"Even if not a totally African American theater (based in a jazz performing style), at least a LORT theater that actually deals with the diversity of the United States instead of the similarities of England-America-and Europe... Chicago might be the current King of American theater but not yet it's savior."
Some strong and eloquent words from a comment on Chris Jones' blog.
The comment asks a great question: why doesn't Chicago have any LORT level Black professional theatre?
In a time when Chicago is calling itself America's Theatre Capital and fans flock to the ivory towers of Goodman, Shakes, and Steppenwolf, its time that our community asks who we are serving. Our theatres are largely on the north side. Our audiences are predominately white and come from people with money. How do we start to address the disparity? How do we make theatre the national scapbook that Ben Cameron would have it be?
Is this a call to action? Perhaps. But more importantly it is a call to self examination. A call to ask ourselves why we do this thing we do. It this an art that really gets to the core of our shared humanity and talks of the "human condition." Or are these just cheesy words that find their way into so many mission statements that are just a loft way to say we do plays. And the reason we do plays is so our ensemble members can act in awesome roles.
If I am wrong, I would like to know.
Monday, May 31, 2010
Friday, May 28, 2010
Play of the Week: The Elephant Man
“If mercy is cruel, what do you have for justice?”Merrick’s question is a pointed and powerful one. So often we that claim to “know better” are creating double standards. Little things stand out and begin to hurt and sting. Things that degrade the soul and make us numb to the suffering around us. This is a question that applies not only to a single man, but to all man kind. How many examples of this can we see throughout history? This is the morality that Europe spread across the globe as it colonized and eradicated civilizations that were not strong enough to stand against its advances. This is going on right now with America’s involvement in Afghanistan and Iraq along with countless other places in the world. This is a question that refuses to go away.
This is a truly wonderful play. Perhaps the coolest thing they do is play Merrick - the Elephant Man - without any make-up. The audience is asked to project his deformities. By making the deformities imaginary we are relate to the central figure as a man rather than an actor in grotesque make-up.
Thursday, May 27, 2010
Reviews You Can Use
It's state of the art, because that's what is most important. Not the play, or the acting or anything.
Eric & Andy's Reviews You Can Use
My friends run a very amusing comedy site that reviews shows and other things in a humorous way while making fun or reviews at the same time. If you are up for a laugh, check them out.
Disclaimer: The views expressed in Reviews You Can Use do not in any way reflect the views or feelings of Ghostlight Chicago or any of our writers.
Warning: Reviews You Can uses sometimes contains strong language.
Wednesday, May 26, 2010
New York's Golden Age?
Thank you to CottMail for pointing us to this article:
By Michael Feingold, The Village Voice, May 18, 2010
Golden Ages don't post signs telling you, "This is the Golden Age." The art that achieves its effect simply by doing what it set out to do tends to be quiet. In our time, it has all too often been jostled out of the way by the noisier, more specious kind that fails of effect while busily proclaiming its own importance. One peculiarity of New York theater has been its increasing habit of looking away from its own best assets. Broadway understandably needs to cast its glance elsewhere: Its affluent patrons hunger for pre-approved London hits; its tourist market thrives on Hollywood star names. While giving our local economy a wonderful boost, this situation has the unfortunate side effect of making Broadway irrelevant to the city's cultural life. [And] New York has no major theatrical institution. Lurching nervously from hit to hit, our better-funded nonprofits strive more often to placate current taste than to offer it either the backbone of tradition or the adventure of the new. They, like the commercial producers with whom they feel compelled to compete, look elsewhere for their grounding, not to the incredible artistic potential waiting for them here at home. The genuine gold that glitters, quietly, just below their noisy flashing signboards may become visible. The Golden Age we think we lack, and yearn for, the one granted public recognition, may be just around the corner. The ore is there, waiting to be mined. I hope it happens soon: Like the rest of the planet, we are in no position to waste our precious resources.
Tuesday, May 25, 2010
Outsourcing just like everyone else
NPR ran an article about how several Columbus arts organization have started outsourcing their administrative offices to save money; one organization as much as $750,000 per year.
This gives us in the arts lots to think about. I wish I the research to back it up, but an earlier NPR article (airing in April or so - it would be great if someone could put us on to this article as well) on how so many people are opting for the private sector rather than going into not-for-profit management; they just don't pay. So now, not only are we being ungrateful to the wonderful people who put their pocketbooks ahead of a greater good that are being outsourced.
But in a larger sense, why not? Everyone in every walk of life is trying to save money. Why not the arts? With all sorts of funding sources drying up, why not find a few ways to save some money. Get more ads for cheaper - more companies buying ad space in bulk is more ad space being sold in newspapers - helps them too. It's a hard know which way to go on this issue, but one thing is certain - there is going to be a lot more outsourcing firms catering to the arts popping up around the country pretty darn soon.
Happy Birthday: Sir Ian McKellen (b. 1939), Greg Vinkler (b. 1951) & Eve Ensler (b. 1953)
This gives us in the arts lots to think about. I wish I the research to back it up, but an earlier NPR article (airing in April or so - it would be great if someone could put us on to this article as well) on how so many people are opting for the private sector rather than going into not-for-profit management; they just don't pay. So now, not only are we being ungrateful to the wonderful people who put their pocketbooks ahead of a greater good that are being outsourced.
But in a larger sense, why not? Everyone in every walk of life is trying to save money. Why not the arts? With all sorts of funding sources drying up, why not find a few ways to save some money. Get more ads for cheaper - more companies buying ad space in bulk is more ad space being sold in newspapers - helps them too. It's a hard know which way to go on this issue, but one thing is certain - there is going to be a lot more outsourcing firms catering to the arts popping up around the country pretty darn soon.
Happy Birthday: Sir Ian McKellen (b. 1939), Greg Vinkler (b. 1951) & Eve Ensler (b. 1953)
Monday, May 24, 2010
Shakespeare in Juvie
Thank you as always to CottMail for this fascinating article:
Read more
Tonight, 13 actors will take the stage at Shakespeare & Company in Henry V.' Nothing so unusual in that - except that these are teenagers, none older than 17, and they have been sentenced to perform this play. The show is the culmination of a five-week intensive program called Shakespeare in the Courts, a nationally recognized initiative now celebrating its 10th year. Berkshire Juvenile Court Judge Judith Locke has sent these adjudicated offenders -- found guilty of such adolescent crimes as fighting, drinking, stealing, and destroying property -- not to lockup or conventional community service, but to four afternoons a week of acting exercises, rehearsal, and Shakespearean study. More than 100 youths have participated since Kevin Coleman, the Shakespeare troupe's education director, and Paul Perachi, Locke's predecessor on the bench, started the program. But Coleman is realistic about what Shakespeare can and cannot do. "This does not fix them. Do they get back in trouble? Yes, they do. But maybe less often and maybe not as deep. This extreme experience that they're having starts to change them.'' This is one of three sessions this year; others serve youth in North Adams and Great Barrington. Combined, they have an annual budget of about $63,000. "It's a lot cheaper than lockup,'' Coleman said.
Read more
Thursday, May 20, 2010
Eliza Doolittle Day
One evening the king will say, 'Oh, Liza, old thing - I want all of England your praises to sing. Next week on the twentieth of May, I proclaim Liza Doolittle Day.Read the NPR article as they explore Eliza Doolittle and her quest to rise above her station.
Wednesday, May 19, 2010
How we learn and how we get the grade
Rating, reviewing and grading the arts is a very subjective thing. Most of the time, as in reviews, we realize that the evaluation is an opinion and that we can choose to agree or disagree. What happens, however, when the evaluation is the most important thing and actually has bearing? In this case I am talking about an academic setting.
This story comes from a close friend of mine’s student teaching days.
He was first year scenic design at a rather prestigious private institution. At this particular school, the majority of the theatre department was made up of performance majors – or as we like to call them actors. There was a requirement for two production/design classes so every first year design class was bound to have its fair number of actors along side the dedicated designers. These actors, as you guessed it, were taking the class just to fulfill the requirement so they could graduate and wanting to do the bare minimum requirements so they could go off and star in that semester’s mainstage.
This particular class was an unusually unmotivated group and kept asking the professor how he was going to grade the final project – which was a fully realized model set.
Our friend finally go so fed up with his group that he told them that he would be grading the models on how far he could throw them. Whose ever flew the farthest would receive an “A” and the scale would go downward from there.
Happy Birthday: Lorraine Hansberry (1930-1965)
This story comes from a close friend of mine’s student teaching days.
He was first year scenic design at a rather prestigious private institution. At this particular school, the majority of the theatre department was made up of performance majors – or as we like to call them actors. There was a requirement for two production/design classes so every first year design class was bound to have its fair number of actors along side the dedicated designers. These actors, as you guessed it, were taking the class just to fulfill the requirement so they could graduate and wanting to do the bare minimum requirements so they could go off and star in that semester’s mainstage.
This particular class was an unusually unmotivated group and kept asking the professor how he was going to grade the final project – which was a fully realized model set.
Our friend finally go so fed up with his group that he told them that he would be grading the models on how far he could throw them. Whose ever flew the farthest would receive an “A” and the scale would go downward from there.
Happy Birthday: Lorraine Hansberry (1930-1965)
Tuesday, May 18, 2010
This isn't the theater...
I head this story from a patron who was seated next to me at a show last weekend. I didn't catch the young man's name; I hope he doesn't mind that I'm sharing.
So he was there that evening to see a work friend of his performing in the show. He told the story how he had gone to see another show put on by this same friend back in February. The patron had, as many patrons do, gone out to dinner before the show and had a few drinks before making his way to the theater. This theater was located inside of a church - as so many theaters in Chicago are. Once inside the building, the patron wasn't quite sure where to go. He eventually found a large room where a group of people were congregating among folding chairs.
He found it a little strange, but his friend had warned him that the theater was a little smaller and a little rag-tag. So he sat down. After a few moments he noticed that there was punch and cookies available and as nice as that seemed, something didn't seem right...
He looked around and really paid attention to the other people waiting for the performance. And once he put two and two together he realized that he wasn't attending a theatrical performance but was instead sitting in on an AA meeting. He quickly stood up and excused himself from the room. The theater was on the second floor of the church - luckily the show was really good.
Just a little cautionary tale for all of us attending shows in Off-Loop performance spaces.
Happy Birthday: Lorraine Hansberry (1930-1965)
So he was there that evening to see a work friend of his performing in the show. He told the story how he had gone to see another show put on by this same friend back in February. The patron had, as many patrons do, gone out to dinner before the show and had a few drinks before making his way to the theater. This theater was located inside of a church - as so many theaters in Chicago are. Once inside the building, the patron wasn't quite sure where to go. He eventually found a large room where a group of people were congregating among folding chairs.
He found it a little strange, but his friend had warned him that the theater was a little smaller and a little rag-tag. So he sat down. After a few moments he noticed that there was punch and cookies available and as nice as that seemed, something didn't seem right...
He looked around and really paid attention to the other people waiting for the performance. And once he put two and two together he realized that he wasn't attending a theatrical performance but was instead sitting in on an AA meeting. He quickly stood up and excused himself from the room. The theater was on the second floor of the church - luckily the show was really good.
Just a little cautionary tale for all of us attending shows in Off-Loop performance spaces.
Happy Birthday: Lorraine Hansberry (1930-1965)
Monday, May 17, 2010
David Cromer
David Cromer has made himself into a highly successful director. Set to direct his first Broadway musical next season, he is also made a bit of a spotlight for himself. Yet he is Chicago in his roots and Chicago through and through. And he hasn't forgotten where he came from - he's schedule to direct productions at Writer's Theatre and Mary Arrchie.
Chris Jones did a lovely article on him and there is some great advice about how to navigate not only Chicago's theatre scene, but any theatre scene.
Chris Jones did a lovely article on him and there is some great advice about how to navigate not only Chicago's theatre scene, but any theatre scene.
“I avoided ensembles and institutions,” he says. “My friends and collaborators know that when the time is right, we will do it again. The ideal is that the play comes before favoritism. Maybe not before loyalty though, since I am self-serving enough to only want to hang out with really talented people.”
Thursday, May 13, 2010
In Memorandum: Guy Adkins
The Chicago Tribune is reporting that Chicago actor Guy Adkins has succumbed to colon cancer. Adkins was 41.
Obituaries:
Chicago Tribune
PerformInk
Obituaries:
Chicago Tribune
PerformInk
Before you get that degree in theatre...
Thank you once again to CottMail for bringing this one to us.
There's no denying the value of a college education: According to recent U.S. Census surveys, the median salary for college grads is more than $20,000 higher than that of people with only a high school diploma. And the unemployment rate for people with bachelor's degrees is almost half the rate for people without. But some degrees are worth more than others, as PayScale.com shows in its 2010 report on the earning power of bachelor's degrees. No surprise, engineering degrees continue to be top earners -- and (also no big shocker) you have to go pretty far down the list before you see the liberal arts well represented. But there's more to choosing a major than comparing dollar amounts. We salute and congratulate the graduates whose interests (and hard work) have led them to the following degrees -- the lowest-earning degrees on PayScale's list:
#10. Drama (starting annual salary: $35,600; mid-career annual salary: $56,600)
# 9. Fine arts (starting annual salary: $35,800; mid-career annual salary: $56,300)
# 8. Hospitality and tourism
# 7. Education
# 6. Horticulture
# 5. Spanish
# 4. Music (starting annual salary: $34,000; mid-career annual salary: $52,000)
# 3. Theology
# 2. Elementary education
# 1. Social work
Happy Birthday: Arthur Sullivan (1842-1900) & Bea Arthur (1922-2009)
There's no denying the value of a college education: According to recent U.S. Census surveys, the median salary for college grads is more than $20,000 higher than that of people with only a high school diploma. And the unemployment rate for people with bachelor's degrees is almost half the rate for people without. But some degrees are worth more than others, as PayScale.com shows in its 2010 report on the earning power of bachelor's degrees. No surprise, engineering degrees continue to be top earners -- and (also no big shocker) you have to go pretty far down the list before you see the liberal arts well represented. But there's more to choosing a major than comparing dollar amounts. We salute and congratulate the graduates whose interests (and hard work) have led them to the following degrees -- the lowest-earning degrees on PayScale's list:
#10. Drama (starting annual salary: $35,600; mid-career annual salary: $56,600)
# 9. Fine arts (starting annual salary: $35,800; mid-career annual salary: $56,300)
# 8. Hospitality and tourism
# 7. Education
# 6. Horticulture
# 5. Spanish
# 4. Music (starting annual salary: $34,000; mid-career annual salary: $52,000)
# 3. Theology
# 2. Elementary education
# 1. Social work
Happy Birthday: Arthur Sullivan (1842-1900) & Bea Arthur (1922-2009)
Wednesday, May 12, 2010
Previews
Most people outside the truly intimate theater goers and professionals don't know what a preview is. The definition itself is somewhat vague. Basically they are ticketed performances (usually cheaper than the run) before opening when the press comes. They are something more than an invited dress rehearsal - which is just that, a rehearsal - and a full performance. Some production elements and etc. can still be in the process of solidifying, but for the most part, and audience member is seeing the actual show.
Which always beg the question, why isn't it a real show? What's the point of previews?
Many companies in this town don't have them. Due to their rental contract or simply the amount of money the have to spend on any one production. And while they will have one or two previews just to keep up with tradition, those previews really don't make much of a difference.
What previews are helpful for is getting the kinks worked out with the audience. It can sometimes take a while to get acclimated to laughter and applause (or lack there of). And if the first time the actors are facing this is opening night, then the addition of the opening night nerves along with facing a big unknown can keep the show from living up to its full potential. You may ask "well wouldn't this just happen at the first preview anyhow?" The answer is yes - but the bigger point is that the Jeff Committee and a slate of reviewers definitely won't be sitting in the audience at a first preview.
And in this town that is so over saturated, one bad review or the lack of a Jeff Recommendation can seriously affect how well the box office does for a show. And there are a thousand reasons why these people have to see the show as soon as possible. The sooner the good reviews are in the sooner the show will have people wanting to pay for tickets. The Jeff Committee has to come opening night to all time for the rest of the judges to see the show should it become reccomended during the short 18 performance runs. There are just so many shows going on that it's not possible for all publications to get reviews out right away.
But in the end, are they really seeing the show that is going to blossom by the second weekend of the run? How does the investment in time for previews pay off in the long run?
Which always beg the question, why isn't it a real show? What's the point of previews?
Many companies in this town don't have them. Due to their rental contract or simply the amount of money the have to spend on any one production. And while they will have one or two previews just to keep up with tradition, those previews really don't make much of a difference.
What previews are helpful for is getting the kinks worked out with the audience. It can sometimes take a while to get acclimated to laughter and applause (or lack there of). And if the first time the actors are facing this is opening night, then the addition of the opening night nerves along with facing a big unknown can keep the show from living up to its full potential. You may ask "well wouldn't this just happen at the first preview anyhow?" The answer is yes - but the bigger point is that the Jeff Committee and a slate of reviewers definitely won't be sitting in the audience at a first preview.
And in this town that is so over saturated, one bad review or the lack of a Jeff Recommendation can seriously affect how well the box office does for a show. And there are a thousand reasons why these people have to see the show as soon as possible. The sooner the good reviews are in the sooner the show will have people wanting to pay for tickets. The Jeff Committee has to come opening night to all time for the rest of the judges to see the show should it become reccomended during the short 18 performance runs. There are just so many shows going on that it's not possible for all publications to get reviews out right away.
But in the end, are they really seeing the show that is going to blossom by the second weekend of the run? How does the investment in time for previews pay off in the long run?
Tuesday, May 11, 2010
Pull Quote
Chicago is getting some nice press in the Guardian.
I've long said the beating heart of US theatre is in Chicago, from which two terrific new plays, Tracy Letts's August: Osage County and Lynn Nottage's Ruined, recently emerged. In fact, next time an ambitious producer thinks of taking a London hit-play to Broadway, I'd suggest they ask the question that used to adorn posters in wartime: is your journey really necessary?
Monday, May 10, 2010
Chicago Productions and People at the Tonys
Million Dollar Quartet (started at the Apollo Theatre)
-Best Musical
-Best Book of a Musical, Colin Escott and Flloyd Mutrux
-Best Festured Actor in a Musical, Levi Kreis
The Addams Family (started at the Oriental Theatre)
-Best Featured Actor in a Musical, Kevin Chamberlin
-Best Original Score, Andrew Lippa
Superior Donuts (started at Steppenwolf)
-Best Featured Actor in a Play, Jon Michael Hill
Happy Birthday: Fred Astaire (1899-1987)
-Best Musical
-Best Book of a Musical, Colin Escott and Flloyd Mutrux
-Best Festured Actor in a Musical, Levi Kreis
The Addams Family (started at the Oriental Theatre)
-Best Featured Actor in a Musical, Kevin Chamberlin
-Best Original Score, Andrew Lippa
Superior Donuts (started at Steppenwolf)
-Best Featured Actor in a Play, Jon Michael Hill
Happy Birthday: Fred Astaire (1899-1987)
Thursday, May 6, 2010
2010 Jeff Award Nominations
PRODUCTION - PLAY
“Busman’s Honeymoon” - Lifeline Theatre
“Death of a Salesman” - Raven Theatre
“Killer Joe” - Profiles Theatre
“The Pillowman” - Redtwist Theatre
“St. Crispin’s Day” - Strawdog Theatre Company
“Wilson Wants It All” - The House Theatre of Chicago
PRODUCTION - MUSICAL
“Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
“Evolution/Creation” - Quest Theatre Ensemble
“The Glorious Ones” - Bohemian Theatre Ensemble
“The Who’s Tommy” - Circle Theatre
DIRECTOR - PLAY
Aaron Todd Douglas - “Twelve Angry Men” - Raven Theatre
Michael Menendian - “Death of a Salesman” - Raven Theatre
Michael Rohd - “Wilson Wants It All” - The House Theatre of Chicago
Kimberly Senior - “The Pillowman” - Redtwist Theatre
Rick Snyder - “Killer Joe” - Profiles Theatre
DIRECTOR - MUSICAL
Fred Anzevino & Brenda Didier - “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
Jeffrey Cass - “The Who’s Tommy” - Circle Theatre
Stephen M. Genovese - “The Glorious Ones” - Bohemian Theatre Ensemble
Andrew Park - “Evolution/Creation” - Quest Theatre Ensemble
ENSEMBLE
“The Glorious Ones ” - Bohemian Theatre Ensemble
“Red Noses” - Strawdog Theatre Company
“Twelve Angry Men” - Raven Theatre
“Under Milk Wood ” - Caffeine Theatre
ACTOR IN A PRINCIPAL ROLE - PLAY
Tony Bozzuto - “On an Average Day” - BackStage Theatre Company
Darrell W. Cox - “Killer Joe” - Profiles Theatre
Andrew Jessop - “The Pillowman” - Redtwist Theatre
Peter Robel - “I Am My Own Wife” - Bohemian Theatre Ensemble
Chuck Spencer - “Death of a Salesman ” - Raven Theatre
ACTOR IN A PRINCIPAL ROLE - MUSICAL
Courtney Crouse – “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
Tom McGunn - “The Who’s Tommy” - Circle Theatre
Eric Damon Smith - “The Glorious Ones” - Bohemian Theatre Ensemble
Jeremy Trager - “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
ACTRESS IN A PRINCIPAL ROLE – PLAY
Brenda Barrie - “Mrs. Caliban” - Lifeline Theatre
LaNisa Frederick - “The Gimmick” - Pegasus Players
Millicent Hurley - “Lettice & Lovage” - Redtwist Theatre
Kendra Thulin - “Harper Regan” - Steep Theatre Company
Rebekah Ward - Hays - “Aunt Dan and Lemon” - BackStage Theatre Company
ACTRESS IN A PRINCIPAL ROLE - MUSICAL
Danielle Brothers - “Man of La Mancha” - Theo Ubique Cabaret Theatre i/a/w Michael James
Sarah Hayes - “Man of La Mancha” - Theo Ubique Cabaret Theatre i/a/w Michael James
Maggie Portman - “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
ACTOR IN A SUPPORTING ROLE - PLAY
Chance Bone - “Cooperstown” - Theatre Seven of Chicago
Jason Huysman - “Death of a Salesman” - Raven Theatre
Edward Kuffert - “The Crucible” - Infamous Commonwealth Theatre
Peter Oyloe - “The Pillowman” - Redtwist Theatre
Phil Timberlake - “ Busman’s Honeymoon” - Lifeline Theatre
ACTOR IN A SUPPORTING ROLE - MUSICAL
Eric Lindahl - “The Who’s Tommy” - Circle Theatre
Steve Kimbrough - “Poseidon! An Upside Down Musical” - Hell in a Handbag Productions
John B. Leen –“Chess ” - Theo Ubique Cabaret Theatre i/a/w Michael James
ACTRESS IN A SUPPORTNG ROLE - PLAY
Nancy Friedrich - “The Crucible” - Infamous Commonwealth Theatre
Vanessa Greenway - “The Night Season” - Vitalist Theatre i/a/w Premiere Theatre & Performance
Kelly Lynn Hogan - “The Night Season” - Vitalist Theatre i/a/w Premiere Theatre & Performance
Kristy Johnson - “A Song for Coretta” - Eclipse Theatre Company
Mary Redmon - “The Analytical Engine” - Circle Theatre
ACTRESS IN A SUPPORTING ROLE – MUSICAL OR REVUE
Kate Garassino - “Bombs Away! ” - Bailiwick Repertory Theatre
Danni Smith - “The Glorious Ones” - Bohemian Theatre Ensemble
Trista Smith - “Poseidon! An Upside Down Musical” - Hell in a Handbag Productions
Dana Tretta - “The Glorious Ones” - Bohemian Theatre Ensemble
NEW WORK
Aaron Carter - “First Words” - MPAACT
Ellen Fairey - “Graceland” - Profiles Theatre
Tommy Lee Johnston - “Aura” - Redtwist Theatre
Andrew Park & Scott Lamps - “Evolution/Creation” - Quest Theatre Ensemble
Michael Rohd & Phillip C. Klapperich - “Wilson Wants It All” - The House Theatre of Chicago
NEW ADAPTATION
Bilal Dardai - “The Man Who Was Thursday” - New Leaf Theatre
Sean Graney - “ Oedipus” - The Hypocrites”
Frances Limoncelli - “Busman’s Honeymoon” - Lifeline Theatre
Frances Limoncelli - “Mrs. Caliban” - Lifeline Theatre
William Massolia - “Little Brother” - Griffin Theatre Company
CHOREOGRAPHY
Kevin Bellie - “The Who’s Tommy” - Circle Theatre
Brenda Didier - “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
Brigitte Ditmars - “Poseidon! An Upside Down Musical” - Hell in a Handbag Productions
ORIGINAL INCIDENTAL MUSIC
Andrew Hansen - “Treasure Island” - Lifeline Theatre
Kevin O’Donnell - “Wilson Wants It All” - The House Theatre of Chicago
Trevor Watkin - “The Black Duckling” - Dream Theatre Company
MUSIC DIRECTION
Ryan Brewster – “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
Gary Powell - “Evolution/Creation” - Quest Theatre Ensemble
Nick Sula - “The Glorious Ones” - Bohemian Theatre Ensemble
SCENIC DESIGN
Tom Burch - “Uncle Vanya” - Strawdog Theatre Company
Alan Donahue - “Treasure Island ” - Lifeline Theatre
Heath Hays - “On an Average Day” - BackStage Theatre Company
Bob Knuth - “The Analytical Engine” - Circle Theatre
Bob Knuth - “Little Women” - Circle Theatre
John Zuiker - “I Am My Own Wife” - Bohemian Theatre Ensemble
LIGHTING DESIGN
Diane Fairchild - “The Gimmick” - Pegasus Players
Kevin D. Gawley - “Treasure Island” - Lifeline Theatre
Sean Mallary - “St. Crispin’s Day” - Strawdog Theatre Company
Jared B. Moore - “The Man Who Was Thursday” - New Leaf Theatre
Katy Peterson - “I Am My Own Wife” - Bohemian Theatre Ensemble
COSTUME DESIGN
Theresa Ham - “The Glorious Ones” - Bohemian Theatre Ensemble
Branimira Ivanova - “Treasure Island” - Lifeline Theatre
Joanna Melville - “St. Crispin’s Day” - Strawdog Theatre Company
Jill Van Brussel - “The Taming of the Shrew” - Theo Ubique Cabaret Theatre i/a/w Michael James
Elizabeth Powell Wislar - “The Analytical Engine” - Circle Theatre
SOUND DESIGN
Mikhail Fiksel – “Oedipus” - The Hypocrites
Michael Griggs - “Wilson Wants It All” - The House Theatre of Chicago
Andrew Hansen - “Treasure Island” - Lifeline Theatre
Joshua Horvath - “Mrs. Caliban” - Lifeline Theatre
Miles Polaski - “Mouse in a Jar” - Red Tape Theatre
ARTISTIC SPECIALIZATION
Kevin Bellie - Projection Design - “The Who’s Tommy” - Circle Theatre
Elise Kauzlaric - Dialect Coach - “Busman’s Honeymoon” - Lifeline Theatre
Lucas Merino - Video Design - “Wilson Wants It All” - The House Theatre of Chicago
James T. Scott - Puppets - “Evolution/Creation” - Quest Theatre Ensemble
FIGHT CHOREOGRAPHY
Geoff Coates - “On an Average Day” - BackStage Theatre Company
Geoff Coates - “Treasure Island” - Lifeline Theatre
Matt Hawkins - “St. Crispin’s Day” - Strawdog Theatre Company
R & D Choreography - “Killer Joe” - Profiles Theatre
Happy Birthday: Kerry Ellis (b. 1979)
“Busman’s Honeymoon” - Lifeline Theatre
“Death of a Salesman” - Raven Theatre
“Killer Joe” - Profiles Theatre
“The Pillowman” - Redtwist Theatre
“St. Crispin’s Day” - Strawdog Theatre Company
“Wilson Wants It All” - The House Theatre of Chicago
PRODUCTION - MUSICAL
“Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
“Evolution/Creation” - Quest Theatre Ensemble
“The Glorious Ones” - Bohemian Theatre Ensemble
“The Who’s Tommy” - Circle Theatre
DIRECTOR - PLAY
Aaron Todd Douglas - “Twelve Angry Men” - Raven Theatre
Michael Menendian - “Death of a Salesman” - Raven Theatre
Michael Rohd - “Wilson Wants It All” - The House Theatre of Chicago
Kimberly Senior - “The Pillowman” - Redtwist Theatre
Rick Snyder - “Killer Joe” - Profiles Theatre
DIRECTOR - MUSICAL
Fred Anzevino & Brenda Didier - “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
Jeffrey Cass - “The Who’s Tommy” - Circle Theatre
Stephen M. Genovese - “The Glorious Ones” - Bohemian Theatre Ensemble
Andrew Park - “Evolution/Creation” - Quest Theatre Ensemble
ENSEMBLE
“The Glorious Ones ” - Bohemian Theatre Ensemble
“Red Noses” - Strawdog Theatre Company
“Twelve Angry Men” - Raven Theatre
“Under Milk Wood ” - Caffeine Theatre
ACTOR IN A PRINCIPAL ROLE - PLAY
Tony Bozzuto - “On an Average Day” - BackStage Theatre Company
Darrell W. Cox - “Killer Joe” - Profiles Theatre
Andrew Jessop - “The Pillowman” - Redtwist Theatre
Peter Robel - “I Am My Own Wife” - Bohemian Theatre Ensemble
Chuck Spencer - “Death of a Salesman ” - Raven Theatre
ACTOR IN A PRINCIPAL ROLE - MUSICAL
Courtney Crouse – “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
Tom McGunn - “The Who’s Tommy” - Circle Theatre
Eric Damon Smith - “The Glorious Ones” - Bohemian Theatre Ensemble
Jeremy Trager - “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
ACTRESS IN A PRINCIPAL ROLE – PLAY
Brenda Barrie - “Mrs. Caliban” - Lifeline Theatre
LaNisa Frederick - “The Gimmick” - Pegasus Players
Millicent Hurley - “Lettice & Lovage” - Redtwist Theatre
Kendra Thulin - “Harper Regan” - Steep Theatre Company
Rebekah Ward - Hays - “Aunt Dan and Lemon” - BackStage Theatre Company
ACTRESS IN A PRINCIPAL ROLE - MUSICAL
Danielle Brothers - “Man of La Mancha” - Theo Ubique Cabaret Theatre i/a/w Michael James
Sarah Hayes - “Man of La Mancha” - Theo Ubique Cabaret Theatre i/a/w Michael James
Maggie Portman - “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
ACTOR IN A SUPPORTING ROLE - PLAY
Chance Bone - “Cooperstown” - Theatre Seven of Chicago
Jason Huysman - “Death of a Salesman” - Raven Theatre
Edward Kuffert - “The Crucible” - Infamous Commonwealth Theatre
Peter Oyloe - “The Pillowman” - Redtwist Theatre
Phil Timberlake - “ Busman’s Honeymoon” - Lifeline Theatre
ACTOR IN A SUPPORTING ROLE - MUSICAL
Eric Lindahl - “The Who’s Tommy” - Circle Theatre
Steve Kimbrough - “Poseidon! An Upside Down Musical” - Hell in a Handbag Productions
John B. Leen –“Chess ” - Theo Ubique Cabaret Theatre i/a/w Michael James
ACTRESS IN A SUPPORTNG ROLE - PLAY
Nancy Friedrich - “The Crucible” - Infamous Commonwealth Theatre
Vanessa Greenway - “The Night Season” - Vitalist Theatre i/a/w Premiere Theatre & Performance
Kelly Lynn Hogan - “The Night Season” - Vitalist Theatre i/a/w Premiere Theatre & Performance
Kristy Johnson - “A Song for Coretta” - Eclipse Theatre Company
Mary Redmon - “The Analytical Engine” - Circle Theatre
ACTRESS IN A SUPPORTING ROLE – MUSICAL OR REVUE
Kate Garassino - “Bombs Away! ” - Bailiwick Repertory Theatre
Danni Smith - “The Glorious Ones” - Bohemian Theatre Ensemble
Trista Smith - “Poseidon! An Upside Down Musical” - Hell in a Handbag Productions
Dana Tretta - “The Glorious Ones” - Bohemian Theatre Ensemble
NEW WORK
Aaron Carter - “First Words” - MPAACT
Ellen Fairey - “Graceland” - Profiles Theatre
Tommy Lee Johnston - “Aura” - Redtwist Theatre
Andrew Park & Scott Lamps - “Evolution/Creation” - Quest Theatre Ensemble
Michael Rohd & Phillip C. Klapperich - “Wilson Wants It All” - The House Theatre of Chicago
NEW ADAPTATION
Bilal Dardai - “The Man Who Was Thursday” - New Leaf Theatre
Sean Graney - “ Oedipus” - The Hypocrites”
Frances Limoncelli - “Busman’s Honeymoon” - Lifeline Theatre
Frances Limoncelli - “Mrs. Caliban” - Lifeline Theatre
William Massolia - “Little Brother” - Griffin Theatre Company
CHOREOGRAPHY
Kevin Bellie - “The Who’s Tommy” - Circle Theatre
Brenda Didier - “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
Brigitte Ditmars - “Poseidon! An Upside Down Musical” - Hell in a Handbag Productions
ORIGINAL INCIDENTAL MUSIC
Andrew Hansen - “Treasure Island” - Lifeline Theatre
Kevin O’Donnell - “Wilson Wants It All” - The House Theatre of Chicago
Trevor Watkin - “The Black Duckling” - Dream Theatre Company
MUSIC DIRECTION
Ryan Brewster – “Chess” - Theo Ubique Cabaret Theatre i/a/w Michael James
Gary Powell - “Evolution/Creation” - Quest Theatre Ensemble
Nick Sula - “The Glorious Ones” - Bohemian Theatre Ensemble
SCENIC DESIGN
Tom Burch - “Uncle Vanya” - Strawdog Theatre Company
Alan Donahue - “Treasure Island ” - Lifeline Theatre
Heath Hays - “On an Average Day” - BackStage Theatre Company
Bob Knuth - “The Analytical Engine” - Circle Theatre
Bob Knuth - “Little Women” - Circle Theatre
John Zuiker - “I Am My Own Wife” - Bohemian Theatre Ensemble
LIGHTING DESIGN
Diane Fairchild - “The Gimmick” - Pegasus Players
Kevin D. Gawley - “Treasure Island” - Lifeline Theatre
Sean Mallary - “St. Crispin’s Day” - Strawdog Theatre Company
Jared B. Moore - “The Man Who Was Thursday” - New Leaf Theatre
Katy Peterson - “I Am My Own Wife” - Bohemian Theatre Ensemble
COSTUME DESIGN
Theresa Ham - “The Glorious Ones” - Bohemian Theatre Ensemble
Branimira Ivanova - “Treasure Island” - Lifeline Theatre
Joanna Melville - “St. Crispin’s Day” - Strawdog Theatre Company
Jill Van Brussel - “The Taming of the Shrew” - Theo Ubique Cabaret Theatre i/a/w Michael James
Elizabeth Powell Wislar - “The Analytical Engine” - Circle Theatre
SOUND DESIGN
Mikhail Fiksel – “Oedipus” - The Hypocrites
Michael Griggs - “Wilson Wants It All” - The House Theatre of Chicago
Andrew Hansen - “Treasure Island” - Lifeline Theatre
Joshua Horvath - “Mrs. Caliban” - Lifeline Theatre
Miles Polaski - “Mouse in a Jar” - Red Tape Theatre
ARTISTIC SPECIALIZATION
Kevin Bellie - Projection Design - “The Who’s Tommy” - Circle Theatre
Elise Kauzlaric - Dialect Coach - “Busman’s Honeymoon” - Lifeline Theatre
Lucas Merino - Video Design - “Wilson Wants It All” - The House Theatre of Chicago
James T. Scott - Puppets - “Evolution/Creation” - Quest Theatre Ensemble
FIGHT CHOREOGRAPHY
Geoff Coates - “On an Average Day” - BackStage Theatre Company
Geoff Coates - “Treasure Island” - Lifeline Theatre
Matt Hawkins - “St. Crispin’s Day” - Strawdog Theatre Company
R & D Choreography - “Killer Joe” - Profiles Theatre
Happy Birthday: Kerry Ellis (b. 1979)
Wednesday, May 5, 2010
Closing Weekend for Spring Awakening
"No, it's not the fired up Broadway musical currently touring the big rooms. But Stephen F. Murray rejuvenates Frank Wedekind's 1891 sociodrama with a number of stylish flourishes to render it every bit as immediate."-Mary Shen Barnidge, Windy City Times
"The actors read the dialogue with a convincing naturalism...Nick Lake gives us a complex, thoughtful Melchior...Melchior's friend Mortiz...is played sensitively by Tyler Rich...supporting cast members are all effective."
-John Olson, Talkin' Broadway
"The compassionate story of a group of teenagers coping with academic pressure and burgeoning sexuality, "Spring Awakening" comes to life under Stephen Murray's insightful direction. Like the musical version now on Broadway, this adaptation uses masks to blur the identities of the inaccessible adults, thereby turning the focus on the children, each of whom, like a canary in a coal mine, manifests society's flaws."
-Sarah Terez Rosenblum, Centerstage Chicago
"Director and adapter Stephan F. Murray has mounted an emotionally rich production of the 1891 coming of age tale of German youth... This show is fine theatre."
-Tom Williams, Chicago Critic.com
"As advertised, this "Spring Awakening" takes "an unflinching look at the struggles of youth against the immense pressure put on them by adult society in all its hypocrisy and thundering ignorance." It's not always easy to experience this show, even if you think you know what is coming. But it is oh, so relevant, 119 years after this script first emerged."
-Paul W. Thompson, Broadway World
"In Wedekind's play, by contrast, the human cost of ignorance, brutality, and despair come through with heartbreaking clarity."
-Kerry Reid, Chicago Reader
Tuesday, May 4, 2010
2010 Tony Award Nominees
Nominations for the 2010 American Theatre Wing's Tony Awards®
Presented by The Broadway League and the American Theatre Wing
Best Play
In the Next Room or the Vibrator Play by Sarah Ruhl
Next Fall by Geoffrey Nauffts
Red John Logan
Time Stands Still Donald Margulies
Best Musical
American Idiot
Fela!
Memphis
Million Dollar Quartet
Best Book of a Musical
Everyday Rapture by Dick Scanlan and Sherie Rene Scott
Fela! by Jim Lewis & Bill T. Jones
Memphis by Joe DiPietro
Million Dollar Quartet by Colin Escott and Floyd Mutrux
Best Original Score (Music and/or Lyrics) Written for the Theatre
The Addams Family Music & Lyrics: Andrew Lippa
Enron Music: Adam Cork Lyrics: Lucy Prebble
Fences Music: Branford Marsalis
Memphis Music: David Bryan Lyrics: Joe DiPietro, David Bryan
Best Revival of a Play
Fences
Lend Me a Tenor
The Royal Family
A View from the Bridge
Best Revival of a Musical
Finian's Rainbow
La Cage aux Folles
A Little Night Music
Ragtime
Best Performance by a Leading Actor in a Play
Jude Law, Hamlet
Alfred Molina, Red
Liev Schreiber, A View from the Bridge
Christopher Walken, A Behanding in Spokane
Denzel Washington, Fences
Best Performance by a Leading Actress in a Play
Viola Davis, Fences
Valerie Harper, Looped
Linda Lavin, Collected Stories
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family
Best Performance by a Leading Actor in a Musical
Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Chad Kimball, Memphis
Sahr Ngaujah, Fela!
Best Performance by a Leading Actress in a Musical
Kate Baldwin, Finian's Rainbow
Montego Glover, Memphis
Christiane Noll, Ragtime
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music
Best Performance by a Featured Actor in a Play
David Alan Grier, Race
Stephen McKinley Henderson, Fences
Jon Michael Hill, Superior Donuts
Stephen Kunken, Enron
Eddie Redmayne, Red
Best Performance by a Featured Actress in a Play
Maria Dizzia, In the Next Room or the Vibrator Play
Rosemary Harris, The Royal Family
Jessica Hecht, A View from the Bridge
Scarlett Johansson, A View from the Bridge
Jan Maxwell, Lend Me a Tenor
Best Performance by a Featured Actor in a Musical
Kevin Chamberlin, The Addams Family
Robin De Jesús, La Cage aux Folles
Christopher Fitzgerald, Finian's Rainbow
Levi Kreis, Million Dollar Quartet
Bobby Steggert, Ragtime
Best Performance by a Featured Actress in a Musical
Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!
Best Scenic Design of a Play
John Lee Beatty, The Royal Family
Alexander Dodge, Present Laughter
Santo Loquasto, Fences
Christopher Oram, Red
Best Scenic Design of a Musical
Marina Draghici, Fela!
Christine Jones, American Idiot
Derek McLane, Ragtime
Tim Shortall, La Cage aux Folles
Best Costume Design of a Play
Martin Pakledinaz, Lend Me a Tenor
Constanza Romero, Fences
David Zinn, In the Next Room or the Vibrator Play
Catherine Zuber, The Royal Family
Best Costume Design of a Musical
Marina Draghici, Fela!
Santo Loquasto, Ragtime
Paul Tazewell, Memphis
Matthew Wright, La Cage aux Folles
Best Lighting Design of a Play
Neil Austin, Hamlet
Neil Austin, Red
Mark Henderson, Enron
Brian MacDevitt, Fences
Best Lighting Design of a Musical
Kevin Adams, American Idiot
Donald Holder, Ragtime
Nick Richings, La Cage aux Folles
Robert Wierzel, Fela!
Best Sound Design of a Play
Acme Sound Partners, Fences
Adam Cork, Enron
Adam Cork, Red
Scott Lehrer, A View from the Bridge
Best Sound Design of a Musical
Jonathan Deans, La Cage aux Folles
Robert Kaplowitz, Fela!
Dan Moses Schreier and Gareth Owen, A Little Night Music
Dan Moses Schreier, Sondheim on Sondheim
Best Direction of a Play
Michael Grandage, Red
Sheryl Kaller, Next Fall
Kenny Leon, Fences
Gregory Mosher, A View from the Bridge
Best Direction of a Musical
Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Terry Johnson, La Cage aux Folles
Bill T. Jones, Fela!
Best Choreography
Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away
Best Orchestrations
Jason Carr, La Cage aux Folles
Aaron Johnson, Fela!
Jonathan Tunick, Promises, Promises
Daryl Waters & David Bryan, Memphis
* * *
Special Tony Award for Lifetime Achievement in the Theatre
Alan Ayckbourn
Marian Seldes
Regional Theatre Tony Award
The Eugene O’Neill Theater Center, Waterford, Connecticut
Isabelle Stevenson Award
David Hyde Pierce
Tony Honor for Excellence in the Theatre
Alliance of Resident Theatres/New York
B.H. Barry
Tom Viola
Happy Birthday: Audrey Hepburn (1929-1993)
Presented by The Broadway League and the American Theatre Wing
Best Play
In the Next Room or the Vibrator Play by Sarah Ruhl
Next Fall by Geoffrey Nauffts
Red John Logan
Time Stands Still Donald Margulies
Best Musical
American Idiot
Fela!
Memphis
Million Dollar Quartet
Best Book of a Musical
Everyday Rapture by Dick Scanlan and Sherie Rene Scott
Fela! by Jim Lewis & Bill T. Jones
Memphis by Joe DiPietro
Million Dollar Quartet by Colin Escott and Floyd Mutrux
Best Original Score (Music and/or Lyrics) Written for the Theatre
The Addams Family Music & Lyrics: Andrew Lippa
Enron Music: Adam Cork Lyrics: Lucy Prebble
Fences Music: Branford Marsalis
Memphis Music: David Bryan Lyrics: Joe DiPietro, David Bryan
Best Revival of a Play
Fences
Lend Me a Tenor
The Royal Family
A View from the Bridge
Best Revival of a Musical
Finian's Rainbow
La Cage aux Folles
A Little Night Music
Ragtime
Best Performance by a Leading Actor in a Play
Jude Law, Hamlet
Alfred Molina, Red
Liev Schreiber, A View from the Bridge
Christopher Walken, A Behanding in Spokane
Denzel Washington, Fences
Best Performance by a Leading Actress in a Play
Viola Davis, Fences
Valerie Harper, Looped
Linda Lavin, Collected Stories
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family
Best Performance by a Leading Actor in a Musical
Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Chad Kimball, Memphis
Sahr Ngaujah, Fela!
Best Performance by a Leading Actress in a Musical
Kate Baldwin, Finian's Rainbow
Montego Glover, Memphis
Christiane Noll, Ragtime
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music
Best Performance by a Featured Actor in a Play
David Alan Grier, Race
Stephen McKinley Henderson, Fences
Jon Michael Hill, Superior Donuts
Stephen Kunken, Enron
Eddie Redmayne, Red
Best Performance by a Featured Actress in a Play
Maria Dizzia, In the Next Room or the Vibrator Play
Rosemary Harris, The Royal Family
Jessica Hecht, A View from the Bridge
Scarlett Johansson, A View from the Bridge
Jan Maxwell, Lend Me a Tenor
Best Performance by a Featured Actor in a Musical
Kevin Chamberlin, The Addams Family
Robin De Jesús, La Cage aux Folles
Christopher Fitzgerald, Finian's Rainbow
Levi Kreis, Million Dollar Quartet
Bobby Steggert, Ragtime
Best Performance by a Featured Actress in a Musical
Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!
Best Scenic Design of a Play
John Lee Beatty, The Royal Family
Alexander Dodge, Present Laughter
Santo Loquasto, Fences
Christopher Oram, Red
Best Scenic Design of a Musical
Marina Draghici, Fela!
Christine Jones, American Idiot
Derek McLane, Ragtime
Tim Shortall, La Cage aux Folles
Best Costume Design of a Play
Martin Pakledinaz, Lend Me a Tenor
Constanza Romero, Fences
David Zinn, In the Next Room or the Vibrator Play
Catherine Zuber, The Royal Family
Best Costume Design of a Musical
Marina Draghici, Fela!
Santo Loquasto, Ragtime
Paul Tazewell, Memphis
Matthew Wright, La Cage aux Folles
Best Lighting Design of a Play
Neil Austin, Hamlet
Neil Austin, Red
Mark Henderson, Enron
Brian MacDevitt, Fences
Best Lighting Design of a Musical
Kevin Adams, American Idiot
Donald Holder, Ragtime
Nick Richings, La Cage aux Folles
Robert Wierzel, Fela!
Best Sound Design of a Play
Acme Sound Partners, Fences
Adam Cork, Enron
Adam Cork, Red
Scott Lehrer, A View from the Bridge
Best Sound Design of a Musical
Jonathan Deans, La Cage aux Folles
Robert Kaplowitz, Fela!
Dan Moses Schreier and Gareth Owen, A Little Night Music
Dan Moses Schreier, Sondheim on Sondheim
Best Direction of a Play
Michael Grandage, Red
Sheryl Kaller, Next Fall
Kenny Leon, Fences
Gregory Mosher, A View from the Bridge
Best Direction of a Musical
Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Terry Johnson, La Cage aux Folles
Bill T. Jones, Fela!
Best Choreography
Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away
Best Orchestrations
Jason Carr, La Cage aux Folles
Aaron Johnson, Fela!
Jonathan Tunick, Promises, Promises
Daryl Waters & David Bryan, Memphis
* * *
Special Tony Award for Lifetime Achievement in the Theatre
Alan Ayckbourn
Marian Seldes
Regional Theatre Tony Award
The Eugene O’Neill Theater Center, Waterford, Connecticut
Isabelle Stevenson Award
David Hyde Pierce
Tony Honor for Excellence in the Theatre
Alliance of Resident Theatres/New York
B.H. Barry
Tom Viola
Happy Birthday: Audrey Hepburn (1929-1993)
Monday, May 3, 2010
In Memorandum: Lynn Redgrave
Actress Lynn Redgrave died in her home last night.
Obituaries:
Playbill
Yahoo
Chicago Tribune
Associated Press
Obituaries:
Playbill
Yahoo
Chicago Tribune
Associated Press
Reflection on "A Day in the Life of Junebug Jenkins"
Commentary by guest writer Dave Murray
“A Day in the Life of Junebug Jenkins” won’t be showing off-Broadway anytime soon. You won’t see it anywhere unless you are serving time at Kinross Correctional Facility in Kincheloe, Michigan.
“Don’t critique us too hard,” said one of the men in the play. “If we were better actors, we wouldn’t be here.”
The costumes were pretty much the same for all the actors, all males of course. One actor, the lead, was allowed a little change of costume; he took his blue shirt with orange stripes on the shoulders and ubiquitous stenciled number on back off. Of course, the audience was dressed the same as well. Probably something to do with wanting to relate to the celebrities on stage. The more affluent hoi polloi were not in attendance this opening night.
The stage within the gray cinder-blocked auditorium was non-descript, purposely. Prison is like that. Not only the things and buildings but the general population is also non-descript. Uniformity, conformity is the norm. Obviously, prison does not reflect the real world. Is it ironic that uniformity and conformity is imprisoning? A means of punishment? The only differences are in the stenciling where the numbers are arranged differently for each person. Props were identified by hand-written sheets of paper attached: Hot Water, Inmate Toilet, Sink.
“A Day in the Life of Junebug Jenkins,” written by Troy Chapman, serving a 60 to 80 year sentence for second degree manslaughter, is in part a morality play (although Troy himself might object to that designation), and part promotion for the group called The Ethics Project, which Chapman started in 2006. The story reveals an individual’s plight of making a choice amidst a series of unconnected irritating events: am I a victim or can I choose to be someone, i.e. myself? The lead character, Junebug Jenkins, awakes one morning, wearing a sign that says “Victim,” and encounters a number of seemingly unrelated frustrations: someone jumps into the shower before he does, someone rips off his shower gear, the hot water for coffee is used up, the sink is dirty. When he’s at his wits end, he becomes conscious of the movie crew around. When he asks who they are, the director orders the stage crew to take a break and then sits down with Junebug to explain what is happening.
“Everything that happened is a response to the role you chose for yourself this morning,” the director said. “Your first thought was ‘Another day in this stink hole,’ and so we gave you a dirty sink. And then, ‘I hate this place. I have to get ahead of these scumbags,’ and someone else beat you to the shower.
“You are free to choose the role you want.”
Then, the movie crew placed several paper bags in front of Junebug with various labels: loser, winner, creator, peace-maker, convict, etc.
Junebug thinks for a moment. “If I choose to be a free man can I walk out of prison?”
“Not so fast Einstein,” the director replies. “Getting out of prison does not make you a free man. Freedom comes from within, from letting go of your addictions, your attitudes. You have to choose.”
Junebug now faces a dilemma. He’s been playing the role of a victim so long, he doesn’t know anything else. “Can you help me with this?”
A group of consultants are called in. They explore some options. Junebug is given another opportunity. He can go back to bed and reawake to his new choices.
Junebug does just that. When he reappears on stage he is still wearing his victim sign. “I’ve been miserable so long; it goes against everything I believe in to change.”
Story ends.
Following the production, a panel of men involved in the Ethics Project sit on stage to discuss with the audience the ideas and plot of the play. Grant Glover, a lifer, is the moderator and opens the discussion with, “Why ethics? Ask yourself: do you deserve better treatment at your own hands? We decide our own fate. Are you ready for a change? It’s free.”
The Q & A goes on for about 45 minutes. References are made about other prisoners who changed the world around them by their choices, men like Nelson Mandela or Adolph Hitler.
“Ethics is about doing what increases wholeness in yourself and in the world,” Glover said. “This isn’t about an easy life, but a meaningful life.”
The Ethics Project meets each week to discuss wholeness; right relationships; about relationships with one’s self, nature, others, and the Transcendent; about making choices in daily living; about cultivating reverence, good will and justice; it talks about simple things like saying thank you to others, listening to others, picking up trash, keeping units clean, providing services to others or sharing your skills with others to help them grow. While the Ethic Project is basically a 12-week program, it is an ongoing conversation as the men involved are urged to talk with the fellow prisoners in the yard and at the dinner tables.
But it is not proselytizing or evangelizing. Rather, the chief goal is to encourage and enable each man to make their own choice, to choose from their perspective a holistic path, that each man must come to their own conclusion and cannot be coerced into freedom.
The project has been recognized by the Michigan Department of Corrections as an approved project for use in the prisons. The project is also seeking funding to train men in conflict resolution and community mediation skills.
You can read more of Troy Chapman’s writing and thoughts at www.sacredmatters.blogspot.com.
“A Day in the Life of Junebug Jenkins” won’t be showing off-Broadway anytime soon. You won’t see it anywhere unless you are serving time at Kinross Correctional Facility in Kincheloe, Michigan.
“Don’t critique us too hard,” said one of the men in the play. “If we were better actors, we wouldn’t be here.”
The costumes were pretty much the same for all the actors, all males of course. One actor, the lead, was allowed a little change of costume; he took his blue shirt with orange stripes on the shoulders and ubiquitous stenciled number on back off. Of course, the audience was dressed the same as well. Probably something to do with wanting to relate to the celebrities on stage. The more affluent hoi polloi were not in attendance this opening night.
The stage within the gray cinder-blocked auditorium was non-descript, purposely. Prison is like that. Not only the things and buildings but the general population is also non-descript. Uniformity, conformity is the norm. Obviously, prison does not reflect the real world. Is it ironic that uniformity and conformity is imprisoning? A means of punishment? The only differences are in the stenciling where the numbers are arranged differently for each person. Props were identified by hand-written sheets of paper attached: Hot Water, Inmate Toilet, Sink.
“A Day in the Life of Junebug Jenkins,” written by Troy Chapman, serving a 60 to 80 year sentence for second degree manslaughter, is in part a morality play (although Troy himself might object to that designation), and part promotion for the group called The Ethics Project, which Chapman started in 2006. The story reveals an individual’s plight of making a choice amidst a series of unconnected irritating events: am I a victim or can I choose to be someone, i.e. myself? The lead character, Junebug Jenkins, awakes one morning, wearing a sign that says “Victim,” and encounters a number of seemingly unrelated frustrations: someone jumps into the shower before he does, someone rips off his shower gear, the hot water for coffee is used up, the sink is dirty. When he’s at his wits end, he becomes conscious of the movie crew around. When he asks who they are, the director orders the stage crew to take a break and then sits down with Junebug to explain what is happening.
“Everything that happened is a response to the role you chose for yourself this morning,” the director said. “Your first thought was ‘Another day in this stink hole,’ and so we gave you a dirty sink. And then, ‘I hate this place. I have to get ahead of these scumbags,’ and someone else beat you to the shower.
“You are free to choose the role you want.”
Then, the movie crew placed several paper bags in front of Junebug with various labels: loser, winner, creator, peace-maker, convict, etc.
Junebug thinks for a moment. “If I choose to be a free man can I walk out of prison?”
“Not so fast Einstein,” the director replies. “Getting out of prison does not make you a free man. Freedom comes from within, from letting go of your addictions, your attitudes. You have to choose.”
Junebug now faces a dilemma. He’s been playing the role of a victim so long, he doesn’t know anything else. “Can you help me with this?”
A group of consultants are called in. They explore some options. Junebug is given another opportunity. He can go back to bed and reawake to his new choices.
Junebug does just that. When he reappears on stage he is still wearing his victim sign. “I’ve been miserable so long; it goes against everything I believe in to change.”
Story ends.
Following the production, a panel of men involved in the Ethics Project sit on stage to discuss with the audience the ideas and plot of the play. Grant Glover, a lifer, is the moderator and opens the discussion with, “Why ethics? Ask yourself: do you deserve better treatment at your own hands? We decide our own fate. Are you ready for a change? It’s free.”
The Q & A goes on for about 45 minutes. References are made about other prisoners who changed the world around them by their choices, men like Nelson Mandela or Adolph Hitler.
“Ethics is about doing what increases wholeness in yourself and in the world,” Glover said. “This isn’t about an easy life, but a meaningful life.”
The Ethics Project meets each week to discuss wholeness; right relationships; about relationships with one’s self, nature, others, and the Transcendent; about making choices in daily living; about cultivating reverence, good will and justice; it talks about simple things like saying thank you to others, listening to others, picking up trash, keeping units clean, providing services to others or sharing your skills with others to help them grow. While the Ethic Project is basically a 12-week program, it is an ongoing conversation as the men involved are urged to talk with the fellow prisoners in the yard and at the dinner tables.
But it is not proselytizing or evangelizing. Rather, the chief goal is to encourage and enable each man to make their own choice, to choose from their perspective a holistic path, that each man must come to their own conclusion and cannot be coerced into freedom.
The project has been recognized by the Michigan Department of Corrections as an approved project for use in the prisons. The project is also seeking funding to train men in conflict resolution and community mediation skills.
You can read more of Troy Chapman’s writing and thoughts at www.sacredmatters.blogspot.com.
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