Saturday, August 28, 2021

REVIEW: Chicago's Blue Man Group Resumes Live Shows

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Family Friendly Fun


Photo by D. Kenaz-Mara

Back In Blue: 

Chicago's Favorite Indigo Entertainers 

Return to Open Run at 

Briar Street Theatre


**Show is suitable for all ages and guests 3 years old and up are welcome. All guests require their own ticket, regardless of age or lap seating. The show is 90 minutes with no intermission. ChiIL Tip: the drumming and music does get loud for little ears, so we recommend bringing hearing protection for kids.**



GUEST REVIEW:

By Dugan Kenaz-Mara

The Blue Man Group is back and it’s as wonderful as ever! After 15 or so months off from performing, The Blue Man Group has brought all of their loveable antics back to Briar Street Theater and has reignited the joy of seeing live theater. And they do it all safely too! Everyone was required to wear a mask and any audience member drawn onto the stage was given a face shield before interacting with the Blue Men. 

Photo by D. Kenaz-Mara

Before the show even starts you get a fun experience! From the moment you enter the lobby, you might notice classical paintings lining the walls with a little extra blue thrown in. From there you’ll pass a giant blue face perfect for photo ops, before entering the actual theater bathed in blue light. Then the pre-show looping text helps set the chaotic funny mood for the upcoming show. How many twinkies does a Blue Man eat in his life? What bout the amount of toilet paper used in a day in the US? These questions and more are answered (sarcastically) before the show even starts. 

Photo by D. Kenaz-Mara

When the show begins, the audience is bombarded with spectacle after spectacle. From paint drums to musical pipes to Cap'n Crunch, there’s never a dull moment. I especially loved the design elements that went into making the show. The lighting design brought tons of colors to the black stage and out into the audience, the instruments and props were all super creative takes on normal items, and the set was able to change in an instant using their multitude of screens. In addition to that, all of the actors were fabulous too. The Blue Men were able to effortlessly connect to the audience without using words. From subtle gestures to knowingly blank stares, the Blue Men really tapped into human emotion which the viewers were able to recognize easily. They even brought that energy into their props, breathing life into instrumental pipes and controlling people using their signal light wands. 

One of their specialties is keeping the audience on the edge of their seats. When watching the show you never know when you specifically might be singled out. The pre-show announcements called out specific audience members, and the show stopped to call attention to people arriving late. There were also many points in the show where the Blue Men would venture out into the audience (sometimes via the aisles and sometimes climbing right over people’s heads) to pick an audience member to go on stage and help in the performance. But if you don’t get singled out you’ll still have the chance to participate. There are many moments scattered throughout the show where audience members will get to stand up, dance, scream out, and catch things thrown from the stage.

Photo by D. Kenaz-Mara


In the end, watching Blue Man Group was an exhilarating show and I would recommend it to anyone who loves to have fun and wants to have the experience of a lifetime. 

Dugan Kenaz-Mara is an actor, designer, and photographer studying theatre and psychology at Northwestern University. Contrary to popular belief, he is not a time traveler.



Blue Man Group Chicago. Photo credit Caroline Talbot Photography


Theatrical phenomenon Blue Man Group has made its long-awaited return to Chicago’s Briar Street Theatre! A dynamic combination of art, music, comedy and technology, Blue Man Group encourages audiences to reconnect with their inner (and outer) child in order to see the world through a new perspective.  

“For more than 20 years, Blue Man Group has established itself as one of the top entertainment destinations in Chicago,” said Mary Grisolano, Managing Director of Blue Man Group. “We are absolutely thrilled to return to the stage and welcome new and returning audiences to the Briar Street Theatre.”  

Blue Man Group originally debuted at the Briar Street Theatre in Chicago’s Lakeview neighborhood in 1997. Three bald and blue men explore today’s cultural norms with wonder, poking fun at the audience’s collective quirks and reminding them how much they all have in common. The show is continually refreshed with new music, stories, custom instruments and state-of-the-art technology.   

Blue Man Group Ticket Information

Blue Man Group Chicago ticket prices range from $49 – $89. Tickets can be purchased by visiting www.blueman.com. A full show schedule and pricing can also be found at www.blueman.com.  

Special rates are available for groups of 10 or more, varying from $57 – $70 per person. For groups of 10 or more, email chicagogroups@blueman.com to request information.  


2021 Performance Schedule: 

August  

Saturday, August 28 at 5 and 8 p.m. 

Sunday, August 29 at 2 and 5 p.m.  


September 

Wednesday, September 1 at 8 p.m. 

Thursday, September 2 at 8 p.m. 

Friday, September 3 at 5 and 8 p.m. 

Saturday, September 4 at 5 and 8 p.m. 

Sunday, September 5 at 5 and 8 p.m. 

Wednesday, September 8 at 8 p.m. 

Thursday, September 9 at 8 p.m. 

Friday, September 10 at 8 p.m. 

Saturday, September 11 at 5 and 8 p.m. 

Sunday, September 12 at 2 p.m. 

Wednesday, September 15 at 8 p.m. 

Thursday, September 16 at 8 p.m. 

Friday, September 17 at 8 p.m. 

Saturday, September 18 at 5 and 8 p.m. 

Sunday, September 19 at 2 p.m. 

Wednesday, September 22 at 8 p.m. 

Thursday, September 23 at 8 p.m. 

Friday, September 24 at 8 p.m. 

Saturday, September 25 at 5 and 8 p.m. 

Sunday, September 26 at 2 p.m. 

Wednesday, September 29 at 8 p.m. 

Thursday, September 30 at 8 p.m. 

  

October 

Friday, October 1 at 8 p.m. 

Saturday, October 2 at 5 and 8 p.m. 

Sunday, October 3 at 2 p.m. 

Additional fall and holiday performances will be announced at a later date. 

  

About Blue Man Group 

Blue Man Group is a global entertainment phenomenon, known for its award-winning theatrical productions, iconic characters and multiple creative explorations. Blue Man Group performances are euphoric celebrations of human connection through art, music, comedy and non-verbal communication. Since debuting at New York’s Astor Place Theatre in 1991, the live show has expanded to additional domestic residencies in Boston, Chicago, and Las Vegas, an international residency in Berlin, and multiple North American and World tours, reaching more than 35 million people worldwide. Blue Man Group is universally appealing to a broad range of age groups and cultural backgrounds, and continually injected with new music, fresh stories, custom instruments and sensory stimulating graphics. Blue Man Group is owned and operated by Cirque du Soleil Entertainment Group. For more information, please visit www.blueman.com.  

Monday, August 9, 2021

The Chicago Dogs To Play Negro Leagues Tribute Game Saturday, Aug. 14, 2021

 

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A fun and educational event idea for families next weekend: The Chicago Dogs Negro League Tribute game against the KC Monarchs.



The Chicago Dogs host a Negro Leagues Tribute game against the Kansas City Monarchs beginning at 7:05 p.m., Saturday, Aug. 14. 

Get on out to the ballgame and experience a bit of history with The Chicago Dogs This Saturday, The Chicago Dogs will don special jerseys as “The Grays.” The jerseys will be auctioned during the game via a silent auction with proceeds to benefit the Negro Leagues Baseball Museum. 

The evening will feature special video clips and Negro League trivia between innings and a celebratory fireworks post-game. The Friends and Family 4-Pack deal applies to this game. Starting at $48, Friends and Family 4-Pack  includes: 4 tickets, 4 commemorative hats and one $20 gift certificate to Murray Brothers Caddyshack. Additional tickets can be added at the single game price (single game ticket prices are as low as $9).Tickets and more information are available by calling 847-636-5450 or visiting https://thechicagodogs.com/.

The Kansas City Monarchs, formerly known as the Kansas City T-Bones, have played their home games at Legends Field (formerly CommunityAmerica Ballpark) since 2003, when the team began as a member of the Northern League. In 2011, the team joined the American Association of Professional Baseball and in 2018 won their first-ever American Association championship. This past January the team announced a partnership with the Negro Leagues Baseball Museum and a rebranding to the Kansas City Monarchs, a founding team of the Negro Leagues. The Kansas City Monarchs were the most prominent baseball team to play in the Negro Leagues. Formed in 1920, they were also the longest-running team in the Leagues, disbanding in 1965. Famous players on the Monarchs roster included hall of fame pitcher Satchel Paige and Jackie Robinson, recognized for breaking the color barrier in major league baseball. The Kansas City Monarchs won several championships, including the first Negro League World Series in 1924.




The Chicago Dogs are members of the American Association of Independent Professional Baseball. Named after Chicago's favorite and oldest culinary tradition, the Chicago Dogs' logo features the colors and stars of the iconic Chicago flag. Home games are played at the state-of-the-art Impact Field located at 9850 Balmoral Avenue in Rosemont, Ill. The team is managed by former Boston Red Sox Manager, Butch Hobson, who brings more than 30 years of experience to Rosemont. Chicago Dogs games welcome fans of all ages for a one-of-a-kind experience where every day is fan appreciation day.

Tuesday, August 3, 2021

FREE Theatre in Chicago: Sones de México Ensemble's Zulema Through August 21, 2021

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Exhilarating regional music and dance from the Grammy-nominated Sones de México Ensemble make a joyous event for the whole family. 


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On a spectacular musical journey of many thousands of miles—from her Chiapas home in Mexico to Chicago—young Zulema zig-zags through the culturally diverse landscapes of her homeland and our fair city along the way. 

GRAMMY-NOMINATED SONES DE MÉXICO ENSEMBLE'S ZULEMA SET TO APPEAR IN 10 CHICAGO PARKS IN A THREE-WEEK ENGAGEMENT—AUGUST 5-21—WITH A FINALE PERFORMANCE ON SEPTEMBER 2

**AWARD-WINNING COMPOSER VICTOR PICHARDO MUSIC DIRECTS THE FAMILY-FRIENDLY PREMIERE, WRITTEN BY DOLORES DÍAZ AND CO-DIRECTED BY HENRY GODINEZ AND MARCELA MUÑOZ**

***A COLLABORATION OF GOODMAN THEATRE IN PARTNERSHIP WITH CHICAGO PARK DISTRICT'S NIGHT OUT IN THE PARKS; CHICAGO DEPARTMENT OF CULTURAL AFFAIRS AND SPECIAL EVENTS (DCASE); THE CHICAGO LATINO THEATER ALLIANCE (CLATA); AND THE NATIONAL MUSEUM OF MEXICAN ART***


PERFORMANCE INFORMATION

August 5 at 6:30pm – Calumet Park (Calumet) 9801 S. Calumet Avenue 
August 6 at 6:30pm – Riis Park (Belmont-Cragin) 6100 W. Fullerton Avenue 
August 7 at 3pm – Portage Park (Portage Park) 4100 N. Long Avenue
August 12 at 6:30pm – Hale Park (Clearing West) 6258 W. 62nd Street
August 13 at 6:30pm – Hermosa Park (Hermosa) 2240 N. Kilbourn Avenue 
August 14 at 3pm – Dvorak Park (Pilsen) 1119 W. Cullerton Street
August 15 at 3pm – Harrison Park TBC (Pilsen) 1824 S. Wood Street) 
August 19 at 6:30pm – Davis Square Park (Back of the Yards) 4430 S. Marshfield Avenue 
August 20 at 6:30pm – La Villita Park (Little Village) 2800 S. Sacramento Boulevard
August 21 at 3pm – Marquette Park (Chicago Lawn) 6721-6757 S. Kedzie Avenue

RAIN DATES
If a performance is cancelled due to inclement weather, it will be rescheduled as follows: August 8 at 3pm (Calumet Park, Riis Park or Portage Park); August 22 at 3pm (Harrison Park, Davis Square Park, La Villita Park and Marquette Park).


Goodman Theatre returns to Chicago Parks this summer with Zulema—Sones de México Ensemble’s electrifying new work with Music Director Victor Pichardo (the Goodman’s Pedro Páramo and upcoming American Mariachi) written by Dolores Díaz and co-directed by Goodman Resident Artistic Associate Henry Godinez and Marcela Muñoz, Aguijon Theater Co-Artistic Director. Produced in partnership with Chicago Park District’s Night Out in The Parks, the Department of Cultural Affairs and Special Events (DCASE), Chicago Latino Theater Alliance (CLATA) and the National Museum of Mexican Art, this FREE three-week engagement spans 10 park locations citywide. In addition, a special finale performance featuring a spectacular cast of 70+ artists will conclude the run. Zulema appears August 5 – 21 at various Chicago park locations (see below); admission is FREE, running time is one (1) hour, no intermission. Visit GoodmanTheatre.org/Zulema for additional information and to register for a performance. The finale performance is slated for September 2 (location and details TBA). For updates on health and safety guidelines, visit NightOutInTheParks.com. Goodman Theatre is grateful for the support of PwC, LLP, Corporate Sponsor Partner.

“Not only is it thrilling to welcome the Goodman Theatre back into Chicago’s parks this summer, but to also premiere Zulema—an exciting new concert event for the whole family which features our city’s famed Sones de México Ensemble,” said Chicago Mayor Lori E. Lightfoot. “Music has the power to build bridges between cultures and generations. As we spotlight this important artform in our Year of Chicago Music, Zulema and the other extraordinary artworks we have in store will help us build stronger relations with one another.”

“It is so exciting for us to work in partnership with these great Chicago arts institutions to bring this new musical production to the stage,” said Juan Dies, co-founder of Sones de México Ensemble. “Zulema emerged from an idea by Zacbe Pichardo, one of our musicians, on the occasion of our 25th Anniversary. A team of talented creatives helped us bring this concept to the stage. The story represents a common 21st Century human drama translated into a multi-cultural musical journey, rooted in Mexican music.”

Added playwright Dolores Díaz, “I’m honored to collaborate on a narrative that honors Sones de México Ensemble’s indigenous roots, demonstrates the variety found within and outside the Latinx community, and considers the permeability of human-made borders. Their music celebrates positive cultural exchange and invites people to come together in mutual appreciation. I’m happy to help share this story.”

Co-Director Henry Godinez, who returns to the Chicago Parks following last fall’s acclaimed production of Fannie Lou Hamer, Speak On It! by Cheryl L. West said, ”It’s always an honor to work with my old friends in Sones de México, with whom we’ve collaborated at Goodman on Pedro Páramo and will again on American Mariachi. And it’s especially meaningful to be combining forces with playwright Dolores Díaz—my former student from Northwestern’s Writing for the Stage and Screen MFA program—and the amazing Marcela Muñoz of Aguijón Theater Company, on this magical and moving story of a young girl’s courageous journey to her new home in Chicago. It’s in celebration of the 25th anniversary of Sones de México’s own journey—from their musical roots in México to our great city of Chicago.”

“Partnering in this endeavor is an honor. We are excited to be part of this musical, theatrical journey that celebrates the diversity of sound within our cultures, which transcends all borders,” said Myrna Salazar, CLATA Co-Founder and Executive Director. 

"This artistic collaboration will beautifully celebrate musical traditions of Mexico and the U.S. and allows people to celebrate together again—which is something we all so desperately need,” said Carlos Tortolero, Founder and President of the National Museum of Mexican Art.


Sones de México’s Zulema is presented as part of the Chicago Park District’s Night Out in the Parks series, supported by the Mayor’s Office and Chicago Department of Cultural Affairs and Special Events. Now in its 9th year, the 2021 Night Out in the Parks program presents cultural events year-round in neighborhood parks throughout the city. The Chicago Park District in partnership with over 100 local artists and organizations, present engaging events and performances that enhance quality of life across Chicago and amplify the artistic and cultural vibrancy in every neighborhood. Through multiple disciplines, which include theater, music, movies, dance, site-specific work, nature programs, and community festivals, the series aims to support Chicago-based artists, facilitate community-based partnerships and programs, cultivate civic engagement, and ensure equity in access to the arts for all Chicagoans. To further extend the reach of these cultural, arts and nature experiences, the Chicago Park District has mounted a virtual platform to spotlight the diversity of Chicago’s artistic offerings and provide equitable access to some of these performances for all Chicagoans and visitors alike.

ABOUT THE ARTISTS AND PRODUCING PARTNERS

Sones de México Ensemble is Chicago’s premier folk music organization specializing in Mexican ‘son,’ a genre encompassing the roots of mariachi music and other regional styles, including huapango, gustos, chilenas, son jarocho, and more. The ensemble was formed in Chicago's Pilsen neighborhood in 1994 by four talented musicians and educators including Victor Pichardo (music director) and Juan Dies (producer). They soon incorporated as a not-for-profit organization to keep the tradition of Mexican ‘son’ alive in its many regional forms. The group has performed thousands of concerts, released six CDs, concert films and multimedia presentations, and founded a Mexican Music School in Chicago in 2015. The organization is a 501(c)(3) not-for-profit organization with a mission to promote greater appreciation of Mexican folk and traditional music and culture through innovative performance, education, and dissemination. For more information, visit sonesdemexico.com.

Music Director Victor Pichardo, Sones de México Ensemble co-founder, award-winning composer and educator, was born in Mexico City and has been a bandleader for almost 40 years. His training in Mexican folk music has spanned most of his life. He learned firsthand, orally from master artists in Mexico’s various musical regions. In 2005, he earned a degree in music composition from Columbia College Chicago, which he has used to integrate folk idioms in orchestral music. He has collaborated as music advisor and director with Goodman Theatre in the stage productions of Pedro Páramo and the upcoming American Mariachi.

Playwright Dolores Díaz is a Chicana playwright from the border city of Laredo, Texas. She is currently in residence with TimeLine Theatre, developing work with Broken Nose Theatre, and teaching Chicago Public School students via the National High School Institute at Northwestern. Most recently, she served as a guest artist with Mosaic Theater in Washington, DC and as playwright for Shattered Globe Theater’s Protégé Program. In the fall and spring she will teach at Columbia College and Texas Tech University, respectively. Díaz is a graduate of Northwestern’s MFA Program for the Screen and Stage and serves as Dramatists Guild Co-Representative for the Chicago Region.Chicago’s theater since 1925, Goodman Theatre is a not-for-profit arts and community organization in the heart of the Loop, distinguished by the excellence and scope of its artistic programming and community engagement.

Co-Director Henry Godinez is the Resident Artistic Associate at Goodman Theatre. His Goodman directing credits include Fannie Lou Hamer, Speak On It! by Cheryl L. West, Charise Castro Smith’s Feathers and Teeth, The Sins of Sor Juana and Mariela in the Desert by Karen Zacarías; José Rivera’s Boleros for the Disenchanted (and world premiere at Yale Repertory Theatre); Regina Taylor’s Millennium Mambo; Luis Alfaro’s Electricidad and Straight as a Line; The Cook by Eduardo Machado; Zoot Suit by Luis Valdez; the Goodman and Teatro Vista co-production of José Rivera’s Cloud Tectonics and the 1996–2001 productions of A Christmas Carol. He also served as director of the Goodman’s Latino Theatre Festival. As an actor, Godinez appeared most recently in Goodman’s The Winter’s Tale, 2666 and the Goodman and Teatro Buendía of Cuba world premiere of Pedro Páramo, and at Writers Theatre in the title role of Quixote: In the Conquest of Self. He has also appeared on television in Chicago PD, Above the Law, The Beast, The Chicago Code, Boss and Chicago Fire. Co-founder and former artistic director of Teatro Vista, Godinez is the recipient of the 1999 Theatre Communications Group Alan Schneider Director Award, the Distinguished Service Award from the Lawyers for the Creative Arts and was honored as the 2008 Latino Professional of the Year by the Chicago Latino Network. Born in Havana, Cuba, Godinez is a professor at Northwestern University and serves on the Board of Directors of the Illinois Arts Council.

Co-Director Marcela Muñoz is a director, actor, teaching artist, and theater translator. She is the Managing and Co-Artistic Director of Aguijón Theater, Chicago’s longest-running Latino theater company. Besides her long history with Aguijón Theater, her Chicago stage acting and directing credits include Teatro Luna, Teatro Vista, Victory Gardens Theatre, and Goodman Theatre. Other directing credits include Urban Theater Company, Chicago Dramatists, and the University of Illinois at Chicago. She has also been Assistant Director at Steppenwolf Theatre Company and Writers Theatre. As actor/director she has participated in international theater festivals in Peru, Argentina, and Colombia. Deeply committed to mentoring and creating opportunities for young artists, she developed and leads the Nuestra Cultura Theater Program at Aguijón Theater for After School Matters. She studied Communications at DePaul University, is a graduate of The School at Steppenwolf, and a 3Arts Award recipient.

The Chicago Park District has served Chicago residents for more than 85 years. It is a Gold Medal Award-winning organization, which recognizes excellence in park and recreation management across the nation. For more information about the Chicago Park District’s more than 8,800 acres of parkland, more than 600 parks, 26 miles of lakefront, 12 museums, two world-class conservatories, 16 historic lagoons, nearly 50 nature areas, thousands of special events, sports and entertainment programs, please visit ChicagoParkDistrict.com or contact the Chicago Park District at 312/742.PLAY or 312/747.2001 (TTY). Want to share your talent? Volunteer in the parks by calling, 312/742.PLAY. Follow us at Facebook/chicagoparkdistrict, on Instagram/chicagoparks and on Twitter @chicagoparks.

The Department of Cultural Affairs and Special Events (DCASE) is dedicated to enriching Chicago’s artistic vitality and cultural vibrancy. This includes fostering the development of Chicago’s non-profit arts sector, independent working artists and for-profit arts businesses; providing a framework to guide the City’s future cultural and economic growth, via the Chicago Cultural Plan; marketing the City’s cultural assets to a worldwide audience; and presenting high-quality, free and affordable cultural programs for residents and visitors. For more information, visit Chicago.gov/DCASE.

Since 2016, the Chicago Latino Theater Alliance (CLATA) is committed to showcasing thought provoking works of Latino theater artists, inspiring cross-cultural exchanges, with national/international counterparts. CLATA produces the renowned Destinos: Chicago International Latino Theater Festival, Destinos al Aire, and other programs that preserve cultural heritage and solidify Latino arts and culture in Chicago for generations to come. Follow on Facebook, Instagram, and Twitter at the handle @LATINOTHEATER. More Info: Clata.org

Located in Chicago’s Pilsen neighborhood, the National Museum of Mexican Art is one of the most prominent Latino cultural organizations in the country and the only nationally accredited museum dedicated to Mexican art and culture. In 2020, the Museum earned the honor of being named one of America’s Cultural Treasures by the Ford Foundation. The National Museum of Mexican Art strengthens artistic and cultural diversity in Chicago while illuminating the rich art and history of Mexico. Its Permanent Collection consists of more than 11,000 pieces dating from 200 BCE to the present day. The Museum has presented over 150 exhibitions, provides arts education to 52,000 students each year, and serves over 187,000 annual visitors from 60 countries. Admission is always free. Visit NationalMuseumofMexicanArt.org.

Chicago’s theater since 1925, Goodman Theatre is a not-for-profit arts and community organization in the heart of the Loop, distinguished by the excellence and scope of its artistic programming and community engagement. Led by Artistic Director Robert Falls and Executive Director Roche Schulfer, the theater’s artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics. Artists and productions have earned two Pulitzer Prizes, 22 Tony Awards and more than 160 Jeff Awards, among other accolades. The Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle.” Its longtime annual holiday tradition A Christmas Carol, now in its fourth decade, has created a new generation of theatergoers in Chicago. The Goodman also frequently serves as a production and program partner with national and international companies and Chicago’s Off-Loop theaters.

As a cultural and community organization invested in quality, diversity and community, Goodman Theatre is committed to using the art of theater for a better Chicago. Using the tools of the theatrical profession, the Goodman’s Education and Engagement programs aim to develop generations of citizens who understand the cultures and stories of diverse voices. The Goodman’s Alice Rapoport Center for Education and Engagement is the home of these programs, which are offered free of charge for Chicago youth—85% of whom come from underserved communities—schools and life-long learners.

Goodman Theatre was founded by William O. Goodman and his family in honor of their son Kenneth, an important figure in Chicago’s cultural renaissance in the early 1900s. The Goodman family’s legacy lives on through the continued work and dedication of Kenneth’s family, including Albert Ivar Goodman, who with his late mother, Edith-Marie Appleton, contributed the necessary funds for the creation of the new Goodman center in 2000.

Today, Goodman Theatre leadership also includes the distinguished members of the Artistic Collective: Rebecca Gilman, Henry Godinez, Dael Orlandersmith, Steve Scott, Kimberly Senior, Chuck Smith, Regina Taylor, Henry Wishcamper and Mary Zimmerman. Jeff Hesse is Chairman of Goodman Theatre’s Board of Trustees, Fran Del Boca is Women’s Board President and Megan McCarthy Hayes is President of the Scenemakers Board for young professionals.


Produced in partnership with Chicago Park District’s Night Out in The Parks, the Department of Cultural Affairs and Special Events (DCASE), Chicago Latino Theater Alliance (CLATA) and the National Museum of Mexican Art, this FREE three-week engagement spans 10 park locations citywide. In addition, a special finale performance in Millennium Park, featuring a spectacular cast of 70+ artists will conclude the run.

Friday, July 16, 2021

REVIEW: Cabinet of Curiosity's Sea Change Outdoors Through July 25, 2021

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A hopeful evening of original songs, giant puppets, live music, delightful devices, and spectacle images.

*Great for ages 10 and up*




ChiIL Mama's Adventures at Sea Change

By Bonnie Kenaz-Mara 

It was my great pleasure to catch the press opening/final dress of Cabinet of Curiosity's Sea Change. It's our first in person performance after sixteen months of Chicago area theaters going dark, and what a welcome sea change it is. This production is pure magic with a soaring score, magnificent giant puppets, and kooky comic relief from an agoraphobic sailor and a recuperating sea gull. There's action, gorgeous new songs, and a timely message of change and forward motion from a time of quarantine to socializing. We love that Sea Change is predominantly written and performed by women and heralds a time when our society has the chance for a new beginning and a major shift from glorifying toxic masculinity to embracing the feminine divine. There's nothing like theatre to help us process collective trauma and forge a better way forward. 

We're so excited at the massive talent collaborating on this show, the theme, and the opportunity to finally gather in person for a production again. Most of the writers, directors, cast and crew are acclaimed regulars on the Chicago scene, and we're elated to catch long time favorites in new roles like actors as playwrights and song writers. Sea Change indeed. Don't miss this! 

ChiIL Tips: Street parking is at a premium so leave lots of lead time to circle around. There are porta potties on site, but you might want to take care of that in advance if possible too. Masks are not required for those who are vaccinated, and we felt like the outdoor local and pod seating was fairly covid safe. That said, if you're cautious, at risk or prone to anxiety we'd suggest bringing a mask and sanitizer. It's not 100% possible to social distance in an audience. 

Visually stunning, fabulously fun, in person puppetry and theatre returns with action, humor, and a timely message on bravely leaving your safe space. All Photos by Dugan Kenaz-Mara & Bonnie Kenaz-Mara for ChiILMama.com & ChiILLiveShows.com. Check it out HERE. 

We're also fascinated by the process of theatre. It's astonishing to see the world building and the melding of so many creative components that merge to make stories come to life on stage. I was thrilled to be invited to Cabinet of Curiosity's new warehouse rehearsal space to shoot sneak peek photos with my son, Dugan.

Things move fast in the land of Chicago theatre productions and what a difference one week makes! Last Thursday we got a sneak peek, behind the scenes, and at that point, Frank, the director, was asking "how long and high will the whale be so we know where to place the boxes". The mermaid needed neck reinforcement, the jellyfish were still just a concept.

During our visit, choreography was just evolving, and the cast was beginning to work with the first finished puppets. Hannah Jablonski and Brandon Boler (who's set to direct Cabinet of Curiosity's next production) were feverishly building, painting, & moving sets. And Lindsey Noel Whiting was out with a bad cough, but called in to rehearsal to answer questions and give stellar insight regardless. 

Sea Change Rehearsal/Set Building: We love to see the process that goes into building a show. All Photos by Dugan Kenaz-Mara & Bonnie Kenaz-Mara for ChiILMama.com & ChiILLiveShows.com.  If you like to see how the sausage is made, check out our rehearsal pixs HERE. 

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The night we caught the press opening, multitalented singer/actor/writer Bethany Thomas sat behind us in the audience. She's been a long time favorite of ours on stage and just released her first solo album that we've been thoroughly enjoying. Check it out https://bethanythomas.bandcamp.com

Follow Cabinet of Curiosity to see what's next, and check out the bios below for the talented team behind Sea Change, to see where you might find them on a regular basis once live shows come back again. 

Bonnie Kenaz-Mara is a Chicago based writer, theater critic, photographer, videographer, actress, artist and Mama. She owns two websites where she publishes frequently: ChiILLiveShows.com (adult) & ChiILMama.com (family friendly). 




Cabinet of Curiosity is proud to present Sea Change, an outdoor celebration exploring the power of the sea and the feminine divine. It is a series of wild, strange, lovely puppet shows written by emerging female playwrights and lyricists Liz Chidester, Kasey Foster, Bethany Thomas, and Lindsey Noel Whiting, with original musical compositions by Manae Hammond and Charlie Otto, additional text by Seth Bockley, and the searcher performed by Time Brickey. Giant puppets, mechanical devices, and original, live music weave together to create an evening of pageantry, puppetry, wonder and hope.


“Whale Song” by Lindsey Noel Whiting: A brief musical not about a man obsessed with killing a whale.

“A Mermaid’s Tail (If There’s a God)” by Bethany Thomas, with music and lyrics by Liz Chidester: The story of a mermaid, at "the end of her tail," grappling with existence in a world imagined by men.

 
“More” by Kasey Foster: A shark caught in a feeding frenzy gets some sound advice from The Moon.


“The Lookout” by Seth Bockley: It’s lonely up in the crow’s nest, but you can see the future and the past. And if you’re lucky a bird might keep you company. 

Production Details:

 Sea Change

July 15 – July 25

Wednesdays at 8:15pm
Thursdays at 8:15pm 
Fridays at 8:15pm
Saturdays at 2pm and 8:15pm
Sundays at 2pm and 8:15pm

Writers: Lindsey Noel Whiting, Kasey Foster, Bethany Thomas, Liz Chidester, and Seth Bockley 
Director: Frank Maugeri
Designer: Shawn Ketchum Johnson
Puppet and Object Designers: Ellie Terrell, Jillian Gryzlak, Jesse Mooney Bullock, and Milam Smith
Cast: Kasey Foster, Sadie Rose Glaspey, Manae Hammond, Allison Grischow, Olivia Rose Comai, Sofia Balabanova Gebreab and Time Brickey
Stage Managers: Jamie Kreppein and Josh Ralph.
 

Location:
THE BRNDHAUS PL-ZEN™
1727 W 21st St
Chicago, IL 60608 

Tickets are $25 and can be purchased at www.cocechicago.com. Appropriate for ages 10 and up.

If the show is rained out, we will do our best to move audience members to a different evening that accommodates individuals’ schedules. All purchases non-refundable.

About THE BRNDHAUS PL-ZEN™

The BRNDHAUS PL-ZENTM (Pronounced: The Brand•House Pil•sen) is global brand innovation and content factory dedicated to the development, consumer co-creation, incubation, and activation of brands, situated on a 25,000 sq. ft. property across seven lots in the heart of PL-ZEN – CHI, IL. The BRNDHAUS aligns creative leaders, thinkers, and doers within a mercurial working and gathering environment that is modern, premium, and forward-looking.


About Cabinet of Curiosity

Founded in 2017, Cabinet of Curiosity is a nonprofit theater that creates original celebrations and productions. Cabinet uses sophisticated puppetry and handmade devices to develop interactive experiences and events. 

We believe that the act of celebration is a social imperative. We use celebration to tackle isolation, facilitate dialogue, inspire hope and humor, create beauty where others may fail to see it, and ignite sincere collaborations. We focus on creating new gatherings, ceremonies, and rituals that promote connection amongst people from different backgrounds and lived experiences.

 

About the Artists

Sophia Balabanova-Gebreab is currently a student at the University of Chicago who just finished her first year. She is originally from Minneapolis and spends most of her time outside of school making and distributing zines.

Seth Bockley (“BOAK-lee”) is a writer of plays, screenplays and fiction, and a theater artist specializing in literary adaptation and new work development. Current projects include a Utopian history pageant for New Harmony, Indiana, an opera with London-based Donghoon Shin, short film “The Cartographer" in post-production, and a collection of short stories featuring a Midwestern-mystical flair. He teaches at the University of Chicago. sethbockley.com 

Time Brickey is a multidisciplinary performing artist from Chicago IL. He’s a tap dancer, actor, musician, singer, puppeteer, he does accents and voices, he stilt-walks… and he’ll do it on the spot. He's grateful to have shared many stages and rehearsal rooms with his own heroes, and some of Chicago's greatest performers. On a given day you can catch him devising and improvising collaborative theatrical works, mentoring kids, producing music, and composing tap choreography. He also operates a studio workshop where he makes and sells portable tap boards. Learn more about him at http://heyti.me

Liz Chidester is a critically acclaimed singer/songwriter, actor, and teaching artist originally from Virginia. The Chicago Tribune called Liz "one of the most truthful actors in this city." Liz is a Company Member of FIREBRAND THEATRE and an Artistic Affiliate with AMERICAN BLUES THEATRE. She has contributed as an actor, composer, and collaborator with Chicago Children's Theatre, Raven Theatre, Writers Theatre, Cabinet of Curiosity, Theatre at the Center, Mercury Theatre, Sideshow Theatre Company, and Route 66. Before March 2020, Liz was at sea developing folk music and puppetry with NYC's PIG PEN THEATRE COMPANY in Phantom Folktales. With her band LIZ AND THE LOVELIES, she released the album People Pumping Pedals (2014), EPs Progress into Simplicity (2017) and Otter Hill (2015), and singles "My Way/Your Way" (2018) and "Sleep In." (2019). During the pandemic, the Lovelies lovingly disbanded, and Liz formed a new solo project LIZ LUTHIER with her feminist record collective MURMURATION RECORDS. Her newer single "The Great American Chestnut Tree" (2020) was featured on NPR's All Songs Considered. Liz will release singles throughout 2021, including "Gift That Moved You" (2021), with her EP otherside of the darkest timeline releasing in fall 2021. Liz teaches group 'ukulele classes and private voice, piano, guitar, and uke classes at the OLD TOWN SCHOOL OF FOLK MUSIC. She is represented by Shirley Hamilton.

Olivia Comai is a Chicago-based, interdisciplinary artist whose practice revolves around puppetry, video, and performance. She finds pleasure in play and imagination, and extra importance in humor and making art accessible to all. 

Kasey Foster is a performer, producer, choreographer, singer, and puppeteer. She believes that puppets are some of the world's finest actors. More info at www.kaseyfoster.com

Sadie Rose Glaspey is so excited and honored to be involved in another Cabinet of Curiosity spectacle and ritual! Originally from Milwaukee, WI, she came to Chicago 12 years ago to attend Chicago College of the Performing Arts where she received her BFA in Musical Theatre (2012) and has been lucky enough to find many welcoming artistic homes in both theatre and music (including some where she's asked to do both at the same time!) throughout the windy city. She has played violin and sang for over 25 years, enjoys writing lyrics, is slowly building GingerSnap Performing Arts: her very own Chicago based Children's Theatre Company, and enjoys spending her free time with her cats and husband in their garden. 

Allison Grischow (She/They) is an actor, voice actor, and musician who loves to spread joy everywhere she goes. She holds degrees in Theatre and Music from Valparaiso University as well as Second City’s Music Improv Conservatory. They have also studied with the Moscow Art Theatre School and Actors Gymnasium. They love to swing from lyras and trapezes in their spare time as well as sing songs with their pet bird, Buckbeak. Allison is also the founder of the small business "The Joyful Actor" which is dedicated to helping performers overcome overwhelm to find joy in their work.

Jillian Gryzlak is a maker, designer, and educator living in Chicago. She works across the city making costumes, ceramics, textiles, installations. Her work as a prop artisan and teaching artist has allowed her to collaborate with students throughout Chicago Public Schools and in multiple theaters. Jillian holds a BFA from the School of the Art Institute of Chicago and a MA from the School for New Learning at DePaul University in Material Culture.

Manae Hammond is a multi-instrumentalist musician & engineer, and is making her professional stage debut here. A Chicago native & choir kid turned rave mom, she was a sound operator for Theo Ubique's "Hedwig & The Angry Inch" in 2019. After flirting with acting in her youth, she pivoted to music to escape the crowd but got roped back regardless.

Shawn Ketchum Johnson is a United States-based theater maker whose expertise in site-specific and devised performance keep him linked to innovative socially-engaged ensembles throughout North America.  Recent projects include the world premiere of TIME TO TELL, an original hybrid performance piece presented by ACT Theatre in Seattle; and THE RIOT BALLET, a interactive game/theater hybrid devised by a multinational collaborative team, with rolling premieres in Montreal and Seattle.  An alumnus of Northwestern University, Johnson is Assistant Professor of Scenic Design at Texas Tech University.

Rome Jones is currently a college freshman at Depaul University majoring in theater technology. They enjoy puppet making, cooking, and various other types of handiwork in their free time. They are very thrilled to be a part of Sea of Change!

Jamie Kreppein is a film and theatre maker and community builder based in Chicago. She is one of the managers of Hotel Arts Collective as well as the company manager of Facility Theatre, and has been privileged to work with other companies like Chicago Children’s Theatre, A Red Orchid Theatre, Hell in a Handbag Productions, Steep Theatre Co, and Interrobang Theatre Project. Jamie has most recently spent her time making several short films slated to be released in 2021/2022, including By a Thread (co-writer/associate producer), Weather Outside is Frightful (director/writer), and Re- (director/producer). 

Frank Maugeri is a designer of community, events, and education. In his three decades as a ritual and spectacle maker, he has been commissioned by President Barack Obama to create a premier Halloween event on the White House’s North Lawn, transformed the Museum of Contemporary Art’s facade twice, directed the groundbreaking of The Art Institutes Modern Wing, and conceived and directed Redmoon Theaters Boneshaker for nine years. He conceived and directed Redmoon Theaters longest running and most critically acclaimed production, The Cabinet, which ran for over 1 year in Chicago and toured Brazil. He has executed countless outdoor guerrilla and interactive urban experiences. He has created several long-lasting cultural events and mentored over 1000 emerging artists from various disciplines- dance, writing, animation, film, sculpture, painting, and more. He is committed to using art as a tool for celebration and social improvement. He has directed indoor productions for Chicago Shakespeare Theatre, The Actors Gymnasium, and many others. He makes his teaching home at the University of Chicago. He began Cabinet of Curiosity in 2017 as a company committed to collaboration, collectivism, equity, diversity and the development of modern rituals and meaningful happenings.

Jesse Mooney-Bullock is delighted to be filling the Cabinet of Curiosity with more hand-made movable sculptures, his puppets were last featured in Tabletop Tragedies. Other Chicago-area projects include The Little Mermaid(Paramount Theatre), The Great and Terrible Wizard of Oz, Mister Punch (House Theatre), The Selfish Giant (CCT), The Feast, Salao (CST & Redmoon Theater) garnering Jeff Awards and nominations.  He lives and works in Cincinnati, find out more at MoonBullStudio.com

Charlie Otto is a Chicago musician, founder of a handful of bands including This Must be the Band and DJ noDJ. He writes electronic rock songs all day long. More info at charlieotto.com.

Josh Ralph is a percussion performer, stage manager, and soon to be graduate from The University of Texas at San Antonio. Josh has stage managed multiple shows throughout his time at UTSA including Goyescas, Captain Lovelock and The Worst Ones Ever.  Josh has also spent the past 5 years performing Seasonal shows at Sea World San Antonio, and hopes to one day be able to perform/stage manage on Broadway.

Ellie Terrell is a Chicago-based designer, fabricator, object and installation builder, painter, and teaching artist. Her favorite works to create are immersive spaces and surreal sculptural visual art. She is passionate about using art to connect humans in play. Ellie holds a BA in Literary and Cultural Studies from the College of William and Mary.

Bethany Thomas is a singer/actor/writer known for her work with Writers Theater, Court Theater, Chicago Shakespeare, Milwaukee Rep, Porchlight Music Theater, and Marriott Lincolnshire; she's also frequently entangled with The Fly Honeys, The Paper Machete, The Neo Futurists, Steppenwolf, Second City, WBEZ and the Hideout. A 3Arts Awardee in music, BT tours and records with Jon Langford, and also just released two albums of original songs- Material Flats with Tawny Newsome, and her critically-acclaimed solo debut, BT/She/Her. ig: @bethanyt80 

Ivy Waegel is a Bay Area native who just can't wait to get their grubby little hands on the next big project. They study set design, sculpture, and other interactive arts at the School of the Art Institute of Chicago, and spend the rest of their time exploring Chicago's alleys and neighborhoods.

Lindsey Noel Whiting has been working as a theatre artist in Chicago in various capacities for the last 18 years. She is an Artistic Associate with Lookingglass Theatre and The Actors Gymnasium.

 


Wednesday, July 14, 2021

OPENING: Goodman's School Girls; Or, The African Mean Girls Play BEGINS PERFORMANCES JULY 30

ChiIL Live Shows On Our Radar:

SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY BY JOCELYN BIOH DIRECTED BY LILI-ANNE BROWN 

***FREE TICKETS ARE NOW AVAILABLE FOR HEALTHCARE AND PERFORMING ARTS INDUSTRY PROFESSIONALS***

Last March my daughter and I held press tickets for the opening of School Girls; Or, The African Mean Girls Play at The Goodman. Little did we know then that it would be nearly a year and a half before we had that chance again. Since then our family has experienced remote high school and college learning, a drive-through parking lot graduation, a lack of homecoming/prom/senior plays, a covid hospitalization, unemployment in the arts, and both a birth and a death in the family. 

It's been quite a year... and then some for us and for the world as a whole. Kudos to Goodman Theatre for offering free tickets for this production to both healthcare workers and performing arts professionals! 

In acknowledgement of healthcare workers, whose efforts have cared for Chicagoans during the pandemic, as well as performing arts professionals, who may have lost work while stages were dark during this difficult time for the industry, the Goodman is pleased to offer 1,500 free tickets to School Girls; Or, The African Mean Girls Play. Healthcare and performing arts industry professionals can reserve free tickets by visiting GoodmanTheatre.org/ThankYou.

We're elated to be able to hug our loved ones, gather with friends, and get artists back to work. My inbox is finally brimming with reopenings instead of cancellations and closures. Reviews are ramping up and I for one can't wait to feel the interconnectedness, depth, and energy that only live shows provide. See you out there!



School is back in session! Goodman Theatre returns to the stage with the Chicago-premiere production of the Off-Broadway smash sensation, School Girls; Or, The African Mean Girls Play. Full casting is below. Written by Jocelyn Bioh and directed by Chicago favorite Lili-Anne Brown, this “uproarious comedy that also pulls at the heartstrings” (The Hollywood Reporter) is back after being halted several days shy of its opening night last year (March 2020). The production was then offered in a limited online streaming engagement, viewed by households in 45 U.S. states and 13 countries around the globe—as well as offered free-of-charge to 1,600+ Chicago public school students. School Girls; Or, The African Mean Girls Play appears July 30-August 29 (opening night is Monday, August 2) in the Goodman’s Albert Theatre. Capacity is limited and masks will be required. Tickets (starting at $15) are on sale now at GoodmanTheatre.org/SchoolGirls and by phone at 312.443.3800.

Goodman Theatre is grateful for the support of JPMorgan Chase & Co., Major Corporate Sponsor; Illinois Tool Works and PwC LLP, Corporate Sponsor Partners; and Ogletree Deakins, Opening Night Sponsor.

"When I first read this play, I just died laughing. I could not believe how funny it was and where it went and how it ended," said Director Lili-Anne Brown. "We are so grateful and excited to get to revisit this story and finally share it with live audiences—and in the summer, where it truly belongs!"

Biting and buoyant, School Girls; Or, The African Mean Girls Play earned critical and popular acclaim in its Off-Broadway extended run. As the reigning queen bee at Ghana’s most exclusive boarding school sets her sights on the Miss Universe pageant, a new student unexpectedly changes the game, forcing her to defend her reputation—and status. This “nasty-teen comedy, wonderfully refreshed and deepened” (The New York Times) spotlights the universal similarities—and glaring differences—of teenage girls around the globe.

“School Girls; Or, The African Mean Girls Play enjoyed five successful previews before we had to suspend performances last March. We didn’t know then that it would be 506 days before the play would take the stage again, but we always knew that this play—in which comedy is infused with serious, relevant themes—would be the first we would produce upon our return,” said Goodman Theatre Artistic Director Robert Falls. “We warmly welcome back Lili-Anne and her wonderful company, and look forward to sharing Jocelyn’s wise, ebullient play with Chicago audiences anew.”

The ensemble cast features Adia Alli (Gifty), Kyrie Courter (Ericka Boafo), Ashley Crowe (Nana), Ciera Dawn (Paulina Sarpong), Tiffany Renee Johnson (Mercy), Adhana Reid (Ama), Tania Richard (Headmistress Francis) and Lanise Antoine Shelley (Eloise Amponsah). The creative team includes Yu Shibagaki (Set Design), Samantha C. Jones (Costume Design), Jason Lynch (Lighting Design) and Justin Ellington (Sound Design). Lauren Port is the Casting Director. Alden Vasquez is the Production Stage Manager and Caitlin Body is the Stage Manager. Katherine Lee Bourné, previously announced in the role of Ama, is no longer a part of the cast due to scheduling conflicts.

ABOUT THE PLAYWRIGHT AND DIRECTOR

Jocelyn Bioh (Playwright) is a Ghanaian-American writer and performer from New York City. Bioh’s plays include School Girls; Or, The African Mean Girls Play (2016 Kilroys List, MCC Theater, Center Theatre Group); The Ladykiller’s Love Story, Happiness and Joe, Nollywood Dreams (2015 Kilroys List, Cherry Lane Mentor Project) and African Americans (2011 Southern Rep Ruby Prize Finalist, 2012 O’Neill Center Semi-Finalist, Howard University). Bioh’s acting credits include work on Broadway as well as productions with Soho Rep, The Public Theater, Playwrights Horizons, Classical Theater of Harlem, Wilma Theater and Signature Theater. Television writing credits include She’s Gotta Have It and Russian Doll.

Lili-Anne Brown (Director) is a native Chicagoan who works as a director, actor and educator. She has performed in, directed and produced many award-winning shows, both local and regional. Goodman credits include I Hate It Here and the world premiere of Ike Holter's Lottery Day. She is the former Artistic Director of Bailiwick Chicago, where she focused programming on Chicago-premiere musicals and new play development with resident playwrights. She is a member of SDC, AEA, SAG-AFTRA and is represented by William Morris Endeavor. lilbrownchicago.com

ACCESSIBILITY AT THE GOODMAN

Touch Tour, August 21 at 12:30pm – A presentation detailing the set, costume and character elements

Audio-Described Performance, August 21 at 2pm – The action/text is audibly enhanced for patrons via headset

ASL-Interpreted Performance, August 27 at 8pm – Professional ASL interpreter signs the action/text as played 

Open-Captioned Performance, August 28 at 2pm – An LED sign presents dialogue in sync with the performance

Visit Goodman Theatre.org/Access for more information about Goodman Theatre’s accessibility efforts.


ABOUT THE GOODMAN

Chicago’s theater since 1925, Goodman Theatre is a not-for-profit arts and community organization in the heart of the Loop, distinguished by the excellence and scope of its artistic programming and community engagement.

Led by Artistic Director Robert Falls and Executive Director Roche Schulfer, the theater’s artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics. Artists and productions have earned two Pulitzer Prizes, 22 Tony Awards and more than 160 Jeff Awards, among other accolades. The Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle.” It’s longtime annual holiday tradition A Christmas Carol, now in its fourth decade, has created a new generation of theatergoers in Chicago. The Goodman also frequently serves as a production and program partner with national and international companies and Chicago’s Off-Loop theaters.

Using the tools of the theatrical profession, the Goodman’s Education and Engagement programs aim to develop generations of citizens who understand the cultures and stories of diverse voices. The Goodman’s Alice Rapoport Center for Education and Engagement is the home to these programs, which are offered free of charge for Chicago youth—85% of whom come from underserved communities—schools and life-long learners.

As a cultural and community organization invested in quality, diversity and community, Goodman Theatre is committed to using the art of theater for a better Chicago. Goodman Theatre’s Action Plan for Inclusion, Diversity, Equity, Anti-Racism and Access (IDEAA) was born out of the belief that progress means action, which includes building on the decades-long commitment to using art, assets and resources to contribute to a more just, equitable and anti-racist society.

Goodman Theatre was founded by William O. Goodman and his family in honor of their son Kenneth, an important figure in Chicago’s cultural renaissance in the early 1900s. The Goodman family’s legacy lives on through the continued work and dedication of Kenneth’s family, including Albert Ivar Goodman, who with his late mother, Edith-Marie Appleton, contributed the necessary funds for the creation of the new Goodman center in 2000.

Today, Goodman Theatre leadership also includes the distinguished members of the Artistic Collective: Rebecca Gilman, Dael Orlandersmith, Henry Godinez, Steve Scott, Kimberly Senior, Chuck Smith, Regina Taylor, Henry Wishcamper and Mary Zimmerman. Jeff Hesse is Chairman of Goodman Theatre’s Board of Trustees, Fran Del Boca is Women’s Board President and Megan McCarthy Hayes is President of the Scenemakers Board for young professionals.


Wednesday, June 23, 2021

Chicago Parks Foundation’s “Pitch In for the Parks!” returns with park clean-ups June Through October


HELP OUT: Registration now open for citywide 

public park clean-up initiative, 

inviting volunteers to participate in second season



Here at ChiIL Mama, we adore our Chi, IL park district and we're all about helping out. We've done past park cleanups and as a family we believe teaching children to give back to their communities is key. Want to join in? CPF needs volunteers from now through October. Volunteering is good for the heart and soul and helping to keep the city’s 600+ public parks clean is good for the environment too. Hope to see you out there!

The nonprofit Chicago Parks Foundation (CPF) announces the second season of its citywide volunteer effort “Pitch In for the Parks!” to help keep the city’s 600+ public parks clean. This season-long, family-friendly volunteer opportunity is now open for registration on an ongoing enrollment basis, with park clean-ups starting June 1 and lasting through October. Volunteers can sign up at chicagoparksfoundation.org/volunteer, which includes an interactive map and a list of Chicago parks.

Last year’s inaugural “Pitch In for the Parks!” initiative brought in 2,000 volunteers for 350 park clean-ups. This year, over 90 volunteer groups have signed up for the season—many of which are participating in reoccurring sessions—adding up to a total of 300+ clean-up events citywide. CPF expects this count to keep growing as the Park Advisory Councils, local businesses and community organizations continue to step up and adopt parks this month and beyond.

“Pitch In for the Parks!” is open to anyone who wants to host a clean-up group or join an existing event from the interactive map on the CPF website. Community groups, corporate teams and individual volunteers are invited to participate in adopting a park with others in their community. In partnership with the Chicago Park District and communities across the city, CPF is providing trash pick-up supplies, volunteer coordination and safety guidelines to support the parks’ ongoing maintenance from June through October.

"Parks improve our quality of life. The Chicago Parks Foundation's goal is to encourage park lovers and users to become park givers and stewards," said Willa Iglitzen Lang, CPF Executive Director. "The Chicago parks are enjoyed by so many and, this past year especially, we have experienced the value and impact the parks have on our lives. ‘Pitch In for the Parks!’ connects everyday park goers with the supplies and support they need to step up, pitch in, and make a visible difference!"

Volunteers who participated in last year’s clean-ups saw the impact Chicago parks had on residents and the visible difference made by this initiative. A 2020 “Pitch In for the Parks!” volunteer shared, “As a resident of Chicago, I want to enjoy the parks and to help others enjoy them. Cleaning up is a great way to lead by example and make the parks feel safe and enjoyable." Another volunteer said, "I pitched in for the parks to give back to the parks some of what they gave me: peace, safety, and mental and physical health. Cleaning the parks just felt like a good way to return the favor.”

“Pitch In for the Parks!” is supported in part by Bank of America, Boxed Water, Chicago Association of REALTORS®, and Chicago Bears.

About the Chicago Parks Foundation

The Chicago Parks Foundation (CPF) launched in 2013 as the nonprofit partner of the Chicago parks. As an independent 501(c)3 organization, CPF brings community ideas to action, raising funds and awareness for park projects all across our city and serving as a fiscal partner to 70+ local Park Advisory Councils. Learn more at www.chicagoparksfoundation.org.

Tuesday, February 23, 2021

REVIEW: Court Theatre's Latest Breaks The Zoom Barrier With Free Interactive One On One Microplays

 COURT THEATRE PRESENTS CHICAGOLAND PREMIERE OF CRITICALLY ACCLAIMED DIGITAL EXPERIENCE 

THEATRE FOR ONE: HERE WE ARE

Cheryl Lynn Bruce, Adithi Chandrashekar, Sydney Charles, Melissa DuPrey, Xavier Edward King, Elizabeth Laidlaw, Deanna Reed-Foster, TayLar


REVIEW:

By Bonnie Kenaz-Mara

Sunday I had an utterly unique experience at opening night for the Chicago premiere of Theatre for One: Here We Are. In what I can best describe as the theatre equivalent of a tapas bar, I was treated to a random assortment of four new microplays, all written and directed by Black, Indigenous, and Women of Color. Like tapas, these bite sized theatrical offerings were filling, flavorful, multilayered, and far more impressive than your typical snack.

Theatre For One: Here We Are not only breaks down the 4th wall, but several dimensions as well. These short shows transcend distance, isolation, and the impersonal medium of a flat computer screen, to create a highly engaging, personal show, that truly feels face to face. The experience from the audience end feels a lot like being on stage in an improv scene, figuring out "who am I, where am I, what am I doing", as clues to your identity and relationship to the scene unfold around you. If this sounds intimidating, know that all that's required of you is listening. As each actor's story unfolds, you can nod, laugh, commiserate, and interject in a natural way, yet the pressure's off. I promise, you will not be asked to monologue. Questions can be responded to or rhetorical. The show will go on whether you join in verbally or just soak it all in. 

Since Covid reared it's ugly head a year ago, and darkened theaters nationwide, the community has struggled to find new, effective modes of storytelling that don't require the life threatening intimacy of a packed house. Many companies have streamed past productions to stay afloat, which has had the positive effect of reaching far flung fans, by eliminating geographic constraints. Others have mounted new Zoom style streaming shows, prerecorded or in real time, but all of these options have lost the give and take of live shows, and the connection between the audience and actors' energies mingling in the moment. Theatre For One: Here We Are brings action and reaction roaring back to real time theatre in an in your face way that's a joy to see. 

Deeply rooted in the belief that intimacy and human connection is possible at any moment, at any time, and with any person. Theatre For One: Here We Are is a live digital theatrical experience that brings together one actor and one audience member featuring eight new microplays. A laugh shared with a stranger, a world created by imagination, a soul nourished through storytelling: these are things only theater can accomplish.

Even the "waiting room" was an experiment in interconnectedness and individuality. Names and faces are obscured, but audience members can chat with each other, asking and answering questions in black and white text, in a small group until the solo shows begin. You are exactly where you need to be indeed!



Once the performance starts, you will briefly see your own face, then just the actor on screen and talking directly to you. Each play I saw was quite different, and all were thought provoking and engaging. The first show I caught was Before America Was America By DeLanna Studi, Directed by Chris Anthony, Performed by Elizabeth Laidlaw. This fabulous piece highlights the gender equality in leadership of Native Americans, particularly The Cherokee Nation. It was fascinating to hear how advanced this culture was in valuing women and elders, stewardship of the land, and so many issues America is still struggling with as a society today. I loved this deeply personal account, and it gave me hope that our country can be reclaimed from the bigots, bullies, colonizers, and suit n tie savages that have been running it into the ground for the past 200 years. 

Elizabeth 


The second production I was paired with was whiterly negotiations 
By Lydia R. Diamond, Directed by Monet Felton, Performed by Deanna Reed-Foster. Wow. Just wow. The eye contact and energy were electric, and this play packed a punch. It's the one that got under my skin the most in an unforgettable way and I admired it for that. The subject matter was confrontational and tough but oh so necessary. I found myself nodding and tearing up a bit and interjecting "I hear you" and "truth". It's what wasn't said though that also made a lasting impression on me. I had to fight with my inner defensive "not all white women" voice, and do some deep listening. This relationship setup is not only collegues and writer/editor, but also a long term friendship deep enough to survive some intense real talk. It's an opportunity to be part of an invaluable conversation on who gets their stories through the gatekeepers intact, and the courage it takes to voice your truth at the risk of alienating others. Being a real ally is as much about shutting up as it is about speaking out. The era of white fragility being expected and accepted is done. 



Deanna Reed-Foster


The next micro play was out of this world... literally. I laughed the most at Here We Are By Nikkole Salter, Directed by Monet Felton, Performed by Xavier Edward King.  King's enthusiasm is contagious, as he embarks on a mission to start a whole new civilization. Yet, there's inescapable baggage, new rules to create, and a vast expanse of ethical questions to navigate like how to deal with any preexisting residents. There's a lovely bit of homesickness at the sight of a distant earth, some scary forays into thought policing, and the dilemma of how to get the same people to make different choices. Overall, this piece touches on layers of crucial questions about creating a fair and sustainable new world, while avoiding the problems that made you have to flee the last one. I adored the galumphing energy, like puppies and children at play, or new countries ready to be better. 

Xavier

My evening concluded with What Are The Things I Need To Remember By Lynn Nottage, Directed by Chris Anthony, Performed by TayLar. This one was most like a conversation with a friend for me. I felt a genuine rapport and was eager to hear the tale of teen risks and new friendships. The storyline is compelling, with unexpected twists, and a trajectory that goes from a lighthearted tale of questionable fun and youthful bad decisions, to downright harrowing. It's one of those life experiences that makes you grow up faster, question peer pressure, realize your own mortality, and expose the glaring difference between close friends you're responsible for and virtual strangers you happen to be hanging out with. There's nothing like a crisis to show you glimpses of your true self. This story is also ultimately a cliffhanger, much like real life. We don't always get closure and some incidents are just destined to leave you wondering.  

TayLar

These 8 microplays are just the tonic for pandemic weary, touch starved souls. Whether you catch one or more, we are all stories in the end, and these collaborative nuggets are pure gold. The whole experience is highly recommended. 

Bonnie Kenaz-Mara is a Chicago based writer-theater critic-photographer-videographer-actress-artist-general creatrix and Mama to two terrific teens. She owns two websites where she publishes frequently: ChiILLiveShows.com (adult) & ChiILMama.com (family friendly). 



Sydney

THEATRE FOR ONE: HERE WE ARE

Creator and Artistic Director: Christine Jones

Co-Artistic Director for Here We Are: Jenny Koons

Platform Programing & Design by Open Ended Group—Marc Downie & Paul Kaiser

Originally produced by Octopus Theatricals—Mara Isaacs, Executive/Creative Producer

Preview Performances: February 18 and 19, 2021
Press Opening: Matinee on February 20, 2021
Regular Run: February 21, 2021 - March 14, 2021


Performance Schedule:
Thursday and Friday at 7:30pm
Wednesday, Saturday and Sunday at 2:00pm and 7:30pm

Tickets will be free and open to the public beginning Thursday, February 11, at 10am. For reservations, visit CourtTheatre.org.


Adithi


Plays:



Melissa

Thank You For Coming. Take Care. 
By Stacey Rose, Directed by Miranda Gonzalez


What Are The Things I Need To Remember

By Lynn Nottage, Directed by Chris Anthony


Pandemic Fight 

By Carmelita Tropicana, Directed by Miranda Gonzalez


Here We Are

By Nikkole Salter, Directed by Monet Felton


Thank You Letter 
By Jaclyn Backhaus, Directed by Lavina Jadhwani 


Before America Was America 

By DeLanna Studi, Directed by Chris Anthony


whiterly negotiations 
By Lydia R. Diamond, Directed by Monet Felton


Vote! (the black album) 
Written and Directed by Regina Taylor



Cheryl

Court Theatre, under the continuing leadership of Charles Newell, Marilyn F. Vitale Artistic Director, and Executive Director Angel Ysaguirre, announces the Chicago premiere of Theatre for One: Here We Are.  Following its critically acclaimed run in New York, Court Theatre brings these eight stories to life with Chicago actors to offer audiences a deeply personal theatrical experience that breaks the boundaries of digital theatre. 

“Court is thrilled to present the Chicago premiere of this intimate, digital experience as part of our 2020/21 season,” says Charles Newell, Marilyn F. Vitale Artistic Director. “Written and directed by an impressive array of BIPOC artists, each of these plays is an astonishing, boundary-pushing experience, perfectly tailored to the current moment.”

“We’re excited to provide access to Theatre for One: Here We Are free-of-charge,” shares Angel Ysaguirre, Executive Director of Court Theatre. “As a form of public art, these microplays offer a unique opportunity for one-on-one connection at a time when the need for new stories is more urgent than ever to make sense of ourselves and the world around us.”


While Theatre for One: Here We Are is inspired by the pandemic; the 100th Anniversary of the ratification of the 19th Amendment; and the Black Lives Matter, We See You WAT, and other movements fighting racism, the Here We Are writers have contributed works that span a spectrum of ideas and points of view. Theatre For One elevates a vibrant chorus of voices creating deeply personal works that resonate in this shared moment. 

Here We Are was commissioned by Arts Brookfield with additional support from Thomas M. Neff, and the Chicago premiere is supported by the University of Chicago Women's Board, Allstate, and De and Paul Gray.  


Artist Profiles

Chris Anthony (director, What Are The Things I Need To Remember and Before American was America) is a director, teacher, actor, and producer working at the intersection of art and community empowerment. Now Assistant Professor of Acting at The Theatre School at DePaul University, she has worked in educational, professional, and community spaces. Professional directing credits include the original Off the Rails for Native Voices at the Autry, Lunch Lady Courage at Cornerstone Theater, A Midsummer Night’s Dream, Romeo & Juliet, and Othello at the St. Louis Black Rep, and Romeo & Juliet at the Shakespeare Center of Los Angeles. As Associate Artistic Director of the Shakespeare Center of Los Angeles, she oversaw the development of the company’s Youth & Education programs, including Will Power to Youth,

Jaclyn Backhaus (playwright, Thank You Letter) is a playwright, cofounder of Fresh Ground Pepper, and new member of The Kilroys. Her plays include Men On Boats (New York Times Critics’ Pick, Clubbed Thumb, Playwrights Horizons, published by Dramatists Play Service), India Pale Ale (Manhattan Theatre Club, recipient of the 2018 Horton Foote Prize for Promising New American Play), You Across From Me (co-written with three other writers for the Humana Festival), Folk Wandering (book writer and co-lyricist with 11 composers, Pipeline Theatre Company), and You On the Moors Now (Theater Reconstruction Ensemble), among others. She was the 2016 Tow Foundation Playwright-in-Residence at Clubbed Thumb and she is currently in residence at Lincoln Center. Backhaus holds a BFA in Drama from NYU Tisch, where she now teaches. She hails from Phoenix, Arizona, and currently resides in Ridgewood, Queens with her husband, director Andrew Scoville and their son Ernie.

Lydia R. Diamond (playwright, whiterly negotiations) is a nationally recognized playwright and an assistant professor at Boston University’s School of Theatre. Her award-winning plays—including Harriet Jacobs, The Bluest Eye, and Voyeurs de Venus—have been produced across the country. Most recently, Diamond’s play Stick Fly was produced on Broadway at the Cort Theatre, where it enjoyed a three-month run. Diamond’s work has won the African American Arts Alliance of Chicago Black Excellence Award, an American Alliance for Theatre and Education Award, a Back Stage Garland Award, a Black Theatre Alliance's Negro Ensemble Company Award for Best Play and Lorraine Hansberry Award for Best Writing, an Independent Reviewers of New England (IRNE) Award, an LA Weekly Theater Award, and a Los Angeles Drama Critics Circle Award. She received an Illinois Arts Council Grant and has been in residence at the Steppenwolf Theatre in Chicago through the NEA/TCG Theatre Residency Program for Playwrights. Diamond has been a W.E.B. DuBois Institute Fellow and a Huntington Playwrighting Fellow and is currently a member of the Theatre Communications Group board and the Huntington Theatre Company’s Council of Overseers. She graduated from Northwestern University.  

Monet Felton (director, Here We Are and whiterly negotiations) is a Director, Producer, Writer, Teaching Artist, and Company Member at Jackalope Theatre. Monet earned their BFA in Acting at The University of Illinois at Chicago. They are currently studying on a scholarship to be certified in Alexander Technique. They have had the opportunity of working at theatres such as Jackalope Theatre, Writers Theatre, Steppenwolf for Young Adults, and Bluebird Arts. 

Miranda Gonzalez (director, Pandemic Fight and Thank You For Coming. Take Care) is currently a Producing Artistic Director at UrbanTheater Company (UTC) in Humboldt Park and is a part of The Nova Collective, a diversity equity and inclusion consulting firm. She was a founding ensemble member of Chicago’s All Latina Theater company Teatro Luna and has devised and developed plays since 2000. She is a 2 time 3Arts and ALTA nominee and a recipient of the International Centre for Women Playwrights 50/50 Award. Her most recent play Back In The Day: An 80’s House Music Dancesical, world premiered as a part of Destinos, the Chicago International Latino Theater Festival, at UTC in the fall of 2019. Previous directing, writing, and script development credits include Ashes of Light by Marco Antonio Rodriguez; La Gringa by Carmen Rivera; Of Princes and Princesas by Paola Izquierdo at the 2010 Goodman Latino Theatre Festival; Lullaby by Diane Herrera; Crossed; GL 2010; The North/South Plays, a workshop at the Chicago Department of Cultural Affairs; F.O.P and Crime Scene Chicago with Collaboraction; and Melissa DuPrey’s Sushi-Frito at Free Street Theater. She is also an Executive Producer for the web series 50 Blind Dates with Melissa DuPrey and has written for web series Ruby's World Yo created by Marilyn Camacho (Season 1, episode 3 and Season 2, episodes 1-4).

Lavina Jadhwani (director, Thank You Letter) is a theatre director, adaptor, and activist. Recent directing credits include As You Like It at the Guthrie Theater, Peter and the Starcatcher at the Oregon Shakespeare Festival, Roe and The Cake at Asolo Repertory Theatre. Her adaptations include The Sitayana (a solo piece based on The Ramayana), Shakuntala, Uncle Vanya, The Cherry Orchard, and A Christmas Carol. Lavina lives in Chicago, where she was recently named "One of the Top Fifty People Who Really Perform for Chicago" by NewCity; in 2013 she was TimeOut Chicago's "Best Next Generation Stage Director." BFA/MA, Carnegie Mellon University; MFA, The Theatre School at DePaul University.

Lynn Nottage (playwright, What Are The Things I Need To Remember) is a playwright and a screenwriter. She is the only woman to have won the Pulitzer Prize for Drama twice. Her plays have been produced widely in the United States and throughout the world. Her plays include Sweat (Pulitzer Prize, Obie Award, Susan Smith Blackburn Prize, Tony Nomination, Drama Desk Nomination), This is Reading, Floyd’s, Mlima’s Tale, By The Way, Meet Vera Stark (Lilly Award, Drama Desk Nomination), Ruined (Pulitzer Prize, OBIE, Lucille Lortel, New York Drama Critics’ Circle, Audelco, Drama Desk, and Outer Critics Circle Award); Intimate Apparel (American Theatre Critics and New York Drama Critics’ Circle Awards for Best Play); Fabulation, or The Re-Education of Undine (OBIE Award); Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por’knockers; and POOF! Nottage wrote the book for the world premiere musical adaptation of Sue Monk Kidd's novel The Secret Life of Bees and is currently writing the book to the upcoming musical MJ, featuring the music of Michael Jackson, premiering on Broadway in summer 2020. She is the co-founder of the production company, Market Road Films, whose most recent projects include The Notorious Mr. Bout directed by Tony Gerber and Maxim Pozdorovkin (Premiere/Sundance 2014), First to Fall directed by Rachel Beth Anderson (Premiere/ IDFA, 2013) and Remote Control (Premiere/Busan 2013- New Currents Award). She has developed original projects for HBO, Sidney Kimmel Entertainment, Showtime, This is That and Harpo. She was a writer and producer on the Netflix series She's Gotta Have It, directed by Spike Lee. Nottage has received various fellowships, grants, and playwright awards, including a MacArthur Fellowship. She is a board member for BRIC Arts Media Bklyn, Donor Direct Action, Dramatist Play Service, Second Stage and the Dramatists Guild. She recently completed a three-year term as an Artist Trustee on the Board of the Sundance Institute. She is a member of the The Dramatists Guild, WGAE, and the American Academy of Arts and Letters. She is currently an artist-in-residence at the Park Avenue Armory and an Associate Professor in the Theater Department at Columbia School of the Arts.

Stacey Rose (playwright, Thank You For Coming. Take Care.) hails from Elizabeth, NJ and Charlotte, NC respectively. She is a proud mom, daughter, and sibling. Stacey is a 2019- 20 McKnight Fellow, 2020-22 Playwrights’ Center Core Writer, 2018-19 Goodman Theatre’s Playwrights Unit writer, and member of The Civilians R&D Group. She was a 2018 Sundance Theatre Lab Fellow, 2017-18 Playwrights’ Center Many Voices Fellow, and 2015-16 Dramatist Guild Fellow. Her play America v. 2.1 was awarded the inaugural Burman New Play Prize and received its world premiere production at Barrington Stage Company in June 2019. Her play Legacy Land, developed at The Playwrights’ Center, will world premiere at Kansas City Rep in February 2020.  America v. 2.1 and her play AS IS are featured on the 2019 Kilroys list. Legacy Land also made The List as an Honorable Mention. Stacey is a recipient of a 2019 Virginia B. Toulmin Foundation Women Commissioning Grant in partnership with Rattlestick Playwrights Theatre. Her work has been presented at UNC Charlotte, On Q Productions, NYU Tisch School of the Arts, The Fire This Time Festival, The Brooklyn Generator, The Bushwick Starr Reading Series, Mosaic Theatre, The Amoralists Theatre Company, Rattlestick Playwrights Theatre, National Black Theatre, and Pillsbury House Theater. She served as Writers Assistant and Script Coordinator for season one of the series “She’s Gotta Have It.” She holds an MFA in Dramatic Writing from NYU Tisch School of the Arts and a BA in Theatre from UNC Charlotte. While at Tisch, she was the recipient of an AAUW Career Development Grant, Future Screenwriting Fellowship, and The Goldberg Prize for her play The Danger: A Homage to Strange Fruit. Stacey’s work celebrates and explores Blackness, Black identity, Black history, body politics, and the dilemma of life as the “other.”

Nikkole Salter (playwright, Here We Are) arrived onto the professional scene with her co-authorship and co-performance (with Danai Gurira) of the Pulitzer Prize nominated play, In the Continuum (ITC). For its Off-Broadway run at Primary Stages and the Perry Street Theatre and for its US State Department and Bloomberg sponsored international tour, Ms. Salter received an OBIE Award, and the NY Outer Critics Circle's John Gassner Award for Best New American Play, the Seldes-Kanin fellowship from the Theatre Hall of Fame, and the Global Tolerance Award from the Friends of the United Nations to name a few. Ms. Salter also received Helen Hayes and Black Theatre Alliance nominations for Best Actress for her performance. ITC, published by Samuel French, was pronounced by The New York Times, Newsday, and New York Magazine as one of the best plays of 2005 and was featured in numerous esteemed media outlets including Essence Magazine, American Theatre Magazine, the Los Angeles Times, and NPR’s Leonard Lopate Show. ITC has received over 20 productions across the world to date. As a dramatist, Ms. Salter has written 8 full-length plays, been commissioned for full-length work by 6 institutions, been produced on 3 continents in 5 countries, and been published in 12 international publications. Her work has appeared in over 20 Off-Broadway, regional and international theatres, and the Crossroads Theatre production of her play Repairing a Nation (directed by Marshall Jones, III) was regionally aired during the second season of the WNET program "Theatre Close-Up" on NYC's channel THIRTEEN, WLIC, NJTV. The National Black Theatre production of her play Carnaval was nominated for 7 AUDELCO awards including Best Playwright and Best Production, and won for Best Ensemble Performance. Ms. Salter is a 2014 MAP Fund Grant recipient, a Eugene O'Neill Theater Center National Playwrights Conference semi-finalist, USA Fellowship nominee, a two time Playwright's of New York (PoNY) Fellowship nominee, and is currently working on a commission from Woolly Mammoth Theatre Company. Ms. Salter is an active member of the Actors Equity Association, the Screen Actors Guild/American Federation of Television and Radio Artists, and the Actors Center; and sits on the Council of the Dramatists Guild and serves as Chair of the Board of the Theatre Communications Group. She received her BFA in theatre from Howard University under the instruction of Al Freeman, Jr. and Sybil Roberts; and her MFA from New York University's Graduate Acting Program under the tutelage of Zelda Fichandler and Ron Van Lieu.

DeLanna Studi (playwright, Before America Was America) most recently starred in Astoria: Part One at Portland Center Stage and Indiana Repertory Theatre’s Finding Home: Indiana at 200. DeLanna’s Off-Broadway Debut in Informed Consent at the Duke Theater on 42nd Street was a New York Times Critics’ Pick, which described her performance as “moving gravity.” She was a company member of the Oregon Shakespeare Festival for two seasons, where she was one of only ten Native people (onstage and off) to have done so! She performed in the first national Broadway tour of the Tony and Pulitzer Prize-winning August: Osage County. She has won awards for her performances in Hallmark/ABC’s Dreamkeeper and Chris Eyre’s Edge of America. DeLanna also tours in the Encompass Compassion Play Kick, a one-person show written by Peter Howard which explores the power of images, stereotypes, and Native American mascots. She recently starred in the short film Blessed and can be seen in ABC’s General Hospital, Showtime’s Shameless, and SyFy’s Z Nation. She is the current chair of the SAG-AFTRA Native Americans Committee. Her next project, in addition to And So We Walked, will be Portland Center Stage’s Astoria: Part Two. This spring, she will begin writing the memoir counterpart to And So We Walked.

Regina Taylor (playwright and director, Vote! (the black album) is best known to television audiences as Lilly Harper in the series I'll Fly Away and as Molly Blane in CBS's hit drama The Unit. Her credits as a playwright include Oo-Bla-Dee (Recipient of the American Theatre Critics Association New Play Award), Drowning Crow (Manhattan Theatre Club), The Trinity River Plays (Dallas Theater Center and the Goodman Theatre; Recipient of the 2010 Edgerton Foundation New American Play Award), Magnolia, The Dreams of Sarah Breedlove, A Night in Tunisia, Escape from Paradise, Watermelon Rinds, and Inside the Belly of the Beast. Taylor's critically acclaimed Crowns continues to be one of the most-performed musicals in the country, and is the winner of four Washington, D.C. Helen Hayes awards. Taylor also wrote and directed Post Black for New York's Ensemble Studio Theatre. Taylor is a member and Artistic Associate of the Goodman Theatre and a resident playwright at New York's Signature Theatre Company. She received the Hope Abelson Artist-in-Residence Award from Northwestern in 2010. She has received honorary doctorates from Columbia College, DePaul University and Lake Forest College. Most recently, Taylor both wrote and directed stop. reset. at Signature Theatre Company. She will direct stop. reset. again at the Goodman Theatre in 2015. Taylor has also received a Golden Globe, an NAACP Image Award, two Emmy Award nominations, and the Oscar Micheaux Award from the Chicago Film Critics Association. Visit ReginaTaylor.com for more information.

Carmelita Tropicana (playwright, Pandemic Fight) has been performing in New York’s downtown arts scene since the 1980s, straddling the worlds of performance art and theater in the US, Latin America, and Europe with her irreverent humor, subversive fantasy, and bilingual puns. She received an Obie for Sustained Excellence in Performance (1999) and is a recipient of the Performance and Activism Award from the Women in Theater Program / American Theater in Higher Education (2015). Notable and recent works include: Schwanze-Beast (2015), a performance commissioned by Vermont Performance Lab; Recycling Atlantis (2014), a performance installation at 80WSE Gallery; Post Plastica (2012), an installation/video and performance presented at El Museo del Barrio; and the highly anthologized Milk of Amnesia (1994). Her publications include the book, co-edited with Holly Hughes, Memories of the Revolution: The First Ten Years of the WOW Café (University of Michigan Press, 2015). Tropicana has taught at numerous universities and sits on the Board of Directors at Performance Space 122 and NYFA.


The creative team for the production includes Erica Friesen (costume designer), Emily Brown (lighting designer), Lara Musard (properties designer & chatroom curator),  Jennifer Gadda (production supervisor), Bryan Hunt (Theatre For One production supervisor), Joshua McCammon (technical supervisor), Cherie B. Tay (tech consultant), Srđa Vasiljević (artistic consultant), and Erin Albrecht (production stage manager). 




Court Theatre is the professional theatre of the University of Chicago, dedicated to innovation, inquiry, intellectual engagement, and community service. Court endeavors to make a lasting contribution to classic American theatre by expanding the canon of translations, adaptations, and classic texts. The theatre revives lost masterpieces; illuminates familiar texts; explores the African American theatrical canon; and discovers fresh, modern classics. Court engages and inspires its audience by providing artistically distinguished productions, audience enrichment activities, and student educational experiences. In all of this work, we are committed to recognizing, addressing, and eradicating racism, as we strive to better serve our South Side community. 

Theatre for One was originally conceived as a mobile state-of-the-art performance space for one actor and one audience member. Conceived by Artistic Director Christine Jones and designed by LOT-EK architects, Theatre for One commissions new work created specifically for each venue's one-to-one relationship. Embracing serendipity, Theatre for One is presented in public spaces in which audience members are invited to enter into an intimate theatrical exchange in which actor and audience member encounter each other as strangers and are equally dependent on each other. Theatre for One is produced by Octopus Theatricals and was originally produced by True Love Productions.

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