Oddly, in the video, they don’t say what day they will appear (perhaps they don’t know themselves???)
Black Comedy - Piccolo Theatre
Bruschetta - Appetite Theatre
Dinner for Six - Metropolis Performing Arts Centre
Fake - Steppenwolf Theatre
Moonlight and Magnolias - Buffalo Theatre Ensemble
Treasure Island - Lifeline Theatre
Year Zero - Victory Gardens Biograph Theater
Beer - The Neo-Futurists
Ekphrasis: Cave Walls to Soup Cans – Sideshow Theatre
Hardcore Dad - Annoyance Theatre
The Second City’s Girls Night Out Uncensored - Metropolis Performing Arts Centre
Skinprov - Annoyance Theatre
Sunday in the Park with George - Village Players
Timeless Is More - Gorilla Tango Theatre
Theatre Building Chicago announces it new team of Steinhagen, Holland and Chambers
Theatre Building Chicago is pleased to announce that Jon Steinhagen and Patrick Holland will join Artistic Director Allan Chambers to “team teach” TBC’s Musical Theatre Writers Workshop. The workshop’s curriculum will continue to focus on the development of the artist in specific fundamentals related to creation of new musicals. The Fall semester focuses on lyrics, music and book and the Winter/Spring semester Practicum takes workshop members through the planning, writing and rehearsal process of a new musical. The introductory workshop sessions will be team-taught by Jon Steinhagen, Patrick Holland and Artistic Director Allan Chambers. This triumvirate of theatre artists brings a wealth of musical theatre writing, directing, and teaching experiences to the workshop. Their years of experience will guide members as they instruct and lead the critique sessions for the introductory first year members.
The 2nd year members and alumni writers will also have the opportunity to work with the three instructors separately or as a team, as they present scenes and songs from full length musicals and one-act children’s musicals. There will usually be two of the three at all session of the 2nd year and alumni workshop. The leader of this group will function as dramaturg/moderator to keep workshop feedback sessions focused and on task.
Jon Steinhagen is an author, actor, composer/musician, and Resident Playwright at Chicago Dramatists. His plays and musicals have been produced or workshopped from Manhattan to Seattle; his plays include The Applewood Pistols (an “original Chekhov comedy” based on Chekhov’s notebooks), The Velvet Gentleman, Something More Comfortable, Second Mouse, Dating Walter Dante, Aces, Ponzi on Sunday, Perfectly Natural, a collection of his shorter plays, was produced at the Midtown International Theatre Festival (NYC) in July 2009. Jon wrote the music and lyrics for the musicals The Arresting Dilemma of Mr. K (based on Kafka’s The Trial), The Circus of Dr. Lao, Emma & Company (all developed at TBC and STAGES) and the Jeff and After Dark Award-winning Inferno Beach and People Like Us. Jon is also an award-winning musical director, arranger, and actor who has received four Jeff Awards, six After Dark Awards, and three Jeff nominations for writing, musical direction, or acting. Jon is a graduate of the New Tuners Workshops led by John Sparks. He is an associate member of
The Dramatist’s Guild, a member of the Chicago Federation of Musicians, and ensemble member of Signal Ensemble Theatre.
Patrick Holland is a professional Music Director, Conductor, Arranger, Orchestrator, Musician, and Educator has had the pleasure of working with Theatre Building Chicago on many projects over the past 10 years on such STAGES projects as Crazy Mary, Bringers, Continental Divide, The Hard Road, Take Me America, Hunger, and Rex. Patrick has also had the pleasure of working with Allan Chambers on Saints & Sinners as part of the workshop mini-musical project in conjunction
with Loyola University of Chicago. Patrick’s Broadway and National Tout credits include The King and I (with Yul Brynner), Hello Dolly (with Carol Channing), Guys and Dolls (with Leslie Uggams), A Chorus Line, Annie, The Pirates of Penzance and La Cage aux Folles to name a handful. He has had the honor of working in New York and Chicago with industry giants Sheldon Harnick, Jerry Herman, Charles Strouse, Martin Charnin, and Tommy Tune. In the Chicagoland area Patrick has worked with The Goodman Theatre, Light Opera Works, Bailiwick, Theatre Building Chicago, and Chicago Cabaret. He has taught music and musical direction at
Northwestern University, Loyola University and Roosevelt University.
Allan Chambers, Artistic Director of TBC, has served in many capacities for Theatre Building Chicago including dramaturg, director, workshop coordinator and actor. Allan oversees theatre company client services and now directs the musical program. He is the past-president of the Illinois Theatre Association,
a founding and former board member of Chicago Alliance for Playwrights, and artistic consultant for Creative Musical Theatre, an honors class dedicated to the development of new music theatre voices at Valparaiso High School. Allan has served as an adjunct instructor at Robert Morris College and at North Park University, and has worked in various capacities with the Goodman Theatre, Music/Theatre Workshop, Our Town Productions, Prologue Theatre, American DreamWorks, Different Drummer Theatre, Bailiwick Repertory, The Western Stage, Cabrillo Stage, Bigfork Playhouse and North Shore Music Theatre. M.F.A., musical theatre, San Diego State University. B.S., theatre acting/directing, University of Idaho.
About the Workshop
The first workshop will be the weekend of September 26-27.
Aspiring composers, lyricists and book writers are encouraged to contact TBC’s Artistic Director, Allan Chambers to schedule a personal interview to assess your skill level and to learn if the Musical Writer’s Workshop can benefit you in your quest to create new musical works.
Allan can be reached at 773-929-7367 ext 229 or at email@example.com
Theatre Building Chicago has plans to strategically grow the musical program from the ground up. The Musical Theatre Writers Workshop is the first stage in the development of new projects that will then be ready for Monday Night Musicals, STAGES Festivals, Intensive Workshops, and eventually onto full-scale productions.
The New Musicals for Kids development pipeline is filling up with exciting new projects from TBC’s workshop as well as the NYU Tisch School MFA program.
TBC also produces the Monday Night Musicals series of concert readings of works in progress. The first Monday Night Musical of the 2009/2010 season is The Spark, October 26, 2009. TBC’s New Musicals for Kids series will open with Tantrum on Tracks October 14, 2009.
TBC’s Musical Theatre Writers Workshop produces the STAGES festival of new musicals. STAGES will be held August 20-22, 2010. Attendees include producers, directors, writers, composers and musical theatre aficionados from all over the country. STAGES is an opportunity for authors and composers to see and hear their work interpreted by a production team and performed for Chicago audiences. It is also an opportunity for producers and directors to assess new musicals
and musical theatre talent.
A richly-developed Irish love story
The Night Season
by Rebecca Lenkiewicz
directed by Elizabeth Carlin-Metz
Theatre Building Chicago
thru October 17th (buy tickets)
reviewed by Timothy McGuire
The Night Season, written by Rebecca Lenkiewicz, is an Irish love story about the lonely Kennedy family. Each member of the family has their own insecurities caused by their mother’s abandonment 5 years earlier, and each of them is on their own path to find love. The outstanding performance by the cast and, exceptional use of the stage with creative touches to enhance the Celtic atmosphere, makes this show heartwarming – even in the midst of the dark struggles each family member endures.
Set in Sligo, Ireland, a town near the shore and once home to the famous poet W.B. Yeats, the stage is brightened by the starry night and hazy lighting that romanticizes the atmosphere. Set designer Craig Choma ’s extremely creative set, and the lighting (by lighting designer Richard Norwood) used to separate scenes, allows multiple plot lines to take place right in front of our eyes without any confusion as to which characters we should be paying attention. The direction of Elizabeth Carlin-Metz makes the transition between scenes fluid and actually heighten the emotional moments by assisting the understanding of the time lapses, or the fact that the two situations take place at the same time.
The play opens up with the audience able to watch the three sisters chatting on the rooftop, while grandmother is slouched down sleeping in her arm chair in the living room. As the closet door opens we get a unique viewpoint (as if we are looking down on him from the sky) of father as he restlessly fights his nightmares while sleeping drunk in his bedroom.
Each member of the family is weighted down with loneliness; longing to be loved by another. They are filled with an insecurity of being unloved, yet there is a bond and a closeness between each, and an unconditional love that exists within their own family (this includes the aging mother of the women that caused this family all of their sorrow.)
The three sisters are single and unlucky in love. Rose (Kelly Lynn Hogan), who the grandmother refers to as a spinster, hastily jumps in bed with the visiting American actor John (Jared Fernley) who is staying with the Kennedys while playing the role of Yeats in a movie. In that moment John is looking for comfort after his mother’s recent death, but Rose wakes up in the morning to find an unwelcomed difference in the intimacy John offers her. The youngest daughter Maud (Eden Newmark) is stuck in a relationship with an unaffectionate communist sympathizer, and the eldest daughter Judith (Vanessa Greenway) is too afraid to open up and – since she has stepped in as the family’s mother – she’s too busy to recognize her feelings for the cerebral neighborhood man, Gary Malone (Paul Dunckel.) Judith is mature beyond her age and has taken on a cold emotionless state that comes with the necessity of constantly having to take care of responsibilities outside of your own. Visiting her absent mother, and then letting loose with her Father on her first drinking binge, Judith goes on a journey to discover her capacity to love, and finds it in places that have always been there.
Every character is richly developed by author Rebecca Lenkiewicz, but the Grandmother Lily O’Hanlon and the girls’ Father Patrick Kennedy stand out with enduring performances by Marry O’Dowd and Don Bender. The Grandmother’s (Patrick’s Mother-in-law) quirky and at times raunchy personality is light and fun and she also draws empathy from us as we watch her age with dementia and sadness. In her eccentric and loony state she continues to search for her last love and in a way she finds it in the gentleman arms of John.
The Night Season is a truly great Irish love story, filled with the complications of life and the strength of a loving family who supports each other in spite of their flaws. Lenkiewicz brings up themes of guilt, love and the passing of time and how life will bring us to face these states over-and-over again in our lives. The common occurrence and unavoidable ending to these moments should not devalue their importance nor limit you from experiencing another separate love story. Through all the pain and hardships, life goes on for the Kennedy family. The Night Season is an enchanting story playing and I highly recommend it.
Thursday, September 17
The Night Season is a heart-wrenching and heartwarming tale of love and loss set in Sligo, Ireland. Come get into the spirit of the Isle by joining Vitalist Theatre at Johnny O’Hagan’s Pub for an authentic meal and enjoy traditional Irish entertainment. Then stroll over to the Theatre Building to enjoy the Chicago premiere of this award-winning play.
On a rooftop in Sligo, three beautiful sisters yearn for love, while below their broken Dad chases his visions and demons and their dotty Granny curses and dances. Into this damaged family comes an American movie star who is playing the poet Yeats in a biopic being filmed in town, and each of their lives is turned upside down beneath the glowing Irish moon.
Event begins at 5:30 p.m. at Johnny O’Hagan’s (3374 N. Clark)
Show begins at 7:30 p.m.
TICKETS ONLY: $30 (includes show, dinner and soft drink at O’Hagan’s)
For reservations call 773.327.5252 and mention "Theater Thursdays."
Learn more about the Equity Wing
Route 66 Theatre Company
Mistakes Were Made
A Red Orchid Theatre
Studs Terkel’s Not Working
The Second City e.t.c.
Porchlight Music Theatre Chicago
The History Boys
TimeLine Theatre Company
The Light in the Piazza
Learn more about the Non-Equity Wing
POSEIDON! An Upside Down Musical
Hell in a Handbag Productions
Chicago Dramatists boasts a diverse class offering, designed to build a strong foundation for the first time playwright, or challenge the seasoned professional with focused, specialized classes. Learn side by side with our top resident playwrights on all aspects of playwriting, from mastering the fundamentals to developing a script with professional actors voicing your work. Take our Screenwriting Fundamentals class to understand both the art and business behind screenwriting, or discover the many elements involved in devising your own solo show. Try our new class, Story into Song, and examine best practices to building your own musical. Gain hands on experience, participating in writing exercises and interacting with your current scripts and scene work. Or challenge your skills with award winning playwright Migdalia Cruz’s Master Class, incorporating movement, yoga and writing into a dynamic, two day workshop. Read full class descriptions and sign up today at www.chicagodramatists.org/classes or call 312-633-0630. Brochure: page one, page two
Chicago Dramatists is now offering special discounts, including 10% off for first time enrollments, 40% for students, 15% off for college and high school teachers, 5% off for senior citizens, and $20 off for Network and Resident Playwrights. Do you qualify? If so, enroll today and learn more for less!
Experiment, broaden and nurture your writing with our wide range of course offerings, and find out first hand why Chicago Dramatists continues to be the playwrights’ home for over 30 years.
Toy Tattoo Gun
The GR8 TaT2 Maker by Spin Master Toys promises an “easy-to-use tattoo maker kit…[that] creates realistic, washable designs with dramatic effects.”
See more inappropriate toys here.
New works suggest a promising future.
The School of the Art Institute presents:
The Alumni Bow
Three one-acts by Rebecca Beegle, Idris Goodwin and Chris Bower
directed by Stefan Brün and Beau O’Reilly
thru September 27th (tickets: 773-539-7838)
reviewed by Paige Listerud
What a pleasure to be able to review The Alumni Bow, the latest offerings from the School of the Art Institute of Chicago’s MFA Writing Program, particularly since it doesn’t have much in the way of press to promote itself, other than a few hand-distributed flyers and a blogpost by one of its playwrights, Idris Goodwin. Under the direction of Beau O’Reilly of Curious Theatre and Stefan Brün of Prop Thtr, these simple one-acts show surprising maturity and sophistication, even if some could benefit from the editor’s scalpel.
Honey by Rebecca Beegle, is a one-act monologue of a man under the strain of lost love and lost eroticism, finally losing memory of the woman he has loved so intensively. The man, played by Julian Berke, takes the audience on a tour of the home in which their lovemaking took place, room by room. It becomes apparent that the tour, which most likely began as an act of revenge against his lover, has now transformed into a mournful homage over all he has lost, including the ability to love again. “What is not so important as the sex acts is what led to them . . . a trail of bread crumbs I can’t find again.”
The challenge for O’Reilly’s direction will be in how effective that tour will remain should the audience capacity exceed the space for the tour to take place. As it is, it’s just as interesting to view the crowd as the actor—the one that I was in paraded from room to room with an almost funereal solemnity. Berke’s performance is nuanced, a tribute to an actor for whom this is the first full-fledged role; prior performance experience has been mostly as a rock and blues musician.
The Story Farm is the most intellectual of all these works, a savvy bit of meta-theater, commenting on all things corporate, politically correct, and metaphorical. Between an earnest jobseeker (Arin Mulvaney) and a story research trainer (Jonathan Putman), Idris Goodwin gets to pull out all his jibes at corporate world’s ability to devalue everything, including the power of stories, to their most rudimentary and meaningless frameworks. From there, it is just a hop, skip, and jump to having the utterly ratiocinating story researcher swept up beyond reason by a story Mulvaney’s jobseeker brings in, while she remains blithely uninvolved by her own discovery. The transformation is enjoyable to watch in Putman’s hands, given the intensity he delivers through his character and Mulvaney’s good-natured, cat-loving foil is realistically vacuous.
Goodwin seems to have the most experience of all the young playwrights and, concomitant with his break beat poet background, plays with ideas and themes with greater virtuosity than the others. But of all the other playwrights, Goodwin’s work would most benefit from an editor’s eye in taking off a good 10 to 15 minutes from this play.
Notes to Molly by Chris Bower deals the most devastating realism of all these pieces. Based on his short story by the same name, the play etches an indelible portrait of a dead-end alcoholic couple and the psychological forces that barely keep them hanging on, to themselves and to life. It is an intensely realized work, almost perfectly performed by Kate Teichman and Matt Test.
All three one-acts deal with some aspect of story, but Bower’s work shows most knowingly how story is used by this couple to evoke a past or present which gives each of them more power or discredits the other, yet does nothing to really disrupt or improve their passive-aggressive relationship. Bower shows great maturity in delineating the symbiotic nature of their mutual dysfunctions and leaves us hanging where they hang, in a subjective no-man’s land, with Test’s character desperately trying to get his fellow alcoholic lover’s attention.
Don’t leave these works out in no-man’s land. The Alumni Bow has a very short run and Chicago should get to know its next generation of original work.
“Under Milk Wood” misses the mark
Caffeine Theatre presents:
Under Milk Wood
by Dylan Thomas
directed by Paul S. Holmquist
thru September 27th (buy tickets)
reviewed by Paige Listerud
Few things irritate more than a production that, however outstanding and finely wrought, still fails to gel, to become the whole it was intended to be. Such is the case with Caffeine Theatre’s production of Dylan Thomas’ Under Milk Wood, now onstage at the Storefront Theater. Director Paul S. Holmquist and the producers have done yeoman work transforming what was originally a radio play into full-scale theatrical storytelling, with 9-member cast taking on 47 roles.
The choice of this DCA space is particularly conducive to their artistic intentions—open and spacious enough, yet still conveying intimate communication between audience and cast. Holmquist’s staging and direction is a marvel of agility and grace in the production’s mercurial shifts from scene to scene. His utilization of the set design’s multiple levels successfully hints at the thin veil between dream and waking life; between hidden desires and performed social roles; between life and death.
How frustrating that, in spite of the cast’s talents, the resulting work lacks cohesion and wholeness through the lack of a uniform narrative performance style. Thomas, when he composed the radio play, constructed its narration with Voice 1 and Voice 2. But Holmquist and company divide the two narrative voices among all 9 cast members. That alone might not have defeated the work. However, the cast is uneven in its presentation of the play’s narrative voice.
By far, Dave Skvarla (Captain Cat) performs this narrative feature best. He owns the stage when he speaks and creates three-dimensional space by the use of his voice alone; Dan Granata (Mr. Mog Edwards) and Elise Kauzlaric (Myfanwy Price) exhibit this ability to a lesser, but still tangible degree. Sadly, that same technique falls off with the rest of the cast, whatever their other abilities.
That is really unfortunate, because the cast creates fully committed and indelible characters. The moments of Mrs Ogmore-Pritchard (Kaitlin Byrd) drilling her two deceased husbands, Mr. Pritchard (Paul Myers) and Mr. Ogmore (Dan Granata), through their daily and nightly routines, lasts long after the show has ended; as do Kate Nawrocki’s saucy Rosie Probert and her Bessie Bighead, ethereally fading into death’s oblivion. Paul Myer’s full range in the use of his body suggests the strains and twists life molds into the human character by time.
Well, for the want of a nail, the battle was lost and for the want of a critical performance technique, the world of this play dissipates into fragilely connected scenes. This leads to what Caffeine Theatre’s production lacks most–a sense of place. A tragically missing element, since Thomas wrote Under Milk Wood as his response to the atomic attacks on Hiroshima and Nagasaki. Here, in his imaginary Welsh town, fecund with dreams and desire, with the power of language alone, he took his stand against total nuclear annihilation.
Also, check out postings and pics from Under Milk Wood rehearsals.
Making the most of a risky venture
Theo Ubique presents:
The Taming of the Shrew
by William Shakespeare
directed by Nick Minas
thru October 4th (buy tickets)
Reviewed by Barry Eitel
Plopping Shakespeare into a cabaret setting seems like a very risky venture. However, so does paring down Andrew Lloyd Weber to fit into a tiny café. Theo Ubique had wild success with that, though, recently reeling in a massive amount of non-equity Jeff Awards for their spring production of Evita. To open this season, the spunky company tackles The Taming of the Shrew, a work a few centuries older than their usual musical flavored fare. The earnest performances tear down the fourth wall and make the intimate space work for the famous comedy, but a flimsy handling of the language keeps this innovative production from reaching its full potential.
In the director’s note, Nick Minas describes what Elizabethan theatre-goers would witness at one of William Shakespeare’s original productions: food, musicians, and jugglers— not unlike the cabarets of later centuries. And the cabaret style that Theo Ubique has nailed down works well for Shakespeare’s comedic styling. For a few hours in the cozy No Exit Café tucked away in Rogers Park, clowns, lovers, and ludicrous lords traipse around the tables and drink at the bar.
Minas and his cast do a brilliant job with the using the entire space and engaging the audience. The show begins with the backstage curtain being removed, revealing Lucentio and Tranio staring through the windows facing Glenwood Avenue. The use of this window is the highlight of the show. The audience watches characters peer into the café, run from entrance to entrance, and Kate (Jenny Lamb) even graffitis the building. It also adds a street performance vibe to the production: we watch how people walking by react. Whenever possible, the actors reference this unsuspecting audience, seeking support or sympathy. Opening up the window was a truly inspired choice; it adds another facet to the production and totally redefines the performances.
However, many of the actors are unable to wrangle down Shakespeare’s language. While the concepts are fleshed out and the cabaret style is vibrantly portrayed, the actual text is muddled and unclear. This serves as a painful reminder that the scrappy little company has its limits. Ben Mason’s Hortensio has a great physicality, but much of his lines are sped through and the story suffers. Ryan Jarosch as Grumio also rushes through some lines, but no one in the cast has a great grasp on Shakespeare’s words. More attention should have been paid to studying the verse. Considering the text is already full of puns and references that don’t make instant sense to a modern audience, failing to give it the proper respect can be disastrous. Fortunately, the cast is talented and charismatic enough that some of the hurried or imprecise lines can be forgiven, but these missteps add up and blur the story.
Theo Ubique has played up the original compositions by Ethan Deppe that appear throughout the production. Much of the music is acapella and has a fun, carnival-like atmosphere. A few monologues are turned into song lyrics, these feel more unnecessary than enlightening. The production is also filled with sound effects—cymbals, slide whistlers, shakers of various kinds—that are used throughout. This adds a “Loony Toons” quality to this “Shrew,” but they are used too often. Some restraint would make this stylistic choice a lot funnier.
Besides stumbling with the language, the performances are pretty solid. Jeremy Van Meter makes a powerful, sexual Petruchio. Lamb’s Kate is terrifying, yet can reach into the vulnerability the character needs. The two match each other’s energy beautifully, and Minas fills their interactions with intensely physical combat and seduction. Matthew Sherbach is cross-cast as Bianca and does a great job capturing her brattiness. This adds another degree of comedy when she is courted by Steve Gensler’s wide-eyed Lucentio. His Tranio (Mike Oleon), though, can’t connect to the audience as well as the rest of the cast, and Oleon’s performance falters.
The final flaw with the production comes with Kate’s monologue at the end. If played too seriously, the monologue, describing how women should obey their husbands, comes off as backwards for modern audiences. Lamb and Minas couldn’t find the right way to make the finale work, we’re not sure if Kate has been beaten into submission or is tricking Petruchio. In the end, we’re just left feeling uncomfortable.