby -Dick" - 3
"Punk Rock" - 3
"Opus" - 2
"Urinetown The Musical" - 2

Eric and Andy Live From The Jeff Awards

Thu, 31 May 2012 07:20:55 -0500

Eric Roach and Anderson Lawfer, interviewers for TheatreInChicago and curators and founders of the insider Chicago Theatre blog Reviews You Can Iews!, will be holding a "Red Carpet" style event from the Park West Theater at the 39th annual Joseph Jefferson Awards on June 4th, 2012 that will be streamed live and can be seen right here at TheatreInChicago.com.

The production will be handled by Brad Little and Ben Fuchsen from Oracle Theatre Productions who have live streamed other theatrical events in Chicago including Woyzeck from the Oracle Theatre and Tonight, It's Live with Tom Bambara. Mike Ooi will be directing the night's festivities with the help of guest liaison David Seeber.

With their irrelevant blend of comedy and knowledge of the theatre world in Chicago, Eric & Andy, two working actors, provocateurs and sometimes critics, will be interviewing their peers and colleagues in a 1 hour interview special for the second year in a row!

Once again the Jeff Awards allowed us full coverage, as people at home or in motels will be able to tune in for free and watch the red carpet rituals in a meet-and-greet hour of the two annual Jeff Award awards ceremonies for the Theatre Arts.

Coverage will begin at 6:00pm from inside the fabulous Park West Theater and last for a non-stop action filled 60 minutes that will include interviews of presenters, nominees, theatre personalities and heavyweights.

You will have to tune in to see what happens, but be sure it will be exciting and add a level of distinction to these already revered awards!

"YOU HAVE NEVER SEEN ANYTHING LIKE THIS"- Joseph Jefferson

Just tune in for free here at TheatreInChicago.com on June 4 at 6:00pm for all of the information and highlights as it will be live streamed and also available to watch afterwards.

The 39th Anniversary Non-Equity Jeff Awards Ceremony will be held on Monday, June 4, 2012, at the Park West, 322 W. Armitage, Chicago, IL. Doors open for a cash bar at 6:00pm., with a light buffet at 6:30pm., and the presentation ceremony at 7:30pm. Tickets are $40 in advance, $45 at the door. The ceremony will honor excellence in Chicago theatres not under a union contract for productions that opened between April 1, 2011, and March 31, 2012. A complete list of this year's nomination can be found here.

Backstage gossip and behind the scenes info during the ceremony can be followed on Twitter at @josephjefferson.

Seven Years Of What? Breaking Mirrors in Timon of Athens

Tue, 29 May 2012 07:52:14 -0500

In Shakespeare's play, our hero, Timon of Athens, has been abandoned by those he thought were his friends, so what he does is to throw one last party, where he tells them all to go to hell, trashes the table in a clatter of silver plates and cutlery, and finishes his tirade by snatching up a piece of dinnerware from the floor and hurling it with all his might at the enormous mirror on the wall, which then splinters under the impact with a crash to send audiences diving under their chairs for protection from the inevitable shower of jagged shards.

A mid-sized theater with a mid-sized budget might accomplish this spectacular effect with taped noises and rear-projections—or even that old standby, a scrim—but Chicago Shakespeare is a world-class operation with funding to match. According to properties master Chelsea Meyers, that's a genuine mirror—composed of several panels joined together to make the entire surface visible from all corners of the room—that bites the dust in every performance.

"The mirror is held into its frame with magnets and coated on both sides with anti-graffiti film to prevent outward breakage," Meyers assures me, "My department did many tests to get the angles just right. The fabulous part is that when the mirror breaks, you see his reflection fragmented into a hundred pieces!"

So it's not a slight-of-hand trick—Ian McDiarmid actually lets fly at the mirror with a projectile chosen, says Meyers, for its weight, which must be sufficient to do the required damage without piercing the safety film. But what if he misses his target?

"All of the mirror panels are breakable, so Ian can hit one of the surrounding panels and we get the same effect. Each piece has a replacement custom-cut and fitted perfectly to the frame. Making it all safe and secure was particularly tricky, but it seemed the only way to ensure that it was foolproof."

Superstitions about breaking mirrors aside, doesn't destroying all this glassware every night get kind of—well, expensive? "Realism was our artistic vision for this first part of Timon," Meyers maintains, "Besides, I think the theater experience is more 'real' for the audience when the objects are the real thing. I love how frightening the mirror-smash is, how dangerous it feels, and the way to create that fear was through realistic violence and real glass. It's an expensive moment, yes, but worth every penny!"

Timon of Athens plays at Chicago Shakespeare Theatre through June 10.

Mary Shen Barnidge
Contributing Writer

Harris Banks On Beverly! With Eric and Andy!

Wed, 9 May 2012 12:32:36 -0500

Ricky Harris is new to the scene. He is hard to miss because he is about 6'3" and the laugh of someone twice his size. This bodes well for his career choice as a musician and actor, because once you hear this guy's voice, you will never forget it. We ran into the generally jovial Ricky Harris on the CTA Green Line at 3 AM while we were going to another "party". At first he didn't know who we were and called for help, but then, he gave in to our interview.

Ricky! Thanks for meeting us here on the Green Line at 3am! Please keep your scalding hot water handy in case of CTA mutants!

The Green Line is known for the best CTA mutants in the City!

The Green Line is known for lots of things. So what were you doing tonight before you met us here?

I was actually in a tech rehearsal for my upcoming show!

Well, what is it? All these riddles, Ricky. It's too late for riddles.

The 25th Annual Putnam County Spelling Bee! Being performed at the Beverly Arts Center the first two weekends in May!

The Beverly Arts Center, eh? That's in Beverly. Tell us a little bit about why you chose this show, who it's for and all that stuff. Are you the director? Ricky?

(silence)

RICKY!? Oh good, I thought you were turning into a Green Line mutant for a second, but you aren't. You just stopped paying attention.

Yes, now that you have my full attention I chose this show because it's an awesome piece to perform and super fun. I am serving as music director for the show and also acting in it. I play the character William Barfee. We have a great cast of Chicago actors who really bring a fresh style to this show. Freda Humble, Warren Levon, David Boyle, Chris Galvan, Grace Lethiot, Lauren Omelson, Nathan Scheetz and Arya Daire. Shellee Frazee is our wonderful director/choreographer.

Lauren Omelson, eh? I hear she's the kind of girl who's gonna go places! That does sound like a great cast. Do you have to whip them into shape? They probably are pretty drunk most of the time, you know?

Lauren is a force to be reckoned with!

Do you think she would like us?

Yes just as much as the next pretty girl you see walking down the street! The cast was great to work with, though I found it easier to deal with them if they were high instead of drunk. They would be in a much calmer place and not as loud and kray kray.

Now Ricky, you are a Roosevelt grad, and a new face to the theatre scene in town. You are a member of The Barrel Of Monkeys and have done a few shows here and there. You are also a black man. How does being a black actor in this town work? Because, we have all traditionally heard that being a black singer/actor is essentially a free pass to an Equity card, but I don't see you taking that route.

It's not that easy. Being sort of a new face, there are other, better known black actors who are still taking all the roles. Once I can break in and get an opportunity I will jump at the chance for my Equity card. Being able to sing does help, but it is still no easy ride. Either I'm looked at for roles just for African Americans or ensemble parts. But in this production, I do get a chance to shine with my very own tap routine I do!

That sounds great! We can't get enough of that Ol' Soft Shoe. Do you think that going Equity will lead to better opportunities? Being that we are white dudes in the storefront scene, we hear common complaints all the time that there just aren't enough people of color in Chicago storefront, simply because they get their Equity cards and move up in the ranks. Do you think you'd like to do some work at some of the storefronts in town?

Yes I would definitely work at some of the storefronts around. I think Chicago is famous for it's black box and storefront theatres. I've done work the Stage Left and some others and have really enjoyed it but what you find with Equity is that it's better paying opportunities! This is my job my craft and I survive off of doing Artistic work.

How did get involved with the Barrel Of Monkeys and what do they mean to you artistically?

The old fashioned way. I saw a listing for the auditions, I went and wowed them and now I've been with them for 3 years. Barrel of Monkeys is great because I get to act and create with an awesome group of artists from this city. Currently with the company, I serve as the Music Director and am also a lead teacher. It's fun to bring the kids stories to life, to give them a voice that they have never heard and it's great that we do it through fun theatre stuff! You can really grow as an artist within this company.

We wish we were Barrel Of Monkeys people. Can you get us an audition?

Yeah!

I'm pretty sure if we do our two man "Sunday In The Park With George" they will have to let us in. Will you play piano for us?

Definitely and I won't even charge you!

Ricky, we hope you are around for a lot of years in the future. You are a great person and an incredible talent to have here in Chicago. Is there anything you would like our readers to know before we throw you off the Green Line train in the most dangerous section of town?

Please come check out my show www.beverlyartcenter.org for ticket info and all of that and continue to support and love all theatre! Chicago is a great place to be and before I go equity and become famous I'll do any storefront show you guys have for me.

Spelling Bee Forever! Tell Lauren Omelson that we love her!

I'm sure she will be happy to hear from you!

Eric Roach, Anderson Lawfer

Stage Directing: Kimberly Senior listens, and success follows

Wed, 2 May 2012 09:32:14 -0500

It was an illness that led Kimberly Senior to the first principle of successful stage directing: Be a good listener. Senior has carved a prominent place on Chicago's theater scene since arriving here straight out of Connecticut College in 1995. But her revelation came just two seasons ago while she was directing Martin McDonagh's "The Pillowman" at Redtwist Theatre.

"At one rehearsal I was very ill — I had so much pressure behind my eyes -- that I spent the whole time lying down on a bench, giving notes on what I had heard," recalls Senior. "That turned out to be one of my most productive rehearsals ever. I think that's when I really learned to listen. Just being in the same space with the actors was enough. I didn't have to see anything. Now I spend less time with my head in a notebook."

The 39-year-old director also has another guiding principle that applies more broadly to career building: patience. That one she learned long ago.

To look at what Senior has accomplished, the prominence she enjoys on the Chicago scene, the frequency with which her name pops up on production credits, you might guess it was ever thus. She won rave reviews earlier this season directing Ayad Akhtar's "Disgraced" at American Theater Co. Her production of Amy Herzog's "After the Revolution" is currently playing at Next Theatre. And the 2012-13 season brings a pair of debuts as she shepherds John Lowell's "The Letters" at Writers' Theatre and Matthew Lopez's "The Whipping Man" at Northlight Theatre.

But she will tell you it has been a long, determined and, yes, patient climb from the time she arrived fresh out of school to begin an internship at Steppenwolf Theatre.

"I don't think I've ever directed for someone who wasn't a friend," she says. "It's all about trust, and you earn trust. When an organization empowers a director, a third or a fifth of their budget is in the artistic charge of that person. How could that be someone they don't know?"

Senior cites her impending Writers' debut as a study case for young directors who imagine themselves knocking on an artistic director's door and expecting to be handed a show.

"I really wanted to work at Writers'," she says. "I had admired their work and (artistic director) Michael Halberstam for a long time. I wondered, 'How do I do that?' Eventually, about five years ago, I approached Michael and told him I'd like to direct there. We had a nice talk. Then we began to build a relationship.

"From that time forward, I went to see his plays and whenever I saw him at another show or event, I would say hello and introduce myself again. Last year, we started talking about some educational work and some readings. He went to see my plays. Now we have an authentic friendship. We have trust.

"But it's also about mastering your craft, and that also takes time. Some people say you don't really become a director until you're 40. At 25, I would have been totally devastated to hear that. I have over 100 professional credits. That represents thousands of hours working at the job, learning what actors need, just learning."

Among the lessons of Senior's career is the synergy of drama and comedy, and how they can spiral up together in powerful and often surprising ways. Talk with Senior very long and she'll soon invoke her beloved Chekhov. This was that moment.

"Chekhov was the original genre bender. We're complicated people and great plays remind us of that. I've done (Chekhov's) 'Three Sisters' three times — once as an actor many years ago and twice more recently as a director. There's an example of how tragedy creates the comic and vice-versa, and it means something new every time you visit it.

"But I also do a ton of contemporary work. New work is probably 60-70 percent of the plays I've done in the last five years. There's plenty of genre bending in contemporary theater. Take 'Pillowman.' The play is hilarious and terrifying and bone-chilling. The way it can make you gasp and laugh is something else. I have a great fondness for McDonagh." (Speaking of stretching genres and McDonagh, Senior directs his melancholy comedy "The Cripple of Inishmaan" at Redtwist, opening May 13.)

Yet whether the playwright before her is McDonagh or Chekhov or Ayad Akhtar, Senior says, her interaction with the actors who must make it work is the same.

"My job is to make sure all the parts are functioning at their utmost best, that people are pushing themselves. I'm a firm believer in actors bringing themselves to the role. Acting is about personal risk and cost. You have to share a part of who you are. The question is, how do I create that environment? The director is responsible for tone as well as understanding. No two plays are the same and no two circumstances are the same. There are no tricks or formulas you can apply."

And that means no shenanigans with the playwright's work.

"I always go back to the word," says Senior. "I'm a traditionalist when it comes to the text. It's our job to have the text sing. There should be no need to apologize for a play — and you're doing that when you don't trust what's there. You know you're headed for trouble when someone in the (rehearsal) room says, 'You know what would be so cool — what if there was a dragon and...' I'm a vigilant protector of the text."

Lawrence B. Johnson
Contributing Writer
Lawrence B. Johnson is the editor of Chicago On the Aisle

Racial Politics With A Beat: Silk Road Rising's Re-Spiced Cabaret

Sat, 28 Apr 2012 12:04:07 -0500

Musical revues usually strive for easy-on-the-ears melodies, warbled by attractive vocalists, often with an emphasis on romantic ballads—but when your theme's satirical edge centers on the oft-distorted portrayal of ethnic minorities by chauvinistic host countries, the score runs the risk of incensing audiences, even when performed by representatives of the very cultures described therein.

Some selections in Silk Road Rising's Re-Spiced cabaret revue are catchy-rhythm nonsense like the Bangles dance-craze ditty, "Walk Like An Egyptian" or the venerable Harry Warren-Mort Dixon swing classic from 1928, "Nagasaki" with its infectious refrain of "Back in Nagasaki/where the fellas chew tobaccy/and the women wicky-wacky-woo." Less playful, however, is the hostility expressed by rapper Ice Cube toward his neighborhood's immigrant shopowners in "Black Korea" ("one-penny countin' motherf**rs...your little chop-suey ass'll be a target"), or the reduction of Asian women to "I like it spicy/that'll do me nicely" decorations in Status Quo's "The Oriental." Even Kinky Friedman's anti-bigotry anthem "They Don't Make Jews Like Jesus Any More" requires the narrator to repeat a list of epithets spewed forth by the racist bully he then proceeds to denounce.

"The toughest part of performing these songs," says Joel Kim Booster, "is the nagging fear that some audience members might not get the indictment of what's behind the lyrics and instead, see it as an endorsement of the humor—or hate."

Max Chung concurs. "The show is about us taking ownership of these songs to go beyond the stereotype by making it personal. But when you're Korean—as I am—performing something like 'Black Korea' sets you up for possible reprisals if you're the one doing it."

The show number drawing the most vivid reaction from audiences, however, is Toby Keith's "Courtesy of the Red, White and Blue". Though written in response to the bombing of the World Trade Center in 2001, the lyrics of this warning to those who would wage war with America never name a specific enemy. Even so, the vehemence of such pronouncements as "The statue of liberty started shakin' her fist" and "The big dog will fight when you rattle his cage/you'll be sorry you messed with the U.S. of A" proved too much for some playgoers.

"In its original form, [the song] is quite fervent in its patriotism," says Danny Bernardo, "so we approach it with the same zeal that the songwriter did. But one Saturday, as we sang 'Uncle Sam put your name at the top of his list!', a middle-aged Caucasian couple in the back row got up and stormed out. The house manager told us that, as they left, one of them said, 'This is America! They may have freedom of speech, but we don't want to hear it!'."

Bernardo reports a variety of feedback in the post-show discussions, "Some people say, 'It's so empowering to see and hear these songs' and others, 'I never thought about [a lyric's] context until you guys did it." These are the types of conversations that this show is sparking, but it wasn't until that one couple walked out that I felt the full impact. I wish they'd stayed, so that we could have asked them why they were so affected by that song."

Re-Spiced runs through May 6 at Silk Road Rising's theater in the Chicago Temple.

Mary Shen Barnidge
Contributing Writer

Rise Of The Numberless! Eric and Andy!

Thu, 26 Apr 2012 15:42:01 -0500

In the world of Chicago Storefront Theater, one name stands alone. The New Colony has been on the forefront for 4 years, dedicating their lives to the the craft of collaboration in creating new aesthetics. Now, they open "Rise of the Numberless," a co-production with the venerable Bailiwick Theater. Billed as an underground rock concert in a future American dystopia, the buzz on this project is huge, with some calling it "the next Hedwig." We spoke to Evan Linder, co-author of the script, and Nikki Klix, one of the "Numberless" performers in a Lion's Choice in Southern Missouri. Believe me, it won't just be the lion choosing this one...

Hey guys! Thank you for joining us here at this Lion's Choice Roast Beef Restaurant!

Evan Linder: Yeah! Thanks for having us on your Google Doc!

Nikki Klix: As long as I don't have to eat lamb.

Evan, what is a Google Doc?

EL: It's the name of my favorite booth here at the Lion's Choice. It's the one right by the bathroom.

NK: They know us here.

This is getting intense. Almost as intense as this horseradish cream sauce! So, you two are actors and sangers, correct? Tell us a little about yourself, Evan!

EL: Well, I'm a New Colonist, I write, I act, I do not sang.

Did you write this play called "Rise Of The Numberless"?

EL: I did. Pat Coakley, Andrew Hobgood and I wrote the book for the show. The music is by Chris Gingrich (one of the composers of "That Sordid Little Story") and Julie Nichols (music director at Second City.)

And Nikki Klix, who are you?

NK: I'm an actor/musician. I mostly sing and play my fiddle. I want to add that Julie [Nichols] also composed "Tupperware". One of my fave New Colony shows.

Now, we saw "Tupperware," and we have to say we loved it, and we aren't musical theatre kind of guys. Mostly because of the subversion of the genre and adding top notch talent to a show that really had something to say. So, guys, tell us a little about "Numberless," is it going to blow people's minds out of their rears?

EL: I think that is the plan. We just wanted to create a show that felt like you were going to an underground concert. It feels like anything can happen when you walk in the space and the audience isn't quite sure what to do, so it's nice to see people a little on edge right when the show starts.

What is it about?

EL: Ha. Klix, you want that one? No? Okay. It's set in a dystopian future where the government has enacted a "One Child, One Nation" law that prohibits families from having more than one child.

NK: We are a pod of Numberless children. Numberless children ... haha. where to start. Keep going. You got this.

EL: Simultaneous plot! So, the second and third-born children who aren't given embedded numbers in their wrist when they are born are secreted away to live in underground pods. Our show is a travelling group of Numberless musicians who are trying to tell the true story of their uprising 25 years ago.

So they are a band of traveling hobos?

NK: Really attractive and talented traveling hobos who want to rock your faces off.

EL: That is accurate.

We love dystopian futures. We have a plan for the economic collapse in 2030. We'll armor up a short bus and get all the shotguns and pills we can carry and stay right here in Southern Missouri. We'll spend the days teaching dogs how to shoot and create an army of superdogs all hopped up on screamers! Then, we will trade our canned goods for women every now and then when we get lonely.

NK: Sounds like you've got it pretty figured out.

EL: Yeah, this is gold. Don't stop.

Well, we think what our question is...when we have seen the advertisements for Rise, all these futuristic roustabouts are wearing crazy makeup and clothes like they are in a drag queen gang in The Warriors or maybe in David Bowie's band. How can sewer dwellers hiding from the government afford all this makeup? Because they would probably be fighting for water and running from gangs of loose prisoners.

NK: The Numberless get everything they have by doing "surface raids". And each have their own job within the pod.

EL: Yes, some are getting medical supplies on their raids, some are securing food, and some are going after the make-up bin at Dollar Tree.

"Hey Numberless Steve! Don't forget to get me some mascara! We want to look great when we are fighting off that grape gang!" That sort of thing. So tell us what sort of music we can expect to hear.

EL: The music has a very early 70's glam rock thing going on. When we were in workshops, we spent a lot of time finding old videos of Bowie, Lou Reed, etc. Chris and Julie just went to town from there and came up with some amazingly unique stuff that is really distinctive. The music blows me away.

This show is being produced by 2 companies. Bailiwick and The New Colony. We know that co-producing is the wave of the future, but give us an example of how it logistically works to work together with people, whom, you might not know from Adam (and Steve).

EL: It was actually such a harmonious marriage with Bailiwick from the beginning. Once we got Bailiwick and TNC actors in the same room together, I think everyone got really excited by the new energy. The Bailiwick ensemble has some of the best musical performers in the city, so once everyone got in the same room to start workshopping the show, everyone just thought "we've got something here." There was something there there.

Nikki, how was working with these 2 companies as a performer? How long have you been working on this piece?

NK: We started workshops back in October. So the actors have been at it since then. I'm not certain when the writers began but the process is really incredibly collaborative so much of the creative work is done together. Each of the actors develops their character and through workshops and scene work we come up with some cool ideas that the brilliant writers take and make way more sense of and work their magic and before you know it you've all created a story together. And as an actor, who doesn't normally get this type of opportunity, it's very rewarding and exhausting but ultimately, a piece you can really take pride in.

Well, it sounds incredible. We know that New Colony has been on the map before, but thanks to this team-up it looks like you've got some real exciting things to show the city! What else is happening with New Colony, Evan? Anything we can look forward to after "Numberless" takes Chicago by the throat?

EL: We have a 30 minute piece in this years Sketchbook Festival at Collaboraction. James Asmus and Crystal Skillman teamed up to write Psychonaut Librarians which is about a group of Chicago librarians who must keep the world safe from fictitious creatures. They also do a lot of drugs. Sean Kelly is directing it and we're really stoked about it. We also have three other shows in workshops right now, including a show about a girl's rollerderby team written by Aaron Weissman and directed by Thrisa Hodits that will be premiering in the fall.

Hey, let us ask you guys something. Just between us, what do you think of the name "Collaboraction"?

NK: What's not to like? It's two words. "Collaborate" and "Action". I don't know if you realized that...

EL: Whoa. Klix, you just kinda blew my mind.

Nikki, what have you been up to? Let us know what you have coming up! Right...NOW.

NK: Be prepared to be impressed. I just got the opportunity to play with the amazing Gene Weygandt over the weekend for the annual Porchlight benefit. Right NOW, I'm so ready to open this SHOW. TONIGHT! Numberless!

Well, guys, we hope you have a great run of this show, because we are going to have great runs after eating these Roast Beeves!

EL: Good thing the Google Doc is right by the bathroom.

NK: Speaking of... please excuse me.

Eric Roach, Anderson Lawfer: Curators of ReviewsYouCanIews.blogspot.com

Tough Guys In Love: Steve Pickering Plays It Romantic

Wed, 25 Apr 2012 07:56:46 -0500

When you're cast as Stanley Kowalski in high school (an all-boy's school yet!), you quickly abandon hopes of someday playing Romeo, or Hamlet—or any role where you get to kiss the girl, for that matter. Steve Pickering has made a career of playing tough guys—Iago in Othello (twice), Kent in King Lear, Harry Brock in Born Yesterday. "When have I ever played a love scene where I didn't kill the woman ten minutes later?" he remarks ironically, then adds, "Or she didn't kill me?"

Asked why he always seems to land these kind of roles, Pickering rejects the term "type-casting", citing the variety of characters on his resume. "Not many actors can boast that they've played both Puck and Coriolanus—and then Moonface Martin in Anything Goes! When I was young, what I wanted was to do the roles that I thought Toshiro Mifune would do—I was crazy about the films of Akira Kurosawa. Oh, and the British Knights, especially the athletic fight-guy risk-taking roles like Laurence Olivier," he shrugs, "My enthusiasm probably came across to folks looking for those skills."

Did you ever get tired of playing badasses? "I think I've developed a fondness for the bad guys," he admits, "Actors don't like doing the same thing over and over, but villainy makes for stimulating ways of approaching your work. I've been blessed with guidance from directors like Michael Maggio and Eric Simonson, who were genuinely intrigued by these characters' fears and loathings, as well as the relationship the audience might have with them. And let's not forget Robert Falls, who will strip your skin off if you start drooling dishonesty on his rehearsal-room floor."

You played a younger Jamie Tyrone for Robert Falls in Long Day's Journey Into Night at the Goodman in 2002. Did you carry anything over from that production, playing Jamie in Moon For The Misbegotten? Pickering thinks a minute before replying, "I felt a bit more prepared for him now than I did before. When I reference the Tyrone family in Moon, I have, in my mind's eye, the actors from that production—David Cromer, Brian Dennehy and Pamela Peyton-Wright." He sighs, "Jamie is never a gratifying experience for an actor to play. He's charming at times, but in the end, he's a lost cause and he understands, down to the fiber of his soul, that he's a lost cause-the epitome of everything that we wish we had done differently in life."

He also has possibly the longest love scene in western literature, taking up almost the entire second act. How did you prepare for that? "Doing co-ed scenes are so rare for me that I usually just follow the actress's lead. The beauty of this play is that, at its roots, it's Josie's story." He smiles ruefully, "Our rehearsal period was very chaotic-I don't remember Carolyn [Klein, playing Josie] and I ever having a chance to discuss the arc of that whole scene with [director] Kevin [Theis]."

How, then, did you find it? "Carolyn had posted a 'Jim and Josie' playlist on the net, with songs that she thought defined the characters' relationship—they filled in some of the emotional information I needed. I also got some notes from [company artistic director] Michael Grant after our first preview to help me avoid the 'anger' trap. Then on opening night, Carolyn and I met an hour early to discuss some new things we could try."

And did it work? "It gave us a solid start for growth. The Seanachai space offers opportunities for a quiet intimacy that allows me to play a softer side than I usually do-and that's really enjoyable!"

Mary Shen Barnidge
Contributing Writer

Jeff Awards Non-Equity Nominations Announced

Wed, 25 Apr 2012 06:37:40 -0500

The Jeff Awards announced 124 nominations in 25 categories for Non-Equity Jeff Awards for productions that opened between April 1, 2011, and March 31, 2012. The Non-Equity Awards honor excellence in Chicago theatres not under a union contract. Jeff Awards judges covered opening nights of 154 productions offered by 71 Non-Equity producing organizations. The judges recommended 64 of those shows, making them eligible for Non-Equity Jeff Award nominations. Thirty-two theatre companies received nominations.

Theo Ubique, with another bold season of musicals in their tiny Glenwood Arts District storefront, earned 14 nods, the most of any theatre company. "The Light in the Piazza," a musical love story set in Italy, received eight mentions; "Pump Boys and Dinettes," about patrons and waitresses at the Double Cupp Diner, had 6 nominations.

The 2012 nominations also recognized the strong seasons at Griffin Theatre Company, the new Bailiwick Chicago, and Mary-Arrchie Theatre Co. Griffin Theatre scored 11 nominations for two works: six for "Punk Rock," a British play about issues of contemporary high school students; and five for "Spring Awakening," a musical about teenage repression in 19th century Germany. Bailiwick Chicago scored 10 nominations, including five for "Passing Strange," a rock musical about an African American's artistic self-discovery, and five for "Violet," a musical about a disfigured woman on a journey of healing. Mary-Arrchie Theatre Co. scored eight nominations: four with their hit "Superior Donuts," the Tracy Letts play about an Uptown donut shop; and four for a tale of a complicated love triangle, "Red Light Winter," soon to be released as a motion picture. The Hypocrites' bold adaptation of the "Sophocles: Seven Sicknesses" cycle garnered six nominations, tying with Griffin's "Punk Rock" for most play nominations.

More Non-Equity theatres achieved eligibility this season, with 71 companies represented, up from 65 last year, and 61 in 2010, while two venerable Non-Equity companies, The House Theatre of Chicago and Profiles Theatre, moved to Equity contracts.

This year's nominations also highlight the strength and diversity of artistic specializations that theatres have available to draw upon. This year there were sufficient nominations to merit separate awards categories for fight design and dialect coaching, while the broader "artistic specialization" category includes nominations for a range of skills such as gore design and percussion.

The 39th Annual Non-Equity Jeff Awards Ceremony will be held on Monday, June 4, 2012, at the Park West, 322 W. Armitage, Chicago, IL. Doors open for a cash bar at 6:00 p.m., with a light buffet at 6:30 p.m., and the presentation ceremony at 7:30 p.m. Tickets are $40 in advance, $45 at the door. A group rate of $35 is available for parties of 10 or more. Festive cocktail attire is suggested, and the public is cordially invited. Tickets may be purchased online with a credit card at www.jeffawards.org or by mail with the downloadable mail-order form.

The Jeff Awards has been honoring outstanding theatre artists annually since it was established in 1968. With an active contingent of 50 members representing a wide variety of backgrounds in theatre, the Jeff Awards is committed to celebrating the vitality of Chicago area theatre by recognizing excellence through its recommendations, awards, and honors. The Jeff Awards fosters the artistic growth of area theatres and theatre artists and promotes educational opportunities, audience appreciation, and civic pride in the achievements of the theatre community. The Jeff Awards evaluates over 250 theatrical productions and holds two awards ceremonies annually. Originally chartered to recognize only Equity productions, the Jeff Awards established the Non-Equity Wing in 1973 to celebrate outstanding achievement in non-union theatre. The next Equity Awards Ceremony, honoring productions presented under union contracts, will be held on Monday, October 15, 2012, at the Drury Lane Oakbrook in
Oakbrook Terrace.

2012 Non-Equity Jeff Award Nominees:

Production - Play

"Opus" - Redtwist Theatre

"Punk Rock" - Griffin Theatre Company

"Red Light Winter" - Mary-Arrchie Theatre Co.

"Sophocles: Seven Sicknesses" - The Hypocrites

"Superior Donuts" - Mary-Arrchie Theatre Co.

"The Word Progress on My Mother's Lips Doesn't Ring True" - Trap Door Theatre

Production - Musical

"The Light in the Piazza" - Theo Ubique Cabaret Theatre

"Passing Strange" - Bailiwick Chicago

"Pump Boys and Dinettes" - Theo Ubique Cabaret Theatre

"Spring Awakening" - Griffin Theatre Company

"Violet" - Bailiwick Chicago

Director - Play

Jonathan Berry - "Punk Rock" - Griffin Theatre Company

Seth Bockley - "The Ugly One" - Sideshow Theatre Company

Jason W. Gerace - "Opus" - Redtwist Theatre

Sean Graney - "Sophocles: Seven Sicknesses" - The Hypocrites

Halena Kays - "Six Characters in Search of an Author" - The Hypocrites

Blake Montgomery - "Moby-Dick" - The Building Stage

Director - Musical

Fred Anzevino - "Pump Boys and Dinettes" - Theo Ubique Cabaret Theatre

Fred Anzevino and Brenda Didier - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

Jonathan Berry - "Spring Awakening" - Griffin Theatre Company

Lili-Anne Brown - "Passing Strange" - Bailiwick Chicago

Elizabeth Margolius - "Violet" - Bailiwick Chicago

Ensemble

"Moby-Dick" - The Building Stage

"Opus" - Redtwist Theatre

"Pump Boys and Dinettes" - Theo Ubique Cabaret Theatre

"Punk Rock" - Griffin Theatre Company

"Shakespeare's R&J" - Idle Muse Theatre Company

"Sophocles: Seven Sicknesses" - The Hypocrites

Principal Actor - Play

Dan Behrendt (Matt) - "Red Light Winter" - Mary-Arrchie Theatre Co.

Joey DeBettencourt (William Carlisle) - "Punk Rock" - Griffin Theatre Company

Brian Grey (Ned Lawrence) - "The Oxford Roof Climber's Rebellion" - Caffeine Theatre

Peter Oyloe (Kjell) - "Elling" - Redtwist Theatre

Brian Plocharczyk (Stephen) - "Farragut North" - Stage Left

Andrew Burden Swanson (Gerry) - "The Last Duck" - Jackalope Theatre Company

Preston Tate, Jr. (Franco Wicks) - "Superior Donuts" - Mary-Arrchie Theatre Co.

Principal Actor - Musical

Jayson "JC" Brooks (Narrator) - "Passing Strange" - Bailiwick Chicago

Courtney Crouse (Jim) - "Pump Boys and Dinettes" - Theo Ubique Cabaret Theatre

Steven Perkins (Youth) - "Passing Strange" - Bailiwick Chicago

Creg Sclavi (Bobby Strong) - "Urinetown the Musical" - Circle Theatre

Chuck Sisson (Aimable Castagnet) - "The Baker's Wife" - Circle Theatre

Principal Actress - Play

Jacqueline Grandt (Agnes) - "Bug" - Redtwist Theatre

Katherine Keberlein (Jan) - "Fifty Words" - Profiles Theatre

Melanie Keller (Sonya/Sarah) - "East of Berlin & The Russian Play" - Signal Ensemble Theatre

Eileen Niccolai (Lady) - "Orpheus Descending" - Shattered Globe Theatre

Stacy Stolz (Anne) - "Assisted Living" - Profiles Theatre

Principal Actress - Musical

Harmony France (Violet) - "Violet" - Bailiwick Chicago

Kelli Harrington (Margaret Johnson) - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

Rachel Klippel (Clara Johnson) - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

Supporting Actor - Play

Barth Bennett (Jefferson) - "A Lesson Before Dying" - Lincoln Square Theatre

Eric Burgher (Mervyn) - "A Behanding in Spokane" - Profiles Theatre

Dereck Garner (Davis) - "Red Light Winter" - Mary-Arrchie Theatre Co.

Ryan Heindl (Chadwick Meade) - "Punk Rock" - Griffin Theatre Company

Aaron Kirby (Adam) - "Dark Play or Stories for Boys" - Collaboraction

J.P. Pierson (Bunce) - "One Flea Spare" - Eclipse Theatre Company

Supporting Actor - Musical

Justin Adair (Fabrizio Naccarelli) - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

Michael Kingston (Charlemagne) - "Pippin" - Bohemian Theatre Ensemble

Evan Tyrone Martin (Flick) - "Violet" - Bailiwick Chicago

Jeremy Rill (Count Carl-Magnus Malcolm) - "A Little Night Music" - Circle Theatre

Supporting Actress - Play

Sasha Gioppo (Christina) - "Red Light Winter" - Mary-Arrchie Theatre Co.

Vanessa Greenway (Rosaura/Astrea) - "Life Is A Dream" - Premiere Theatre & Performance i/a/w Vitalist Theatre

Susan Monts-Bologna (Lady Boyle) - "Superior Donuts" - Mary-Arrchie Theatre Co.

Caroline Neff (Helen) - "Under the Blue Sky" - Steep Theatre Company

Supporting Actress - Musical

Anita Hoffman (Denise) - "The Baker's Wife" - Circle Theatre

Khaki Pixley (Petra) - "A Little Night Music" - Circle Theatre

Danni Smith (Rhetta) - "Pump Boys and Dinettes" - Theo Ubique Cabaret Theatre

Dana Tretta (Catherine) - "Pippin" - Bohemian Theatre Ensemble

New Work

Shepsu Aakhu - "Speaking in Tongues: The Chronicles of Babel" - MPAACT

Keith Josef Adkins - "The Last Saint on Sugar Hill" - MPAACT

Scott Barsotti, Molly Each, Laura Eason, Brian Golden, Kristin Idaszak, Kim Morris, Nick Ward and Doug Whippo - "We Live Here" - Theatre Seven of Chicago

Lucas Neff - "The Last Duck" - Jackalope Theatre Company

Deirdre O'Connor - "Assisted Living" - Profiles Theatre

New Adaptation

Sean Graney - "Sophocles: Seven Sicknesses" - The Hypocrites

Matt Hawkins - "Cyrano" - The House Theatre of Chicago

John Hildreth - "Watership Down" - Lifeline Theatre

Blake Montgomery - "Moby-Dick" - The Building Stage

Steve Moulds - "Six Characters in Search of an Author" - The Hypocrites

Choreography

Kevin Bellie - "Urinetown the Musical" - Circle Theatre

Brenda Didier - "Pippin" - Bohemian Theatre Ensemble

Nicole Pellegrino - "Spring Awakening" - Griffin Theatre Company

Original Incidental Music

Andrew Hansen - "Hunger" - Lifeline Theatre

Michael Huey - "The Spirit Play" - The Strange Tree Group

Ovidiu Iloc - "The Word Progress on My Mother's Lips Doesn't Ring True" - Trap Door Theatre

Christopher Kriz - "The Count of Monte Cristo" - Lifeline Theatre

Kevin O'Donnell - "Moby-Dick" - The Building Stage

Kevin O'Donnell, Shawn Pfautsch and Matt Hawkins - "Cyrano" - The House Theatre of Chicago

Music Direction

Jim DeSelm - "Pump Boys and Dinettes" - Theo Ubique Cabaret Theatre

Allison Kane - "Spring Awakening" - Griffin Theatre Company

James Morehead - "Passing Strange" - Bailiwick Chicago

Jeremy Ramey - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

Andra Velis Simon - "Violet" - Bailiwick Chicago

Scenic Design

Bob Knuth - "The Women" - Circle Theatre

Jack Magaw and Kimberly Senior - "Bug" - Redtwist Theatre

Amanda Rozmiarek - "The Price" - Raven Theatre

Ray Toler - "Bus Stop" - Raven Theatre

Adam Veness - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

Lighting Design

Kevin D. Gawley - "Hunger" - Lifeline Theatre

Lee Keenan - "Spring Awakening" - Griffin Theatre Company

Lee Keenan - "The Trestle at Pope Lick Creek" - Eclipse Theatre Company

Jared Moore - "Lighthousekeeping" - New Leaf Theatre

Jared Moore - "Sophocles: Seven Sicknesses" - The Hypocrites

Mac Vaughey - "The Ugly One" - Sideshow Theatre Company

Costume Design

Aly Renee Amidei - "The Count of Monte Cristo" - Lifeline Theatre

Jacqueline Firkins - "Cyrano" - The House Theatre of Chicago

Jesus Perez - "Urinetown the Musical" - Circle Theatre

Elizabeth Wislar - "A Little Night Music" - Circle Theatre

Elizabeth Wislar - "The Women" - Circle Theatre

Sound Design

Thomas Dixon - "The Sea" - Theatre Mir

Mikhail Fiksel - "Watership Down" - Lifeline Theatre

Christopher Kriz - "Bug" - Redtwist Theatre

Christopher Kriz - "The Count of Monte Cristo" - Lifeline Theatre

Christopher Kriz - "Opus" - Redtwist Theatre

Fight Design

Matt Hawkins - "Cyrano" - The House Theatre of Chicago

R&D Choreography - "Watership Down" - Lifeline Theatre

David Woolley - "Superior Donuts" - Mary-Arrchie Theatre Co.

Dialect Coaching

Eva Breneman - "The Light in the Piazza" - Theo Ubique Cabaret Theatre

Anita Deely - "Old Times" - Strawdog Theatre Company

Elise Kauzlaric - "Punk Rock" - Griffin Theatre Company

Artistic Specialization

Casey Baker, Kevin O'Donnell and Mike Pryzgoda - Percussion - "Moby-Dick" - The Building Stage

Zhanna Bullock - Music Coach - "Opus" - Redtwist Theatre

Joanna Iwanicka - Puppet, Mask and Video Design - "Watership Down" - Lifeline Theatre

Mary O'Dowd - Properties/Set Dressing - "The Price" - Raven Theatre

Brett Schneider - Magic Design - "The Spirit Play" - The Strange Tree Group

Mary Williamson and Christine Conley - Makeup/Gore Design - "Sophocles: Seven Sicknesses" - The Hypocrites

Nivan Yahaghi - Video Design and Cinematography - "We Live Here" - Theatre Seven of Chicago

Connecticut Countryside Inside A Box: Scenic Design In A Moon For The Misbegotten

Thu, 19 Apr 2012 13:28:52 -0500

Realism in scenic design was a response to the formal wing-and-border stage decor of the 17th and 18th century, replacing artificial symmetry with more natural arrangements. The theaters of the 19th and early 20th century were much more spacious than those today, however—certainly larger than the 23 X 34-foot classroom in the Irish-American Heritage Center that houses the Seanachai Theatre Company's production of Eugene O'Neill's 1947 classic, A Moon For The Misbegotten. So how did co-designers Ira Amyx and Merje Veski come to employ such antiquated technology as canvas backdrops and walls angled in forced perspective?

"From the beginning, [director] Kevin [Theis] made it clear that he envisioned our production style as realism," Amyx assures me, "The design within that vision came from Merje and me. We developed a scheme with the crooked house and shed to reflect a drab, impoverished depression-era farm, but then we mixed in some warmer colors—the rose-colored inside walls, for example, and the blue-and-red door-frames—to hint at the sensitive humanity found in the characters who lived there."

Most theaters nowadays use slide-projections to fill in vast landscapes. Did you consider these? "Projections were never in the conversation. In a space that size, with subject matter that thoughtful, they'd stick out horribly."

Was it hard finding artists with experience at painting the old-fashioned drops? "Merje is an expert scene-painter. From the time she was young, she has worked on a wide range of theater projects and now on films and television all over the country."

The set also includes a number of real-life weeds and cornstalks, harvested from the shrubbery bordering the nearby highway. How do you keep this fragile flora from getting damaged during the course of the play? "Not without some trial and error!" Amyx laughs, "The 'flora' adds to the geography of the earth—making a flat floor look not flat is one of the most difficult illusions to pull off—so we placed the weeds close to large structures where the actor-traffic is less likely to disturb them."

What was the hardest part of designing this play? "The space was definitely the biggest challenge," Amyx recalls, "A store room entrance and the door leading to the dressing room are both right in the middle of the stage. Pulling off a believable perspective without masking essential sight lines was probably the most difficult task. Even though you don't want the set to be a distraction, it is still, itself, a living organism."

A Moon For The Misbegotten runs through April 29 at Seanachaí Theatre in the Irish-American Heritage Center.

Mary Shen Barnidge
Contributing Writer

Brandon Bruce Boldly Bounces Back! With Eric & Andy!

Mon, 9 Apr 2012 19:50:59 -0500

New Artistic Directors are a celebrated people in Chicago. They become our leaders of organizations and have a hand in the direction of the Chicago Theatre Scene, the largest subculture in the continental United States. We had a chance to meet with the brand new Artistic Director of Strawdog Theatre, the great Brandon Bruce on a spacecraft made famous in a Disney movie and talk to him about his future and the future of his current project.

Welcome friends, and thanks for joining us! We've invited Brandon Bruce, the Artistic Director of the venerable Strawdog Theatre Company, on board the USS Cygnus, the spacecraft made famous in Disney's 1979 sci-fi epic The Black Hole. Watch out for Maxmillian the Robot, he's in a foul mood today! Hello, Brandon!

Hello! Thanks so much for having me. It's only my third time being in outer space. I always appreciate an opportunity to be weightless.

I think between the 3 of us, we just lost 700 pounds here in space! So while we are waiting for the Tang Robot to come by, how do you like being back in Chicago? Was it an easy move?

Well, the move hasn't quite been completed as of yet. My wife and I are still in the process of completing the full shift back to town. But so far, I'm having a great time. I'm excited that baseball season is upon us once again.

Baseball is very important for this thriving city, and especially over in Wrigleyville by Strawdog Theater, there are so many reasons to be happy about it.

Absolutely, Strawdog is very much engulfed in the Cubs universe in Wrigleyville. We're apart of that community and, we hope, Cubs fans feel they can be a part of our community, as well.

I hope that everything you said comes true! Now, Brandon, you just came on board with Strawdog. Tell us a little more about your background and where you've been over the years. What are you DOING here?

Well, I lived in Chicago for about 7 years. I was Artistic Director of Chicago's BackStage Theatre for about 3 years. But in 2007, I left Chicago to get my MFA in Directing at the University of Iowa. I had a great time there and really felt I grew a great deal. Now, I'm back in Chicago - the place that really feels like home - to get back into the fight. I'm having a real great time both directing and helming the organization that is Strawdog, as a whole.

Brandon, I need to ask you something very important. Now we are asking you as actors to a director, so please don't be offended. Are you going to be one of those directors that comes back from Grad School with all sorts of crazy ideas about "Theatre" and "Movement" and "Art"?

Ummm...well, kinda...

Because in Chicago, we don't do that Commedia D'ell Arte junk they teach you fancy boys in Iowa.

Well, honestly, what grad school did for me was simply help me sharpen my own ideas. Yes, it's true, I did spend some time in grad school talking to trees, but I also directed a ton of shows and that really helped me ground all those wacky academic discoveries.

So let's start with this play you are directing now. What is it?

It's The Duchess of Malfi by John Webster. I am adapting this with a collaborator-friend of mine, Christine Scarfuto.

Is this your first directing assignment back in town?

Sorta - I did direct The Little Foxes for Shattered Globe back in 2009. I was still in grad school at the time. And I actually got a grade for that!

Was the grade: A PLUS PLUS?

It was just pass/fail, actually, so I guess it was probably like an S or a checkmark, something like you would get in elementary school

What a telling metaphor for Chicago theatre. Anyhoosies, how is the adaptation going? Are you setting it in 1930s London or 1870s Buenos Aires?

No, we're not changing the period at all. It's set in the early 1500s in Italy. The adaptation is going very well. Most of the work on the adaptation is finished at this point. But it was really fun to do.

The Duchess Of Malfi, eh? I feel like I have heard of this--- OH WAIT! This is that play about Werewolves! Isn't this play about torturing Werewolves or a cranky old Werewolf lady or something?

Close! It's about three siblings: two brothers and a sister. The sister, aka The Duchess, has just been widowed and her brothers are swooping in to seize control of her estate. They want to be sure she doesn't remarry or all of that power and money will go into the wrong hands, or, rather, just not the brothers' hands. One of the brothers just wants all the power, but one brother is also in love with his sister - he's the one who thinks he's a wolf.

So, this is basically King Lear, sexes reversed, mixed with Twilight.

Yes, but it's probably a lot more violent than both of those.

Did you know that Edward Cullen was born in Chicago, Brandon?

I did not.

We really like Twilight, so we know about a lot of that sort of stuff.

I'm so sorry...but I've never actually read or seen the stuff. My wife has, however. Does that count?

Horseshoes and hand grenades, my friend. So, this play sounds like a hoot, and it seems perfect for Strawdog's intense ensemble acting style that they have nurtured over the years. You won't be messing with THAT, will you? Don't mess with it, Brandon.

On the contrary, I believe we're taking that to a new level. The show is very much ensemble-based. We're using a hybrid of the movement disciplines Suzuki and Grotowski, with a little Butoh splashed in for good measure. Scarfuto and I even added a chorus to the play. So, there really does not feel like a small role in the whole cast. It's definitely a group effort and the whole thing is very much a charged, collaborative event.

I used to have a sweet Suzuki bike, and if I am not mistaken, Samuel Grotowski invented Martinizing for shirt laundry. I can see how you would add those together to make an excellent theatre discipline. What questions are you wanting the audience to ask when they leave? Or is this just a fun time play?

I suppose a good question to ponder is the effects of corruption and the poisonous effects it has on our culture. I'm not one of those directors that's necessarily interested in effecting change, although I'm not opposed to it, either, but I do want the play to keep the audience engaged and keep them very much alert to all the twists and turns in this play.

We were hoping you would make them ask where the bathrooms are, and then NEVER TELL THEM. Now that's theatre. So, what's next pal? How do you see the future stacking up for Strawdog?

Well, The Duchess of Malfi will be the last show of our current season - a season that had two other very successful shows, Old Times and The Petrified Forest. Duchess will also be the end of my first full season at Strawdog. Next season, we have some pretty exciting stuff: Neighborhood 3: Requisition of Doom - a Chicago premiere by Jennifer Haley, directed by Joanie Schultz, Improbable Frequency

Hey Brandon, the Tang Robot is here. Do you want a Tang?

Yes, please, with salt.

Ok, here you go. Anyway, what were you saying about the movie Frequency with Dennis Quaid?

I wasn't talking about a movie, but Improbable Frequency, the midwest premiere of a new Irish musical by Arthur Riordan and Bell Helicopter. I'm directing that one. And our last show of the upcoming season is Big Love by Charles L. Mee, directed by Matt Hawkins. Should be a fun time. Hope you can all check it out!

Well now that we have talked on and on about you for like, ever. What do you think about us? Do you think that we are Fancy Boys, too?

You sure do have a swank spaceship. Are you leasing or do you own?

Time-share. Joss Whedon is here next week. Thanks for your time, Brandon! Have a safe trip back to stupid Earth!

Thanks a bunch for having me! Wish me luck on re-entry into the atmosphere...

Eric Roach, Anderson Lawfer

Broadway In Chicago's 2012-2013 Season

Tue, 3 Apr 2012 06:19:56 -0500

Broadway In Chicago announced the complete 2012-2013 subscription series. The upcoming season will include I Love Lucy Live on Stage, Kinky Boots, Sister Act, Dr. Seuss' How The Grinch Stole Christmas! The Musical, War Horse and Peter Pan. Off-season specials include Stuffed And Unstrung, Rock Of Ages, Rain: A Tribute To The Beatles and Les Miserables. The 2012-2013 Season Series emphasizes Broadway In Chicago's long-standing commitment of bringing the best of Broadway to Chicago. The complete season line-up, including performances dates and venues, is as follows:

I LOVE LUCY LIVE ON STAGE
Sep. 12 - Nov. 11, 2012
Broadway Playhouse at Water Tower Place (175 East Chestnut)

I Love Lucy Live on Stage, the brand new hit musical stage show adapted from the longest-running and most beloved television program in history, starring Lucy, Ricky, Fred and Ethel: America's favorite foursome, is making its Midwest premiere in Chicago! It's 1952 and you are a member of the studio audience awaiting the filming of two hilarious and oh so familiar "I Love Lucy" episodes. A charming host entertains and enlightens you to the behind-the-scenes filming process, the 1950s hi-fidelity technology, and this brand new thing called 'television.' The episodes begin and you witness, firsthand, the side-splitting antics of that crazy redhead in the Ricardos' New York apartment and thrill to the Cuban sounds of "The Ricky Ricardo Orchestra" at the famed Tropicana Nightclub. In between scenes? The Crystaltone Singers perform live advertising jingles of the show's newest sponsors in perfect '50s style harmony. Can you say 'Brylcreem'?! I Love Lucy Live on Stage is produced under license from CBS Consumer Products.

KINKY BOOTS
PRE-BROADWAY WORLD PREMIERE!
Begins October 2012
Bank of America Theatre (18 West Monroe)

Inspired by a true story and based on the film, KINKY BOOTS features a warm and witty book by Harvey Fierstein (La Cage, Torch Song Trilogy, Newsies) and a richly diverse musical score from music icon Cyndi Lauper in her stunning theatrical debut. Director Jerry Mitchell (Hairspray, La Cage, Broadway Bares) has crafted a production bound to move, inspire and set audience's feet dancing. In KINKY BOOTS, Charlie Price is forced to step in and save his family's shoe factory in Northern England, following the sudden death of his father. Help comes from the unlikeliest angel, a fabulous drag performer named Lola. Together, this improbable duo not only revitalizes the nearly bankrupt business, but helps one another grow into the men their fathers always dreamed their sons would become and transforms an entire community through the power of acceptance.

SISTER ACT
Nov. 13 - Dec. 2, 2012
Auditorium Theatre of Roosevelt University (50 East Congress Parkway)

SISTER ACT is Broadway's feel-amazing musical comedy smash! The New York Post calls it "RIDICULOUSLY FUN" and audiences are jumping to their feet in total agreement! Featuring original music by eight-time Oscar winner ALAN MENKEN (BEAUTY AND THE BEAST, THE LITTLE MERMAID, LITTLE SHOP OF HORRORS), SISTER ACT tells the story of Deloris Van Cartier, a wannabe diva whose life takes a surprising turn when she witnesses a crime and the cops hide her in the last place anyone would think to look-a convent! Under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. A sparkling tribute to the universal power of friendship, SISTER ACT is reason to REJOICE!

DR. SEUSS' HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL
Dec. 5 - 16, 2012
Cadillac Palace Theatre (151 West Randolph St.)

The Chicago premiere of the critically acclaimed, Broadway record breaking production DR. SEUSS' HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL features the hit songs "You're A Mean One, Mr. Grinch" and "Welcome Christmas" (written by Albert Hague and Dr. Seuss) from the original animated series. Max the Dog narrates this classic holiday tale that will entertain the whole family as the mean and scheming Grinch, whose heart is "two sizes too small," decides to steal Christmas away from the Whos, an endlessly cheerful bunch bursting with holiday spirit. DR. SEUSS' HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL broke box office records for two consecutive years on Broadway during its holiday engagements at the St. James (2007) and Hilton (2006) theatres in New York. Since then, thousands of families across America have been delighted by this heart-warming holiday musical, which The New York Times praised as "100 times better than any bedside story" and the Gannett papers hailed as "A genius of a show! A total delight for both kids and adults."

WAR HORSE
Dec. 18, 2012 - Jan. 5, 2013
Cadillac Palace Theatre (151 West Randolph St.)

The National Theatre of Great Britain's epic WAR HORSE, winner of five 2011 Tony Awards including Best Play, is based on Michael Morpurgo's novel, War Horse, and the inspiration for Steven Spielberg's Oscar nominated feature film. Hailed by The New York Times as "theatrical magic," WAR HORSE is the powerful story of young Albert's beloved horse, Joey, who has been enlisted to fight for the English in World War I. In a tale the New York Daily News calls "spellbinding, by turns epic and intimate," Joey is caught in enemy crossfire and ends up serving both sides of the war before landing in no man's land. Albert, not old enough to enlist, embarks on a treacherous mission to find his horse and bring him home. What follows is a remarkable tale of courage, loyalty and friendship, filled with stirring music and songs and told with the some of the most innovative stagecraft of our time. The tour of WAR HORSE will be directed by Bijan Sheibani based on the original Tony Award-winning direction by Marianne Elliott and Tom Morris, and presented in association with Handspring Puppet Company. At the heart of the show are life-sized puppets which bring breathing, galloping, charging horses to thrilling life on stage.

PETER PAN
Jan. 30 - Feb. 10, 2012
Cadillac Palace Theatre (151 West Randolph St.)

untdown", "Wanted Dead or Alive", "Here I Go Again", "Harden My Heart", "Can't Fight this Feeling", "Renegade" and "I Want To Know What Love Is." And now it will sit down at the Broadway Playhouse in Chicago for nine weeks this summer. In 1987 on the Sunset Strip, a small-town girl met a big-city dreamer - and in L.A.'s most legendary rock club, they fell in love to the greatest songs of the '80's. It's ROCK OF AGES, a hilarious, feel-good love story told through the hit songs of iconic rockers Journey, Styx, REO Speedwagon, Foreigner, Pat Benatar, Whitesnake, and many more. This five-time Tony nominated musical, with a star studded motion picture in the works, is rockin' its way across the USA. Don't miss this awesomely good time about dreaming big, playing loud and partying on!

STUFFED AND UNSTRUNG
June 12 - 17, 2012
Bank of America Theatre (18 W. Monroe St.)

STUFFED AND UNSTRUNG, a live uncensored show that lets loose the perilous and provocative elements of comedic improvisation on stage with a bunch of puppets. Produced by WestBeth Entertainment and Henson Alternative, STUFFED AND UNSTRUNG was created by award-winning director, producer, and writer Brian Henson and actor and improvisational guru Patrick Bristow and features the Miskreant puppets and The Jim Henson Company's renowned puppeteers. STUFFED AND UNSTRUNG is a wild romp in which the skilled art of puppetry and spontaneous comedy collide. Unpredictable and irreverent, it's never the same show twice. Expert puppeteers create twisted scenes and songs on the fly, as suggestions from the audience prompt the improvised storylines unfolding on stage. This production delivers "two shows in one" as the hilarious puppet action is projected live on large screens flanking the stage, while the puppeteers race around below - displaying their skills in full view of the audience. With live musical accompaniment and Bristow as host, STUFFED AND UNSTRUNG boasts a cast of six world-class puppeteers in an uninhibited live puppet performance. STUFFED AND UNSTRUNG evolved from Henson's production "Puppet Up! -Uncensored," which made its debut at the 2006 HBO Comedy Festival (Aspen, CO) and later toured to the 2006 Edinburgh Festival (Edinburgh, Scotland), The 2007 Comedy Festival (Las Vegas, NV), and Australia's Sydney Big Laugh Comedy Festival and the Melbourne International Comedy Festival (both 2007). The 2010 Off Broadway engagement of STUFFED AND UNSTRUNG marked the debut of this completely revamped production featuring all new technical wizardry with original music and staging. STUFFED AND UNSTRUNG appeared alongside Cee-Lo Green and Gwyneth Paltrow at the 2011 Grammy Awards and was featured on NBC's Celebrity Apprentice in 2012.

RAIN - A TRIBUTE TO THE BEATLES
June 26 - July 1, 2012
Oriental Theatre (24 West Randolph)

DIRECT FROM BROADWAY! "As "the next best thing to seeing The Beatles!" (Associated Press), RAIN performs the full range of The Beatles' discography live onstage, including the most complex and challenging songs that The Beatles themselves recorded in the studio but never performed for an audience. Together longer than The Beatles, RAIN has mastered every song, gesture and nuance of the legendary foursome, delivering a totally live, note-for-note performance in this multi-media concert, that's as infectious as it is transporting. From the early hits to later classics (I Want To Hold Your Hand, Hard Day's Night, Sgt. Pepper's Lonely Hearts Club Band, Let It Be, Come Together, Hey Jude and more), this adoring tribute will take you back to a time when all you needed was love, and a little help from your friends!

LES MISERABLES
Nov. 14 - Dec. 2, 2012
Cadillac Palace Theatre (151 West Randolph St.)

Based on Victor Hugo's classic novel, LES MISERABLES is an epic and uplifting story about the survival of the human spirit. The magnificent score of LES MISÉRABLES includes the classic songs "I Dreamed a Dream," "On My Own," "Stars," "Bring Him Home," "Do You Hear the People Sing?," "One Day More," "Empty Chairs at Empty Tables," "Master Of The House" and many more.

For a full list of Broadway In Chicago shows, visit our Broadway In Chicago page.

Mike Beyer Occupies Chicago! With Eric and Andy!

Wed, 28 Mar 2012 09:51:43 -0500

For almost 20 years, Mike Beyer has been a prolific Chicago playwright. Writing only comedies and working exclusively at The Factory Theatre, Beyer is taking a step forward. His new piece, "Johnny Theatre" (co-written with Kirk Pynchon) is being produced at Chicago's laugh sanctuary Chemically Imbalanced Comedy Theater. The Factory Theatre is also re-producing his 16 year old hit "White Trash Wedding And A Funeral". We met up with Beyer at the Occupy Denver rally to talk about having two plays produced at the same time, what it means to write comedies in a dramatic world, and why Occupy protests smell so bad.

We're here inside this 15-man hippie tent at Occupy Denver talking with actor and playwright Michael Beyer! Mike, thanks so much for meeting us in this Patchouli-scented wonderland!

My pleasure! I appreciate you guys visiting me to support our important mission, while plugging our new show.

Dude, I just saw a naked lady talking to a policeman! I didn't even know the Occupy Movement was even still happening!

Oh, it's on....we just have to move operations to mountainous locations away from prying media. Today we're protesting global warming so we are occupying every last ski run we can find, just to make these capitalist bastards see what their pursuit of the greenback is doing to our Earth....and our deer.

The hippie trim here is unreal! Anyhoosies, Mike, you've been working in the Chicago theatrical scene for almost 20 years now. Can you tell us how you originally got involved in storefront?

My roommate at the time (and current co-writer) Kirk Pynchon got cast in a show at the Factory Theater called "Attack of the Killer B's", which was a sendup of old "B" horror movies. They needed a guy to play Jason and a zombie for the Night of the Living Dead segment, so Kirk pulled me out of the bars and got me cast in that show.

Did you have any desires before that to get on stage, or was this a sort of "fall back-asswards into it" kind of thing?

I had done theater in high school, but when I went to college I pretty much thought my acting career was over. But Kirk had majored in theater and when he moved in with me, he was pounding the pavement trying to get work. He got cast in "Reefer Madness" at the Factory, which I saw and thought was hilarious. He was also tight with Sean Abley and Amy Seeley, so they were coming around our place too.

Who are Sean Abley and Amy Seeley?

They founded the Factory Theater about 20 years ago, along with a few other Second City school expatriates. They rented out a storefront on Loyola Ave. and were trying to make a go of it with Reefer and a bunch of other improv shows.

So when did you jump from "Zombie #2" to being a member and crucial part of the Factory?

By '94 the Factory had a little reputation around town due to successful shows like "Bitches", which Sean and Amy wrote/directed, and also "Alive", which was Nick Digilio and Mike Meredith's show. I was in both shows and I also had an interest in the business side of storefront theater, which was not the first priority for those guys. So they made me President. My first act was to go into a room full of actors and tell them they weren't getting paid for the six-week run of "Bitches". Good times!

Those must have been fun days, though. Drinking a lot and staying up late with your friends?

The best! It was so much fun I landed in rehab three years later!

And all your problems were solved! So, when did you actually start writing for the theater? You have a reputation as a skilled comedy author. When did that fire start?

We were all trying to write at that time, because Sean, quite frankly, made it look like writing was as easy as learning blocking. Kirk was writing "Man Card", Nick and Meredith were doing their thing, and I wanted to get in on that as well. It was kind of a friendly competition at the time -- it still is at the Factory, to tell the truth. Anyway, I wrote two plays for the Factory, which both bombed out badly, but the third one, "White Trash Wedding And A Funeral", definitely caught on with audiences. I have written four shows since then, but it really was the environment that the Factory was creating at the time

So, now "White Trash Wedding And A Funeral" is going back up onstage at the Factory. How do you feel about revisiting a play you haven't touched in 15 years?

I feel great about it!! I like what the cast is doing with the show, and it's crazy how all the old bits come back after all this time. They're rocking this show and this script, and hopefully it will still connect with people.

You also had some success writing with Kirk Pynchon on a play a few years ago called "Hey! Dancin'!" about a cable access dance show for teenagers. As I look at the body of your work, I have a hard time finding a through line, or an overarching subject matter that you are interested in exploring except that they are all comedies. I mean, I guess in all the plays, the villains are older, but does that have anything to do with a point you are making or just a comedy formula that has been around through the centuries?

I am primarily interested in comedy because it's what I do better than drama!!! I guess my main interest in writing is trying to make people laugh, nothing more. I get an interest at the time, and try to explore it. We never did table reads or analyze our characters very much when the Factory was first doing shows, but we did trade a ton of theories on what makes people laugh. I would watch ensemble members joking around in the green room before shows, trying out bits subconsciously, then trying them out in performances later on that night. I tried to learn as much as I could from them.

Because writing comedies for stage is different than stand up and tv and film, because you don't have a lot of the same tools that people use to write with nowadays. No quick edits, or star power to jump behind, and it doesn't do much for you in Theatre to continuously break the 4th wall and plead your story to an audience, so how is writing big, bawdy comedies for stage different in your opinion, and why don't more people do it?

There is a reason for the cliche -- I think that writing comedy is pretty hard! You can tell instantly whether you're killing it, or whether you are sucking. The audience will tell you right away on that one. I am biased, obviously, but writers of dramatic pieces don't need to rely on that visceral response from the audience. It's true that you can connect with an audience in a drama, but comedy involves much more of a tightrope, and it's intimidating. I am amazed at people who can write big comedies and make a success out of it, because I know how hard it is. There is also a certain lack of respect associated with comedy. People think the Factory just gets up there and goofs around on stage for 60 minutes. It's hard work making fart jokes seem effortless!

True dat, Brostradamus. Now, you have a show that you've co-written with Kirk Pynchon going up at Chemically Imbalanced Comedy called "Johnny Theatre," can you tell us a little more about this one, and how it feels to have two shows on stage at the same time?

"Johnny Theatre" is intended to be our love letter to the Chicago storefront scene and a salute to those who knock themselves out to put up great shows for little to no financial reward. It tells the story of Jonathan Duva, an A-list, thrice Oscar-nominated actor who returns from LA to the Chicago storefront where he got his start -- with a new play he penned. He intends the show as a gift to this fictional storefront, to help get them out of debt. But he can't stop meddling in the show and ultimately ruins the theater company entirely. So there's definitely an element of "LA Sucks" in the show as well.

Sounds like this show is based on an actual celebrity!

Yep.

Can you tell us any names?

Nope.

And having 2 shows up at once?

It does feel weirdly awesome. I don't know -- it's like the Chicago theatre patron can choose between "Classic" Mike or "New" Mike. They were written 17 years apart, so the first thing THAT makes me feel is very very old. They are very different shows, but hopefully they will make people laugh.

Mike, thanks for taking the time to invite us to Denver and let us speak to you in this horrible smelling tent. You know what they were saying about the New York protests and how it was just an excuse for homeless people to eat free food and sleep in a park? Well, it is not like that out here in Denver. Here it feels like we are waiting for Dave Matthews tickets to go on sale.

You captured the mood out here perfectly!! I appreciate you guys taking the time to sit on these recycled hemp mats here in our Abode of Truth to talk Chicago theatre. Now if you'll excuse me, I am off to catch Jason Lubow and His Jugglers of Fire burn down a vacant barn with their act. You guys should check this out.

Oh we sure will, right after we go get some Starbucks and American Family Insurance. FIGHT THE ESTABLISHMENT!

Eric Roach, Anderson Lawfer

Stage Directing: Ron OJ Parson comes to work as a team player

Fri, 23 Mar 2012 09:08:08 -0500

When Ron OJ Parson, resident artist at Court Theatre, looks in the mirror, he sees an athlete forever young in the guise of a middle-aged stage director. "The discipline you learn in sports definitely carries over into theater," declares Parson, who at fiftysomething still chases down fly balls in the Chicago Theater Softball League.

The Buffalo (NY) native went to the University of Michigan thinking he might make the baseball or football team, and ended up playing rugby. But that was before he dropped out, rethought his life and plunged back into school with newfound determination to make his mark in theater.

Not surprisingly, the perennial softball player in Parson sees the creation of a stage work as the shared enterprise of an entire production team.

"It has to be a totally collaborative effort, with everybody from the actors to the assistant managers on the same wavelength," says Parson. "I don't feel directors have to go into a project knowing everything. I've directed nearly 20 August Wilson projects and acted in others. If you remain open to possibilities, there's something that happens to you each time that helps to bring about the vision of the author."

In Chicago, Parson has directed Athol Fugard's "Sizwe Banzi Is Dead" and August Wilson's "Ma Rainey's Black Bottom" at Court, Mat Smart's "Samuel J. and K." at Steppenwolf and, most recently, Harold Pinter's "The Caretaker" at Writers' Theatre..

Farther afield, his recent work includes Samm-Art Williams' "Home" at the Signature Theatre in New York, Wilson's "Gem of the Ocean" at the Actors Theatre in Louisville and Wilson's "Fences" at the Portland Stage Company.

Esteemed as he now is, Parson admits his career didn't exactly zoom from ignition into orbit. He wobbled a bit on the launch pad at Michigan.

"That was in the '70s and there was a lot of pot smoking going on," says Parson with small laugh. "I'd taken courses in every department I could think of until I finally just quit. My father told me, 'Until you know what you want to do, you're on your own.' I had withdrawn from school unofficially, which meant I had to plead my way back in. Took me a year to go through all he proper channels."

But by then Parson had the theater bug — an infection he picked up on campus.

"I was in the theater building one day when they were rehearsing a play I knew," he says. "I'd acted since I was in the third grade, but I never thought about doing it professionally. They were looking for somebody to take one of the parts, and I ended up in the play." This time, he was hooked.

After finishing his degree at Michigan, Parson began graduate studies at Rutgers but couldn't afford to stay. He went back to Buffalo to live with his father and began a period of bouncing in and out of theater. He accepted a gig as artistic director of a company in Flint, MI, only to see that job swept from under him by budget cuts. While pondering what to do next, he took a job in the shipping department at Builders Square (which would become Home Depot).

That's when actor-director Stephen McKinley Henderson entered Parson's life, and refocused it.

"I'd been recruited by the Studio Arena Theatre in Buffalo as a young black to play the moving man in 'Raisin in the Sun.' Stephen was playing Bogle," Parson says. "We struck up a friendship in the dressing room. He talked me back into theater.

"He was directing a show in St. Louis and asked me to be his assistant. But then he took another job and I took over the show, as director. After that I went back to Buffalo and really got into it. With a friend, I started a theater company. Then a friend of mine who worked at the Goodman told me about a play they were doing called "I Am a Man," and said I should audition. I did, and got a part. I'd never really been aware of the Chicago theater scene. There was so much going on here. I wish I had known about it much earlier."

In 1995 Parson helped to create Chicago's Onyx Theatre Ensemble, a company devoted to black playwrights. It was during the four-year life of Onyx that he earned stripes as a director. After he was invited by the Stratford (Ontario) Shakespeare Festival to direct the premiere of Joanna McClelland Glass' "Palmer Park" in 2008, Parson suddenly found himself in demand "pretty much all over."

Parson's directing philosophy might be described as spontaneous, even free-wheeling.

"As we get older, we draw on new experiences," he says. "There has to be openness. Nothing is off limits. It's stifling to be told how to speak. I don't even like the term blocking. I prefer crafting. Every actor has a life and a process of his or her own. If you try to control somebody's passion, you're only going to smother them."

Lawrence B. Johnson
Contributing Writer
Lawrence B. Johnson is the editor of Chicago On the Aisle, www.ChicagoOntheAisle.com

Bread and Circuses: Kitchen Magic With Chef Bayless at Lookingglass Theatre

Tue, 20 Mar 2012 09:16:12 -0500

It's not uncommon for Hollywood to shape movies around non-acting celebrities—swimming stories for Esther Williams, opera stories for Luciano Pavorotti—and in theater, the currently-running Death and Harry Houdini at House Theatre was created to showcase the company's resident illusionist, Dennis Watkins. The hero of Lookingglass Theatre's Rick Bayless In Cascabel, however, is a cook. Not just any cook, either, but superstar foodslinger Rick Bayless, starring as a smitten suitor whose kitchen wizardry wins the love—and appetite—of a beautiful lady suffering a melancholy affliction.

"Rick Bayless had come to see our Hephaestus," author Heidi Stillman explains, "and he really loved it. He and Tony [Hernandez], our circus-master, tweeted back and forth a bit, and Tony said, 'You know, we ought to do something together.' That's how the talks began."

How did you decide that the play would include actual real-time cooking and eating as part of its action? "In Europe right now, you can see circus shows where the acts alternate with the courses of a meal cooked by popular chefs. For Lookingglass, blending these different elements seemed a natural progression. We have always been interested in the whole package of theatricality—not just words, but the visual, the physical, the aural—and with this show, smell and taste as well! I've also heard Rick discuss the performance elements of restaurant cooking, so this wasn't an odd progression for him, either. Both our art forms are ephemeral, they occur in communal settings, and they both can tell stories and convey emotions, albeit in very different ways."

It's also a universal experience. I mean, there's nobody who doesn't eat. "That's right. Food is survival, but it's also memory, a window to our past, to other cultures, other tastes. We use food metaphors to express psychological concepts when we speak of someone 'digesting news', or 'wasting away.' The material is rich with possibility."

Especially nowadays, where every mouthful we take is fraught with risk—is this dish unhealthy? If I have a cookie, will that make me a "bad" girl? It's no wonder that the man exercising power over such potent substances should assume the stature of a mythical knight. Does Bayless—who is not precisely a young man—have what it takes to play a romantic Prince Charming?

"Well, George Clooney isn't a 'young' man, either," argues Stillman, [Bayless] is charming and handsome—did you know that he acted in plays when he was in school?—and he will be onstage doing what he does best. Isn't it always intriguing to see someone so highly skilled working their own unique kind of magic?"

Rick Bayless In Cascabel begins performances on March 21 at Lookingglass Theatre in the Water Works and runs through April 22.

Mary Shen Barnidge
Contributing Writer

Gene Weygandt: Not Just Another Thieving Republican! With Eric and Andy!

Fri, 16 Mar 2012 10:05:06 -0500

Some people are just touched by God. They are amiable, kind, and relentlessly watchable onstage. One of our heroes in Chicago is the great Gene Weygandt. A man who got his start in theatre in Chicago and has moved his way up to performing one of the classic roles of our time, "The Wizard" in Stephen Schwartz's musical "Wicked". Gene met us in a music store outside of town where he was positive he wouldn't be recognized and hounded by his fans, and we could have a reasonable conversation about his favorite subject: Gene Weygandt

Hey Gene! Thanks for meeting us here in this music store! We love to hang out in music stores because it is a great place to meet women who like musicians but are too scared to go to bars or clubs.

Smart move! I like music stores too, but mostly for the music.

Right, the "music". Understood. So it just so happens that we are in a music store in the suburbs because we had to meet you before your show today, isn't that right? What show is it again?

It's called "Legally Blonde" and it's playing in the nearby suburb of Lincolnshire at The Marriott Theatre.

Wait, like "Legally Blonde" the movie that our wives like so much?

Yes, but actually lots of genders and ages seem to like it. The guy at the local suburban UPS store told me he loved it because he likes stories wherein people overcome personal obstacles and achieve more than might have been expected. I'm paraphrasing, but that's the story in a nutshell.

I see, so it's all about the Human Condition. So did you workshop your characters with some Viewpoints or some Maskwork?

We avoided Maskwork thinking it was too Euro-Centric, but we did consider Viewpoints without actually giving credit to the author, Amanda Brown. It's something we all do all the time as we're putting a show together. Especially a tricky script like this one.

So...you do a lot of musicals now, but tell us about when you started in Chicago. What was the theatre scene like and what sort of projects were you into? Did you have a theatre company?

I'd gone to college with the founders of the Steppenwolf Company, but thought they were crazy to try and start a theatre in Highland Park...or anywhere for that matter, and they were. But it seems to have turned out ok for them. I started doing musicals because I was asked. Seriously. I didn't have courage enough to go to auditions, but friends who had known me in school asked me to come and play. Summer stock, dinner theatres; crazy but fun jobs in crazy, fun venues.

So how long did it take you to go Equity? It was a different sort of thing back then, wasn't it? I mean, you could do a lot more traveling, and a lot more houses were Equity?

I never had to go on the road and had no idea how to get involved in any of the big tours, though mostly I think it was shows like "A Chorus Line" in those days...at any rate shows for which my skills were not well-suited. But again someone asked me to audition for a show at the now defunct Forum Theatre because several people had been fired and they were desperate for replacements. That was my Equity card. Paid for with my first two weeks salary. Half taken out each week. Initiation was cheap back then. But so was my rent.

Dang!

"Dang," indeed.

So, Gene, we see you are a member of all the big unions. Can you tell us how you stand on the Aftra/SAG merger?

It's something I've advocated for years. Strength in numbers isn't really a new or difficult concept, but I think there was a sense among performers and artists in the past that somehow being equated with another type of performer...say a newscaster, or stage actor or whatever would somehow lessen your own value. For me, these days it has largely to do with health insurance and pensions.

So, you are sort of like an Eisenhower Republican with the AFL/CIO merger. I think it is fair to call you a Republican. "Gene Weygandt, Republican," the headline will read.

Plus I look so sexy in a tinfoil hat!

When did you go from average, everyday stage performer to Stephen Schwartz's muse?

During rehearsals for "Snapshots". Though the rest of the company used another word for it. It didn't rhyme with "muse."

Did it rhyme with "Prison Ditch"?

Right! I was Stephen Schwartz's bison. But shouldn't even a bison have his email address?

We can all only dream about being in a play that was as important to our culture as "Wicked" was. Talk about the time when you knew that you were in something huge.

When I saw my friend Rondi Reed well up with tears at a press event before we'd even started rehearsals. We were on the stage at The Oriental with David Stone, and Marc Platt, the producers and all the Chicago news people, and I think Rondi had suddenly realized how far we'd come from our little hometowns and state college and tiny contracts and all the rest, and was just sort of overwhelmed. And I had a similar epiphany. Somehow, stupidly, without much planning, here I was in the big time. The second time was at bows of the first performance. When the two girls came out on deck, you could feel the concussion of the cheer and people quite literally jumping out of their seats to applaud. Some months later, we vacationed in Mexico and I was recognized.

How has that role changed your career? I mean, do you feel like you get more work because of it? Did it buy your pontoon boat in Southern Illinois? Do you get recognized when you ride your Hog around?

Yes I still get recognized, but not under my helmet. Yeah, I think it's allowed New York producers and casting directors to consider me. But you still have to give a respectable audition and be right for the job. It's not like being a movie star... they don't like Lake Shelbyville.

But something I think we all really appreciate -- is that a tambourine?

Yes. I played in the marching band in high-school. Listen. This is my favorite Beatles song!
Sorry... wrong key. Let me start again. Sheeee's got a ticket to ri-ide...

(Gene plays tambourine in a crowded music store for 7 full minutes)

Ok, are you done? Jesus.

....a-a-aand...done. Go ahead.

(He is not done. We wait for another 2 minutes to continue)

We all really appreciate how, even though you have grown into a Unendingly Thirsty Theatrical Behemoth, that you have stayed connected with our little storefront community. I think that takes a lot of character. I think it is because you love it here, and you're family is happy in this town?

It's not easy for a behemoth to move around. Especially in a small crowded music store. But yes I love Chicago. I'm a big ...behemothian cheer-leader for Chicago theatre and frankly, I get a kick out of you young kids and all that you bring to the party. I try to keep up, and I think that keeps me...what? viable? active? up-kept?

Keeping your mind sharp is very important at your age. So, is it true that you will be performing at the Porchlight Benefit this year?

Whoa!! PorchLIGHT??? I thought hey just wanted me to sing out on the porch. Jumpin' Gee -hosephat! But yes, ok. I guess so. It's a tribute to Michael Bennett, big big big Broadway guy, and so I'm performing a country tune with the beautifulandtalented (one word after so much usage) Nikki Klix. There really is a relationship between Mr. Bennett and Glen Campbell, and you'll just have to attend to find out exactly what it is.

Nikki is definitely a heroine of ours and Glen Campbell is an American legend. When is the big benefit and where can people find more information about it?

Sunday April 22, which is also Earth day. Check out the Porchlight website. It's an 11:00 a.m brunch bash, so bring syrup!

Gene, are you trying to steal that tambourine?! Please...Gene, I will BUY it for you! Please don't get us arrested out here.

Run, guys, run!!!!. I can take out the greeter!

Eric Roach, Anderson Lawfer

Girls Gagging Grossly: Simulated Barf in Bachelorette

Wed, 14 Mar 2012 08:08:41 -0500

Humor based in male body functions have been a part of popular comedy for centuries—indeed, during the 1990s, the legendary Torso Theatre forged a reputation for plays featuring precisely such anal-infantile imagery—but the fashion nowadays is for women getting in touch with their grosser selves. Not just any women, either—in Yasmina Reza's God of Carnage, it's the chic young wife who takes ill and vomits all over the coffee table, and in Leslye Headland's Bachelorette, where a posh hotel's pristine bridal suite poses the irresistible invitation to defilement, the angry pill-popper may rip the wedding dress and the earthy coke-snorter succumb to nosebleed, but it's Katie, the former prom queen—played by Linda Augusta Orr—whose stomach rebels under the stress of alcohol and envy.

Flash Dressing: Costume Changes in Enron

Wed, 14 Mar 2012 08:08:04 -0500

In big custom-built theaters, rip-and-throw costume changes are implemented with the aid of hidden dressers, but the room that houses Timeline Theatre's production of Lucy Prebble's Enron is buried in the depths of a church community hall, its in-the-round configuration mandating that the nine actors who play more than two dozen characters frequently exit, only to dash down stairs, through basements and then upstairs again to emerge on the opposite side of the stage. Add in Prebble's fondness for swift locale-shifts, and what you have is a scenario executed at road-runner cartoon speed.

How To Talk To An Extraterrestrial About Theatre

Wed, 14 Mar 2012 08:07:19 -0500

When they come, we must be ready—and not with glib approximations. Our alien visitors will want to know everything about us. They will want honest answers—especially about theater. It's wrong to fool an inquisitive extraterrestrial. They came this far because they care.

Forever Young with Eric and Andy!

Mon, 13 Feb 2012 12:44:13 -0600

It's one of those years. Everybody has a lot going on, and it's hard to get excited about the new seasons of our beloved theatre companies. Maybe we are jaded. We decided to take it to the street and meet up at a Quizno's with a couple youngsters who are the bright future of the scene.

Amber Robinson, the young and plucky Artistic Director of Grey Ghost Theatre has a sparkle in her eyes that is hard to resist. A boyish smile and hair of the finest quality.

Patrick Belics stands proud. The Artistic Director of Spartan Theatre Company speaks clearly and with purpose. It's easy to see why young performers would follow him into battle.

Here's a piece of our discussion over a few regular sized Prime Rib Bullets.

Hey guys! Thanks for joining us here at this Quizno's! We just love Quizno's and we were discussing our younger days in theatre and how we would eat at Quizno's all the time so we thought it would be good to meet you at one!

AR: You're right Andy, Quizno's tastes like youthful artistic ambitions. At reasonable prices!

So, let's get started by you telling us about your theatre company and how you started and what you are working on now and all that junk. Patrick?

PB: Well, our theatre company is called Spartan Theatre Company. It was recently formed by myself and Andy Monson in order to start writing and performing the theater that we've always wanted to see on stage. Something I'm sure is the catalyst for most theatre companies. Our intention is to deliver theatre at any lengths. To stop at nothing to bring you badass theatre.

Like... the Spartans did?

PB: Yes. That was the thought process behind the name. It's about willpower and drive.

Do you guys leave your weaker members for dead on the side of a mountain?

PB: The weaker members are used as decoys for our plans. So yes. Inevitably, that will happen.

Amber? What about your group? You are called Grey Ghost Theatre Company and would you like anything from the Pickle Bar here at this Quizno's?

AR: I could use some more mustard packets, thank you. We are Grey Ghost Theatre, and I would say my reasons for founding this group sound similar to what Patrick mentioned, and probably along the same lines of most theatre groups founded in Chicago. We are all young professionals who have been working for several years on projects for other organizations. Inevitably some are rewarding, and some are painful. I was at a point where I felt I wouldn't be satisfied unless I generated my own work, and chose my collaborators and material on my own terms. So this is our means to make that happen.

PB: Lorne Michaels, the producer of SNL, once said "If you're the smartest person in the room. Then you're in the wrong room." With starting our own theatre company we've been able to choose our collaborators and our own projects. We get to surround ourselves with people we know, work well with, and trust. It has been very rewarding so far.

Well, I have never heard of this Lorne Michaels character, but it sounds like he has a lot to say about rooms. So, what does it entail to start a new theatre company nowadays? I mean, you have to get a 501c3 (not for profit status) and you need some friends, right? But what other sort of work does it take?

AR: Actually, we found an organization called Fractured Atlas, which is a great resource for early career artists. Fractured Atlas is a 501c3 organization which fiscally sponsors individual artists and groups, and once you've been accepted as a sponsored organization, you can essentially use their non-profit status. So we can accept tax-deductible donations without going through the legal and financial hoops of setting up our own non-profit status. They also provide advice for fundraising, accounting, etc. It's been an invaluable resource for us.

How do you see that affecting you in the future? I mean, you can't survive off a sponsored website forever can you? Has anyone ever tried the Prime Rib Sandwich here?

AR: Though I don't know about the prime rib, we are thinking of Fractured Atlas like a springboard as we get started. Assuming our first season is successful (by that I mean financially sustainable), and that we feel strongly enough about the work we've produced to continue the collaboration, we hope to go through the process of getting our own non-profit status, incorporating as an LLC, etc.

How do you feel about the sheer number of new theatre companies that start and shutdown within their first year? What do you think you can do to avoid this issue? It is a pretty large issue in the community. We've seen many companies come and go.

PB: As with anything in the arts, there is an assumption that you are different. You are a cut above the rest. And you will make it where others haven't. That can be taken as a narcissistic thing to say. But it is essential to survival in the arts. The assumption you are good enough and that people will be interested in you and what you are portraying. The theatre companies that start and shutdown are as prevalent as actors who begin their career and then end it. We have to believe in ourselves that we will work through the struggles and come out the other side.

AR: Patrick - I think that's a good point about the number of failed companies and artists, that, to be honest, there are plenty of artists and companies that don't produce lasting quality work. But realistically, there are also many factors beyond the artists control, and sometimes the sustainability of a company can be determined by non-artistic factors. I try to just keep my intention focused on the project at hand, and do everything in my power to make that successful. We will allow the mission and scope of the company to go change over time, as necessary. I think that flexibility will be key to continuing our work together and not setting up future expectations based on our current ideas of how we define the company's success.

PB: This is true. There are factors outside of us that we can not control. This is why I to keep my eye on the prize, and remain flexible as changes arise. Since we can't assume those uncontrollable factors of misfortune will fall on us. Otherwise, we risk fear of doing.

Well, we think you guys should both get into the burlesque scene. Those shows get butts in the seats. There's one about Super Mario Brothers except the brothers strip down to nipple holders and washcloths for pants. Now that I am thinking of it, it actually may be based more on Super Mario Kart than anything. Anyway, what projects are you working on right now with your respective companies?

AR: Hurray - I get to talk about our play now! We're producing Melancholy Play, by Sarah Ruhl. It's one of her earliest full length works, not seen in Chicago since it originally premiered at Piven Theater, 10 years ago. Those who know Sarah Ruhl's work will have an idea of the tone of the play, it is both very funny and moving. It's a farce about melancholy, which is profound in a very sneaky way. I can keep going...

That's ok, I think we are all familiar with Sarah. But it brings up a question I had for both of you, but Patrick we will start with you. In this economy and in the world we live in, there is a very clear difference between art and entertainment. I think, we have seen that people are usually more interested in entertainment than art so producing a crowd-pleaser might be a make-or-break sort of thing for young companies. In our community, there seems to be a finite number of patrons for the arts, how do you think you can get a slice of that demographic away from other theatre companies they are already tuned in to?

PB: In our case, we produce theatre that we feel the audience is already invested in or has been invested in the past. We produce shows that we know you loved the first time you saw them. But what can we do with them now that is different? How can we take it further? There is a marketing aspect to bringing people to the theater. We are aware that people are more likely to go see "American Buffalo" than "Agamemnon". At the same time, this does not mean we don't try to push the boundaries. The show that premieres on Saturday, February 11 at the Greenhouse Theater, is called "Train of Thought" and is an hour-long one-man show written by and performed by Andy Monson. This is all original work, and yet is reminiscent of Joe Frank (a very popular radio show storyteller) and Spalding Gray (a well-known performance artist). We try to think about what we wish we could see on stage.

AR: I think that's true - you have to start with what you love and really want to see. In our case, Melancholy Play is something I've loved for many years, and was shocked to find it hadn't been produced in Chicago since it was first written. It has to be something that you love so sincerely that you can't wait to share with others, and people really feel that excitement from you. In my experience with this project, when you have that level of enthusiasm and love in your work, it is infectious. Of course, that is only effective to a point when it comes to butts in the seats. So once you've started with something you have that belief in, I think you just need to connect with the right marketing types to get audience numbers. However, Chicago is special. And we are now all realizing how much your reputation as an artist matters. The work I've done with other theatres and artists is coming back to help, and I have the trust of those I've worked with. Being able to have that reputation in this community is invaluable, because we're asking for a leap of faith both from the people we ask to work with us, and the people we ask to invest 90 minutes of their time to see our work.

A lot of times, we have found out in our long and storied careers, it isn't just about the 90 minutes. It is about the 4 hours involved in getting a babysitter, paying for parking, finding reservations for dinner, meeting a friend, and putting on pants. We like both of your points, and we think you both have the optimism and strength to make it through your initial year without anything going horribly wrong, but in the future where do you see your company being? Say, 4 years down the road. You still may not be Jeff Recognized, and you will have exhausted your families and friends and will need to rely on actual paying customers almost exclusively. Is that a "Let's take it as we go" sort of thing?

PB: Amber had a good point about not setting up unrealistic expectations. We've all sat down at some point and day-dreamed about what our lives will be like years from now. Jeff-Award winning Theatre Company that has it's own space in Downtown Chicago conveniently off several major lines of travel with numerous investors and the creative freedom to still do what ever we want. And that's something to hold on to. But I think what I'm more concerned about is producing the shows that I want to see. So if four years from now I've checked a bunch of those shows off the list. And I am really proud of them. That's all I can really ask for....... that being said if we got a Jeff that would be really cool too.

Well, Patrick, Amber, we think we can speak for the whole community when we say welcome and we wish you nothing but the best. Also, would you like some of this Broccoli Soup?

PB: I've never been a fan. But thank you for offering. And thank you for having me.

AR: I never say no to a Quizno's. Bring it on. And thank you for speaking to us!

Eric Roach, Anderson Lawfer

Everything and the Kitchen Sink: Supplying the Clutter in Clutter

Tue, 7 Feb 2012 15:08:14 -0600

Collectors, stockpilers, scavengers and archivists all have their limits, but there was nothing to stop the wealthy and privileged Collyer brothers from saving everything, and so they did—living in a house with rooms filled floor-to-ceiling with miscellany acquired over fifty-plus years. Mark Saltzman is the most recent of many writers to find in this eccentric compulsion a lesson for our own society, reflected in the play titled, Clutter: The True Story of the Collyer Brothers Who Never Threw Anything Out.

To create a mountain of debris for Richard Greenberg's The Dazzle, Steppenwolf Theatre merely strapped a portion of their extensive prop warehouse to a wagon and wheeled it into view. Compare this with MadKap Productions' performance space, which must crowd the Collyer mansion into an alcove fronted by a semi-transparent scrim on a shallow stage flanked by minimal wing space. Further complicating matters is the necessity of the various gewgaws being carried in during the course of the play's action, gradually accumulating onstage while still allowing actors to move about without touching their invisible "wall."

This task is right up Mary O'Dowd's alley—almost literally. "I live in the Western suburbs," says the property designer whose intricately-detailed decor has enhanced such Ivan Albright-styled environs as Signal Ensemble's Real Inspector Hound, "so I drive around villages on garbage nights looking for free curbside finds. There are also some great thrift shops in the area, and dumpsters by shopping malls for things like boxes or newspapers. Oh, and I also borrow from my mother sometimes, or barter from other theaters."

Do you ever have to build from scratch? "Some things I make—the Model T front seat in Clutter, I pieced together from a curbside wicker table, along with lumber scraps, foam pillows, floral wire, and several yards of vinyl. For the horse's skull, I opted for paper-mÂchÉ over the retail price of $3000. My husband, let me add, is a skilled handyman who often helps me construct special items like the double-barreled sawed-off shotgun for Columbinus. He's also very understanding about letting me store stuff at home." She winks conspiratorially, "The secret to a successful marriage is separate garages!"

Did the furnishings all arrive at the theater at once? "Since I drive a small car, I usually bring stuff in increments and keep it at the theater, but this [production] was a rental, which meant nothing could be moved in ahead of time. I stored the props in our rehearsal space, then on the load-in date, I transported it to the Greenhouse in a rented truck, with the help of our stage manager, Cate [Anderson]—bless her heart!"

How does the assemblage fit backstage? "No square inch is wasted! The actors and the crew are wonderful at adapting to the changing offstage landscape. I'm buying two more canoe paddles tonight and I've prepared some extra items against the possibility of something breaking—not the horse's skull, I hope, which took a long time to make."

Does it ever bother you that the contributions of prop designers usually go unrecognized? "I love my job—even if the Jeffs and Tonys don't acknowledge the existence of props people. Despite this production's many challenges, it was worth every bit of the effort!"

Clutter runs through March 11 at the Greenhouse

Mary Shen Barnidge
Contributing Writer

Talkin' Football! with Eric and Andy

Sun, 5 Feb 2012 14:29:36 -0600

Signal Ensemble has become a watershed company here in Chicago. Since 2003, they have established themselves as the go-to place for new and exciting works - whether they were beautiful Midwest premieres of published properties or original works like the smash hit "Aftermath", a jukebox Rolling Stones extravaganza with more on its mind than just amazing rock and roll. "Motion", their new play about the NFL lockout and the power plays off the field, is getting fab reviews. We invited author and Founding Member of Signal Ronan Marra and director Aaron Snook to St. Mary of the Infinite Suffering's parking lot to chat about the show, football, and the best mustard on your hot dog!

Ronan! Aaron! Thanks for meeting us over here at this tailgating party in this church parking lot!

Ronan -- Thanks for having us!

Aaron -- Our pleasure! Looking forward to the game!

You know, church basketball tailgating is supremely underrated. We are just looking for a reason to party, you know what I mean, brahs?!

Ronan -- I agree I've always felt people are really missing out it.

Aaron -- I hear ya. The wine and the snacks are the best at these.

Ok, so let's talk for a second about your theatre company called "Signal Ensemble". You guys, as I understand it, have some of the largest wings of any theatre company in town. Meaning your group of artists works all around the city.

Ronan -- They do, everyone works for a lot of different companies. We heavily encourage it.

Aaron -- We take pride in that -- it just makes the ensemble that much better.

A lot of people don't seem to understand that staying insular can lead to stagnation and death, so we applaud you, gentlemen. Now, tell us a little bit about what you guys do? All theatre companies are the same to us.

Ronan -- These days we have a specific goal to do work that has never been seen in Chicago. We're always looking for some level of premiere, whether it be world or Chicago.

Aaron -- I'd also add that our uniqueness is based on the people that we have in the room during the creative process. In other words, our ensemble makes us who we are.

Well, whatever makes you happy I guess. So, one of the reasons we asked you out here before the Super Bowl, is because you guys are doing an original play written by Ronan, and directed by Aaron about the football lockout from earlier this year, yes?

Ronan -- Yes sir.

Aaron -- Football!

Why football? Do a lot of theatre people like football?

Ronan -- Many seem to. I've been asked this before and I always say that most of my Facebook feed are theatre people and anytime there's a game on, they're posting about it. Most of my friends like it.

Aaron - I like football.

Thanks Aaron. I love straight forward answers. Tell me briefly what Motion is about.

Ronan -- The league is on the verge of a labor lockout like the one the NFL experienced over the spring and summer. The fictional Cleveland Rams have the first pick in the draft, and their new general manager, Diane, has to decide what to do with the first pick. She is greatly interfered with by the owner's son and her ex-husband, Drew, who is an agent that represents the top quarterback in the draft.

I love it. You guys have a couple of very special guests as the "Greek Chorus Morning Zoo Radio Sports Commentators" don't you?

Ronan -- We do.

Aaron -- Very special indeed.

Who are they, and why did you choose them?

Aaron -- You two, silly! Ronan, why did we choose them?

Ronan -- When they left ESPN, we moved swiftly.

We were honored to be a part of it. When you look forward, into the rest of your season, and into future seasons do you foresee doing more plays about sports? The reason I am asking is, you recently did a show about The Rolling Stones called "Aftermath" that was a big hit for you. Do you think there is something about taking popular cultural institutions like rock music or football and basing theatre performances on them? Are you looking for an audience where there wasn't one before?

Ronan -- I don't think we specifically thought about it that way. We honestly had no idea the demo we were tapping into with Aftermath. I think I just love both subjects and wanted to write about them. It's certainly possible I'll take on rock or sports again.

Aaron -- Yeah, we're just looking to tell good stories and these were a couple of them. I love the link, but we never think about it until it's brought up. I'm thinking roller derby next.

Do you think, in your personal opinion, that the lockout was a good move? Who won? Would you like another hot dog?

Ronan -- I would love another hot dog. In general, I think they put a good deal together, and it's good it didn't last into the regular season. As we cover in Motion, a lot of other jobs were at stake -- staffers, stadium workers, etc. It wasn't just the players and owners at risk. It seems like they put a good deal together, I'm not sure there was a clear winner.

Aaron -- I think it worked out better than the NBA, anyway. Hey, no freakin mustard on mine!

Well, we have many mustard selections...try the Gulden's! Over at Signal, you guys seem to go back and forth between published pieces and original work. Was this a conscious decision or something that developed organically?

Ronan -- it was conscious. Especially when we started, the idea was to do everything from classics to new works. Now that we're focused a little more on new work or Chicago premieres, we deal more with agents and the like.

Aaron -- I think we really cut our teeth on classics for a while and we're now at the point where we want to start telling newer stories. And I will NOT try the Gulden's.

Your loss, brah. Well, we would like to thank you both for coming. You know who you never see at church basketball tailgating parties? Ladies.

Aaron -- An absolute pleasure.

Ronan -- Thank you!

Let me ask you before you go...what is your favorite Super Bowl party food and who do you pick to win?

Ronan -- I like wings and I'm going Pats 24-21.

Aaron -- Nachos all the time. I'm sticking to my guns from a while ago with Pats 20-17.

Ronan -- Let it be noted that is the first time Aaron has ever agreed with me.

Aaron -- Noted.

Motion runs at Signal Ensemble Theatre until Match 3.

Eric Roach, Anderson Lawfer

Not Your "Shakespeare on the Pier": A Barebones Hamlet Cuts to the Core

Fri, 27 Jan 2012 09:08:18 -0600

They call it a "passion project." And if pain proves passion, they're pros. Though abandoned by their original producer, the young thespians of (re)discover theatre have begged and borrowed a lot--rugs, shovels, cars, chairs, tables, and more. Each now does the work of three, contributing their salaries from day jobs and rehearsing in a vast, unheated (but free!) rehearsal space, which they transformed into a commune with space heaters, coffee pots, and toilet paper.

It gives a whole new meaning to that irreducible definition of theater—"two boards and a passion."

Why? It's a new year—why not a new "Hamlet"? But one that the (re)discoverers MUST believe has never been done before—but will--for eight performances at the old Live Bait Space in mid-February. Veteran actors would be cowed by their goal to find freshness in something so ferociously familiar. But when producer Miriam Reuter, co-producer Jon Matteson (who also plays the Danish prince) and text coach Jess Shoemaker met over six months ago, they were after a dream too big to discourage. Reuter: "We asked ourselves: If we had the freedom and the resources to work on anything as artists, what would we create? We'll make 'Hamlet' happen. Instead of waiting for someone to open the door, we'll do it ourselves."

You don't get much more Chicago theater than that. Windy City actors live to open doors. Reuter's words stand in for many heartland dreamers: "There's an undeniable magic to naive, youthful, enthusiastic energy. (re)discover theater is not so much about creating something brand new, as building our place in this centuries-old-tradition."

Not surprisingly when you're reinventing the wheel on a small to invisible budget, their "Hamlet" will be minimalist—but from conviction as much as necessity. Back to basics is Matteson's approach to the killer title role: "We've heard the speeches so many times, we've become numb to their power and genius, but what about watching someone--me--discover those arguments totally fresh?"

For Matteson it's love, not Hamlet's usual fury foundering on indecision, that's the key to this reluctant revenger: "I'm different from every one of the thousands of people who have played Hamlet. What strikes me most in this play is how much Hamlet really loves his mother, Ophelia, and his friends. They're different kinds of love, on different levels, but as he's lied to and betrayed again and again, it leaves him with no one to trust but Horatio. All that love never goes away, but it's mixed with an understanding of how the people he loves work. Love is the strongest action that I can work in. So that's where I've started Hamlet's journey."

Being true to the text means taking liberties with a very generous script, says text coach Shoemaker: "From the start we wanted a two-hour Hamlet, which means cutting over half the text. I spent a lot of time trying to pare down to the essentials, asking myself 'What story are we trying to tell'" When you get down to the nuts and bolts of Shakespeare, I feel the plot becomes secondary, taking a backseat to the extraordinarily well-crafted human journey. I respect the text and I'm careful to maintain the integrity of the verse and themes. But I wasn't shy about things like giving away one of Hamlet's speeches, re-arranging soliloquies, intercutting segments, or re-assigning gender. And I got rid of the pirates. I've always hated the pirates." (Is nothing sacred?)

Then there's the challenge of how close to bring the play to the present. Stage manager Bobby Arnold found the right formula: "We use the idea that 'airplanes exist, but cell phones do not.' [A terrific idea on so many levels...] It lets us realistically develop the storyline accurately, while also letting us explore the elements of staging, costuming, sound, and lights." Minimally, of course.

And, yes, sometimes with the Bard less really is more and, yes, ignorance can be a kind of bliss. That's the strategy practiced by director Matt Wills, who counts on the hope that a lack of experience can bring a lack of bias: "I'm coming into this production without an extensive knowledge or preconceived notions about 'Hamlet.' Because I haven't read every text of Hamlet, or manically studied the Arden--that's what our text coach is for--it's safe to say that I'm able to see the text in a new way. Undoubtedly there are things that can't be argued: Hamlet sees his father's ghost, setting off a chain of events that ultimately ends in the death of several characters. How we get to that end is up for interpretation. Is Polonius a loving father? Do Hamlet and Ophelia have a good sexual relationship? Answering these questions is our way of mining the gold from Shakespeare's text."

Rebooting a classic implies that something got lost across the centuries. Or perhaps it happened as recently as childhood. Wills: "Our audiences are hungry for a production of Hamlet that's non-traditional. People hear 'Shakespeare' and are immediately transported to their freshman year in high school, where the teacher made each read 'Julius Caesar' out loud, which was boring as shit, and resulted in kids hating Shakespeare. I was one of those kids."

Happily, Wills' evil indifference didn't last: "Since then I've discovered that Shakespeare writes some of the most surreal and humanistic text in dramatic literature. I feel people are hungry to see a funny, tragic, messy, but still well crafted and textually sound "Hamlet". We take from the old--the script, scansion work, etc.--and combine it with the new--our actors, split staging, and re-arrangement of the text). This is how we (re)discover Hamlet."

The rest is silence.

"Hamlet" runs at the Live Bait Theater, 3914 N. Clark Street, February 16-25. Tickets are $12 at the door or $10 if reserved in advance; for advance reservations or more information, email rediscovertheatre@gmail.com. Facebook: (re)discover theatre; Twitter: @rediscovtheatre. Because brevity is the soul of wit, running time will be two hours and fifteen minutes.

Lawrence Bommer
Contributing Writer

Industrial-Strength Wardrobe: Leather and Steel Costumes in Ironmistress

Mon, 23 Jan 2012 16:25:03 -0600

The widow Darby is heir to a vast ironworks empire, but rather than relinquish her leadership status through remarriage or delegation, she proposes to manage the business herself—no easy task in the mid-19th century, when men ruled the world of commerce. This independence is not to be shared with her daughter— nicknamed "Little Cog" by her late father—who is groomed for a more traditional role in society.

The harsh discipline that these two women endure is invoked in clothing reminiscent of bondage garb: floor-length crinolines of ribbed steel connected with tapes, topped by high-collared bodices constructed of saddleweight leather, studded with gleaming metal hardware. Many of these restrictive garments are donned and removed in full view of the audience, unassisted by backstage personnel, with no pause in the wearers' enigmatic dialogue.

"The scene where Little Cog puts on her corset is specified in the script," reports director Karen Yates, "and when [the play] premiered in 1989, it was done realistically, with Victorian-styled gowns." The intricately-wrought armor created by Darcy Elora Hofer for the Oracle Theatre production of Ironmistress, however, required an "orientation tour" to acquaint Katherine Keberlein and Sarah Goeden with the, literal, ins-and-outs of their wardrobe.

"We rehearsed in fabric skirts and corsets," explains Goeden, "but the first time we put on the actual costumes, Darcy walked us through all the different pieces and explained how they worked."

"The buckles and laces definitely called for some practice," concurs Keberlein, "The neck-section on my dress, in particular, was quite rigid—but after a few minutes, I realized how it helped me to embody the character by forcing me to look down my nose and bend in awkward ways."

The most challenging aspect of the costumes, both agree, were the skirts. "Making sure they don't catch on the scenery," says Keberlein, while Goeden cites the garment's latticework structure as an obstacle. "Darcy had put in magnets to help me fasten the skirt quickly for the onstage change, but because of the boning, they didn't hold as well as they would normally—my skirt fell down twice while we were in tech rehearsals. Finally, she added a super-big snap—called a "whopper popper"—at the top, and the problem was solved!"

Both actresses gratefully acknowledge Hofer's efforts to make the clothes as comfortable as possible. "She molded the panels right on us, individually," Keberlein recalls, "and during techs, she took the corsets home every night, where she would make further adjustments so that they would fit better and function more smoothly the next time."

Adds Goeden, "How often, in storefront theater, do you get costumes custom-fitted to your own body?"

Ironmistress runs at Oracle Theatre through February 11.

Mary Shen Barnidge
Contributing Writer

Enter, Pursued by a Bear, in Elizabeth Rex

Tue, 10 Jan 2012 07:59:34 -0600

Timothy Findley's Elizabeth Rex proposes a dialogue between Her Royal Highness, Queen Elizabeth I, and the members of the Lord Chamberlain's Men—William Shakespeare's troupe—on a troubled night when the crown weighs heavily on its wearer. The underlying theme of their discussion, however, is the stress of denying your true nature: The monarch must be unflinching in her rule, even to ordering the execution of her dearest friend. The sensitive poet who pours his heart into his words must conceal his inner affections. Then there is Ned Lowenscroft, the actor who earns his living by playing women's roles in those days when only males were permitted on the stage.

Ironically, the most potent symbol for the perverse restrictions imposed by a society of cruder sensibilities than our own is a non-human character—a full-grown bear, once a captive participant in the cruel blood-sport called "bear-baiting"—attacked by packs of dogs, with gentlemen wagering on which of the combatants would kill the other first—until Lowenscroft, taking pity on the ursine gladiator, bought it from its owner. Dubbed "Harry" by his liberator, this gentle beast now travels with the players. (When the resident playwright stipulated "exit, pursued by a bear" as a stage direction in The Winter's Tale, he knew already who would be cast as the pursuer.)

Clearly this is no juvenile-fiction Teddy, but a bruin of considerable dramatic gravitas. Says movement coach Janet Louer, "My training as a certified Laban movement analyst helped me understand the bear's physique see it in terms of the locomotion patterns—its center of gravity in its hindquarters, for example, and its neck as an extension of its shoulders. There's also the added factor of this bear being old, and having earlier been extremely abused—things also informing how it moves."

Ultimately, however, the responsibility for conveying the inner life of Harry Bear lies with actor Jude Roche: "After I was cast, I watched Animal Planet and every episode of The Grizzly Man Diaries that Netflix had in stock. I studied up on bear-baiting, too, in order to imagine his history, and the kinds of experiences that would determine his reactions to the sounds and body language of the people around him."

Compounding the difficulty of this task is the propensity of the costume (on loan from the Minneapolis' Guthrie Theatre) to mute emotional expression. "It's built on a quarter-inch metal frame and rubber poles capped with tennis balls—to indicate the joints—and padded in the back and all four legs," Roche reports, "Two forearm crutches extend my arms so that I can walk on all fours, one of which has a bicycle-brake connecting my hand to the bear's mouth so I can open it when he growls. Oh, and I wear a catcher's helmet with a metal rod connected to the inside of the head so I can move it up and down, and the whole suit is covered in fake fur. When I'm in full costume, I can barely see."

Bears are solitary by nature, but Harry must share the stage with a crowd of diverse personalities. He recognizes Lowenscroft as his special friend and protector, of course, but how do his companions respond to the presence of a 1500-pound mascot?

"The rest of the company approach Harry Bear as they might a big dog with the potential to snap. When they address him, they are direct, yet affectionate," Roche smiles, remembering, "Everyone has been patient with my limited vision—leading me on and off the stage, and petting me hard enough that I can feel it through the fur and react to it."

So it takes a village to raise a bear? "Yes, definitely! An animal of this caliber deserves the attention that would go into creating any character, and Harry is the child of many individuals," Roche concurs, "Janet helped me get the bear's movement down, Barbara [Gaines] fine-tuned the bear's behavior to give it more personality, and a team of incredibly talented women maintained the upkeep of the costume. Without everyone's collaborative effort, there would be no magic behind this one very beloved bear."

Elizabeth Rex plays at Chicago Shakespeare Theater through January 22.

Mary Shen Barnidge
Contributing Writer

Play List 2011: Top Shows Of The Year

Sun, 1 Jan 2012 17:18:46 -0600

TheatreInChicago presents its annual list of the top-rated plays that were produced in the Chicago area in 2011. The list was compiled objectively from critics' reviews, based on the Highly Recommended to Not Recommended scale.

Somewhat unsurprisingly, 2011 was another good year to be a revival of a classic musical in Chicago. Of the twenty-five plays that make up this list, seven of them are productions of musicals that could be considered "classics": The Sound of Music, 42nd Street, Chicago, two Sondheims (Follies and Sweeney Todd), Porgy and Bess, and The Christmas Schooner (I'm counting this last one as classic, at least locally; it's been around long enough). Two newer musicals also make this list; Spamalot and A Christmas Story, The Musical! Drury Lane-Oakbrook performs well in this category again this year with three top productions, but it's worth noting that two of the above, Follies and Porgy and Bess, were produced by companies (Chicago Shakespeare Theatre and Court Theatre, respectively) for whom musicals are not their specialty. Indeed, Follies is the Number 3 show on the list.

Several world premiere productions of new plays or adaptations made the list this year. The most high-profile of these was David Henry Hwang's Chinglish at the Goodman Theatre, which subsequently transferred to Broadway, where it continues to play. But Northlight Theatre in Skokie also did well with their commission of The Outgoing Tide starring John Mahoney, and A Christmas Story, The Musical! (adapted from the 1983 movie) at the Chicago Theatre. Other new works include The Big Meal at American Theater Company and Burning Bluebeard at Neo-Futurists. Other new adaptations to make the list are An Iliad at Court Theatre (from, of course, Homer's Iliad) and Jackie and Me by Chicago Children's Theatre (from Dan Gutman's novel of the same name).

The list is dominated, almost completely this year, by Equity productions. Of the twenty-five top shows, only three were produced by non-Equity theatres: Festen by Steep Theatre, Burning Bluebeard by Neo-Futurists, and Old Times by Strawdog Theatre. This is something of a change; the non-Equity side of town had been much more well-represented in years past.

A caveat, as always, to this list: only those productions that garnered at least seven reviews from recognized publications or blogs were eligible. So a play that had only three reviews, for instance, even if all of those reviews were Highly Recommended, would not be included. This was done to ensure that the list could not be compromised by shows whose small number of reviews give each one undue weight.

Top Plays of 2011

Spamalot
Drury Lane- Oakbrook

Chicago Tribune- Highly Recommended
Chicago Sun Times- Highly Recommended
Time Out Chicago- Highly Recommended
Pioneer Press- Highly Recommended
Chicago Reader- Highly Recommended
NewCity Chicago- Highly Recommended
Centerstage- Highly Recommended
Chicago Stage Review- Highly Recommended
ChicagoCritic- Highly Recommended
Chicago Theater Beat- Highly Recommended
Chicago Stage Style- Highly Recommended
Around The Town Chicago- Highly Recommended

An Iliad
Court Theatre

Chicago Tribune- Highly Recommended
Time Out Chicago- Highly Recommended
NewCity Chicago- Highly Recommended
Centerstage- Highly Recommended
Chicago On the Aisle- Highly Recommended
ChicagoCritic- Highly Recommended
Chicago Theater Beat- Highly Recommended
Chicago Now- Highly Recommended
Chicago Stage Style- Highly Recommended

Follies
Chicago Shakespeare Theater

Chicago Tribune- Highly Recommended
Chicago Sun Times- Highly Recommended
Time Out Chicago- Highly Recommended
Examiner- Highly Recommended
NewCity Chicago- Highly Recommended
Talkin Broadway- Highly Recommended
Centerstage- Highly Recommended
Chicago Theatre Addict- Highly Recommended
ChicagoCritic- Highly Recommended
Chicago Theater Beat- Recommended
Chicago Now- Highly Recommended
Chicago Stage Style- Highly Recommended
Around The Town Chicago- Highly Recommended

Festen
Steep Theatre

Chicago Tribune- Highly Recommended
Chicago Sun Times- Highly Recommended
Time Out Chicago- Highly Recommended
Chicago Reader- Highly Recommended
NewCity Chicago- Highly Recommended
Chicago Theatre Addict- Highly Recommended
ChicagoCritic- Highly Recommended
Chicago Theater Beat- Highly Recommended
Chicago Now- Highly Recommended
Chicago Stage Style- Highly Recommended
Around The Town Chicago- Recommended

In the Next Room or the vibrator play
Victory Gardens Theater - Biograph

Chicago Tribune- Highly Recommended
Chicago Sun Times- Highly Recommended
Time Out Chicago- Highly Recommended
NewCity Chicago- Highly Recommended
Centerstage- Highly Recommended
Chicago Theatre Addict- Highly Recommended
ChicagoCritic- Highly Recommended
Chicago Theater Beat- Highly Recommended
Chicago Now- Highly Recommended
Chicago Stage Style- Recommended
Around The Town Chicago- Highly Recommended

The Sound Of Music
Drury Lane- Oakbrook

Chicago Tribune- Highly Recommended
Chicago Sun Times- Highly Recommended
Time Out Chicago- Highly Recommended
Chicago Reader- Highly Recommended
NewCity Chicago- Highly Recommended
Centerstage- Highly Recommended
ChicagoCritic- Highly Recommended
Chicago Theater Beat- Recommended
Chicago Stage Style- Highly Recommended
Around The Town Chicago- Highly Recommended

42nd Street
Marriott Theatre In Lincolnshire

Chicago Tribune- Highly Recommended
Chicago Sun Times- Highly Recommended
Examiner- Recommended
NewCity Chicago- Highly Recommended
ChicagoCritic- Highly Recommended
Chicago Theater Beat- Highly Recommended
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Luke Heiden
Contributing Writer

Bodily Changes: Playing the Prince in Changes of Heart

Tue, 20 Dec 2011 08:40:40 -0600

How do actors act? We know that it involves memorizing speeches and moving around a stage, but what exactly do they do to convince us that they are somebody they aren't?

There are two fundamental ways to proceed when creating a persona: you can determine the character's psychological orientation and use it as a gateway to understanding their actions—Hamlet is angry at his mother, for example, and so he scolds her. Alternatively, you can start with the character's appearance and deduce his feelings based on how he stands, sits, etc. In this case, Hamlet might first crouch sullenly in the presence of his mother, thus suggesting his hostility before he expresses it through his words.

This latter technique nowadays is taught under the name of the actor who popularized it, Michael Chekhov (no relation to the playwright). Steve Wojtas, currently playing The Prince in Remy Bumppo Theatre's controversial adaptation of Pierre Carlet de Marivaux's Changes of Heart, is an advocate of the "outside-to-inside" approach to his role.

"We explored [the Chekhov technique] at the University of Wisconsin in Madison, where I went to graduate school, and it clicked with me," Wojtas explains, "The Stanislavski 'method' never seemed part of my natural process, but with Chekhov, I discovered a more refined version of what I was already doing instinctively. I continue to prefer it because it harnesses my unconscious imagination in a livelier way than other approaches."

You recently played Caliban for the American Players Theatre production of The Tempest. How did you apply your techniques to portraying a mythical sea-monster?

"I found Caliban's voice first—a low, deep growl that allowed me to speak the beautiful verse that Shakespeare wrote for this inarticulate beast, but without this language belonging to him. Then APT sent me to a Capoiera class where one of the exercises involved getting close to the ground and walking on our hands—this is how I found Caliban's body! Then, once I knew how he moved and spoke—that is, how he interacted with the world around him—it put into sharp focus what he wanted and how he would go about getting it."

Marivaux's Prince is a product of royal privilege—when he falls in love with a commoner, he kidnaps her and holds her captive until he can persuade her to marry him. To our modern sensibilities, this is pretty creepy, but we're supposed to applaud Silvia's ultimate decision to accept him. How did you pull that off?

"A powerful monarch that kidnaps a woman and plots to win her love is not an inherently sympathetic character," Wojtas sighs, "but he doesn't flaunt his power by ordering Silvia to marry him and for that, I think we can forgive a lot. When I was Caliban, I was hunched over, in the pose we assume when we lose at something—because constant defeat has made him close his heart off to others. The Prince, by contrast, stands with his chest out and arms wide, his heart open and unguarded."

I'm told that you had muscled up to play Caliban, and then muscled down for the Prince. How far do you usually go toward altering your actual body shape?

"My body carries a lot of muscle naturally, but I wanted the Prince to be in no way physically imposing. Early in rehearsals, they had me changing onstage from a dressing-gown into a suit, so that I'd have to be shirtless for a few moments. If that business had stayed in, I'd probably have been a bit more extreme in my diet and exercise regimen."

(Changes of Heart runs through January 8)

Mary Shen Barnidge
Contributing Writer