16th Street Theater

So many Raptures... so little time!

2012-01-24T09:44:00.000-08:00

I really enjoyed this article written by Ken Trainor in Oak Park's Wednesday Journal and wanted to share it with you: Looking for Rapture in All the Wrong Places

Post-show dialogues begin this Thursday and continue every Thursday and Friday following the performance of Eric Pfeffinger's ACCIDENTAL RAPTURE through February 18.

See you at 16th Street!

What are you going to do to participate?

2011-09-22T20:47:00.000-07:00

Had our first talk back tonight after The Beats. Guest poet Shannon Matesky was doin' some truth tellin'. Her spirit is awesome. Confident and full and unafraid and full of love and desire.

We talked about spoken word and poetry. And is there a difference. She said "it's poetry if it has art in it." She said she liked Amiri Baraka saying: "I'm not interested in writing sonnets or sestinas or anything. Only poems." and then he adds: "If a poem has got to be a sonnet, it's certainly let me know. (Though I doubt it.)"

We talked about audience engagement because when I saw Louder Than a Bomb we were encouraged to make noise, give props, snap, clap, say "ye-ah". The performers were doin' it. The audience was doin' it. And she said it's all about giving permission.

Actor Malcolm Callan talked about when he was going to shows as a teen and the band saying: "We are the band. And you are the band. What are you gonna do to participate?"

I guess it's all about asking the question. Giving permission. Turning up the lights maybe just a touch.

We will see what happens in the experiment that is "poetry as theater."

"It's not that I didn't want children....."

2011-07-19T13:01:00.000-07:00

Rebecca Gilman's play THE CROWD YOU'RE IN WITH has got people talking! Theater is dialogue and we hope that this is a safe place to share thoughts, opinions and feelings. Of course we all will not agree with each other. But we treasure the voices of ALL in our community. Hope you enjoy this below from Rosie Newton. After seeing the play last weekend and telling me about her own choices, I asked Rosie to write her thoughts down for our blog. We would love to hear from you too. Please email me yours at info@16thstreettheater.org

"It's not that I didn't want children. It's that I never had the urge to have them. It just wasn't there. I never thought about it. When I was in my 20's and friends were starting to get married and then to have babies, I was always a little surprised--"Really? You're having a baby?!"--I had a hard time picturing my high-school pals as parents--probably because I couldn't picture myself as a parent. I still felt like such a kid.

When I got to my early thirties, most of my friends were married and starting families. I was less surprised at each new toddler that showed up at barbecues and pool parties, but I still didn't think about my so-called biological clock. Children simply were not on my radar. Once, when a single woman I knew confided that she couldn't believe she was still unmarried and childless, I was struck at how sure she was that she would have been a wife and mother by now. I mentioned the conversation to another friend, and related my astonishment at how let-down this woman had felt--parenthood had seemed, to her, a natural course of events, and somehow it hadn't happened. My friend let me know that most people felt that way. Most people grew up wanting to get married and have a family. I was stunned.

I took up the conversation with other friends, and yes, it seemed that nearly everyone I knew had always known that they would have children--even when they were children themselves. As a child, I always saw myself as alone in adulthood--of course, I always saw myself saving a busload of orphans from plunging over a cliff, or curing cancer, or opening a speech with, "I'd like to thank the Academy...", but I never had a motherhood fantasy. My Walter Mitty daydreams didn't include a vision of myself as a mother.

Looking back--I'm glad I didn't have kids. As a young adult, I had my own issues to work out, and taking on a helpless, dependent child would quite simply have been a disaster. I am sure of that. My brothers and sisters gave me a dozen nieces and nephews, each of whom I adore and absolutely cherish. Having them in my life has been an absolute joy, and I wonder sometimes what my life would have been like with kids at the center of it, but other than that curiosity, I don't feel a void in my life. Being a mom wasn't for me, and I knew that. It was a certainty that I've held all my life, and I don't regret it. I rarely tell people, though--it makes most folks uncomfortable."
Rosie Newton is an actress and writer. You may have seen her in Teatro Vista's OUR LADY OF THE UNDERPASS at 16th Street. Interestingly enough, she played the woman who was heartbroken over the fact that she was childless.

What a Stumble Through Teaches Us by Brad Harbaugh

2011-06-21T08:21:00.000-07:00

Earlier tonight, the cast of Rebecca Gilman’s The Crowd You’re In With (Crowd), the next play going up at 16^th Street Theater, did it’s first stumble through of the show. A stumble through is exactly what it sounds like. The actors start at the beginning of the show and stumble their way through to the end, without stopping, and without shame. They have a notion of their blocking (the movement their characters makes on the stage), they have their lines memorized, more or less (mostly less), and they try their best to do the show without causing injury to self or others or embarrassment to the playwright.

(Pictured cast members Skyler Schrempp and Joan Kohn with Brad Harbaugh.)

Stumble throughs are often angst ridden experiences for the actors. Moments of the play they thought they had down suddenly go up in flames. Whole chunks of memorized lines simply vanish. The actor’s desire to go slow and not force anything crashes up against the performers desire never to suck, and often the result is ugly. Nevertheless, as bad as a stumble through can be, it is a necessary step in the evolution of a play – a right of passage the artists must go through. Crowd director, Anish Jethmalani, said doing the stumble through is like assembling the skeleton, from which we can then hang the meat.

With those words in mind we took to the stage tonight…and the results were not bad. Nobody crashed into anyone else, the lines were said mostly in the order they were written and by the characters to whom they belong. And for those moments I was not on stage, I sat in the audience and watched, and I was transported into the world of this play as if I were an audience member seeing it on its opening night. It was wonderful.

Of course the set needs to be finished and the props need to be assembled and the costumes finalized, and many moments need tightening up to meet the director’s and the playwright’s visions. However, even in this stumble through – there was a living, breathing play that was lovely to behold. I’ve experienced that before in rehearsals, where I am able to step back and experience it the way the audience will…just rarely this early in the process. It’s a special cast, with a great production crew, and I think it’s going to be a very good show.

That’s not something I say or feel about every show. The truth is, like parents who secretly like one kid more than another, actors have favorites too. Sometimes we don’t know a show is good until it’s in front of an audience…but sometimes there is no denying that what’s taking place in rehearsal is something special. This is one of those times. Of course, no play is complete until the audience is there…and I can already feel my fellow actors itching for that connection with you; for someone to tell this story too, and from whom we will learn what is really important.

Still, what does it all mean? It means that instead of waiting until the show opens to invite friends and family to see the show (after we’ve had a chance to work out the kinks). I’m going to invite them now. Let alone the fact that the topic is one everyone can relate to on some level, I think this play is going to be a hopping good time. The only downside of this production, that I can see, is the limited number of seats. If you’re thinking of coming, my advice would be to get your tickets early…before every last seat in the house is sold to a friend or family member of the performers. If they have the same feeling about this show that I do, they are going to be inviting everyone they know to come see it. The old theater adage is “Bad final dress rehearsal, good opening night.” I might add another. “Not a terrible stumble through, very good play.”

Written by Brad Harbaugh. Brad plays Dan in 16th Street's upcoming THE CROWD YOU'RE IN WITH starting July 7. He also happens to be married to Julie Ganey (the blond dentist) in our winter production DENTAL SOCIETY MIDWINTER MEETING.

OUR DAD in Spanish

2011-04-29T09:42:00.000-07:00

From Maria who came to OUR DAD IS IN ATLANTIS first weekend.

"so i actually found a clip of the staging of play in san luis potosi (my mom's home state). check it out - it certainly conveys some of the same feelings but in spanish it is quite different:"

thank you for sharing, Maria!

http://www.youtube.com/watch?v=Z0T-6dVan1E

Associate Artist Kurt Sharp

2011-04-28T08:15:00.000-07:00

Kurt Sharp's Scenic design rendering for Javier Malpica's OUR DAD is in ATLANTIS

The reverse rake gives the subtle illusion that the boys are further away than they really are when they are all the way upstage.

Holy the rap gestures!

2011-01-17T12:01:00.000-08:00

Here is what I emailed to Kelly Kleiman, regarding her great review of The Beats. I have one "But" I must respond to though, so I share my email to Kelly here:

You know I love to dialogue so here are my thoughts RE: "rap gestures"

This ain't no period piece. The whole point of the show was to see how these words would sound and feel in the mouth's of today's hipsters. These actors play themselves right now right here in Berwyn reading the words of The Beats from back then. Only once do we go nostalgic and attempt to "bring back the dead" when Adam reads The Railroad Earth in the tone, voice and style of Jack Kerouac. (Our little theatrical moment.) The rest of the time, they let the words influence their own selves. They are not trying to become Kerouac, di Prima, Baraka, Corso, Ginsberg. We are not trying to bring the audience back to the 1940s and 1950s, we are bringing these words of that time right into 2011. But with no tricks and no "updates".

The influences of today exist on stage including the wordle painted on the stage wall and the fact that the actors wear their own clothes. (which is amazing that their clothes of today fit right in!!)

I am rarely interested in going back and going period. Going period most often to me can feel inauthentic and just a bit phony.

Rap on and gesture freely!!!

Thanks so much for coming and for your review. I always love to hear your thoughts especially regarding women's roles. Holy Kelly Kleiman!

oops: actors names misspelled: John Taflan, Carly Ciarrocchi

Holy the dialogue!
Ann Filmer

About Poetry

2011-01-16T11:04:00.000-08:00

This from Artistic Associate Kirsten D'Aurelio (lead in Menorca)

Ann,

Bravo on a really spirited and beautifully-staged production!

When you talked about the light switch, I thought of this Billy Collins poem. Is this the one you meant? I always read it to my Performance of Lit classes when we start the poetry unit.

Have a great run!

Peace,
Kirsten

Introduction to Poetry
by Billy Collins

I ask them to take a poem
and hold it up to the light
like a color slide

or press an ear against its hive.

I say drop a mouse into a poem
and watch him probe his way out,

or walk inside the poem’s room
and feel the walls for a light switch.

I want them to waterski
across the surface of a poem
waving at the author’s name on the shore.

But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.

They begin beating it with a hose
to find out what it really means.

Obama keeps the beat

2011-01-14T09:12:00.000-08:00

This from actor John Taflan who plays Allen Ginsberg in The Beats among others.

"Thanks for the inspiring words, Ann.

A quick bit for you:

I was moved to tears this morning by President Obama's speech in Arizona.

View speech here.

Not only because of the maddening brutality of the event which necessitated it, but because of just how BEAT the speech was.

Listening to him you could hear Corso, LeRoi, Kerouac, Ginsberg; all of them. A chorus of love flowing from the pedestal.

At the end of the speech, in reference to Christina Green--the youngest victim of that terrible day--he says (and I paraphrase, slightly)

'May we be forever worthy of her gentle spirit'

Holy the supernatural extra brilliant intelligent kindness of the soul."

-John Taflan
Photo by the great Anthony Aicardi

It's all about the words

2011-01-14T08:56:00.000-08:00

Words I shared with the cast on opening day of The Beats yesterday:

"The day a show starts performances I love to go back to the first idea and the first intention with the work.

And as I look back way way off in the distance..... ha ha.... over 3 weeks ago way WAY back to, uh

Dec 20

I remember thinking and maybe saying:

"it's all about the words
we discover them at the same time as the audience
we do not set the vibe and then say the words. the words carry us to the vibe."

or some words like that

of course this is theater and we have craft and magic and theatrics on stage and cues and transitions and we have worked all that out and made it precise and swell and fade and pop and all those things that give us structure and magic moments

and now we step back from craft and manipulation because that was what rehearsal was for

and let the words carry us where they will

as poet Jim Carroll said, and I paraphrase:

'With performing poetry you just open the door and turn on the light.
No need to tell us what all is in the room.
No need to point to the chair telling us this is the chair, that is the rug.
Just open the door and turn on the light'

Holy holy holy

It's all about the words"

Ann Filmer

Go Go for 16th Street!

2010-12-15T18:21:00.000-08:00

The company I used to work for, Vertical Incorporated in Wicker Park, devised this little fun game to raise some money for local organizations including 16th Street! At the same time, turning people on to their business.

Will you play a game and allocate some points to 16th Street and/or any other organization you dig? Link is below. I just played and I am so stupid about these things it took me the whole game to figure out how to play it. I still don't really know. Anyway I wouldn't be bugging for some multi-national, but Vertical is a small company full of good-hearted people I really love. So I pass on to you. Go go Santa!

Love,
Ann Filmer

Here's how it works:
Go Go Santa is a free-to-play game designed by Vertical to help people relieve holiday stress. We launched our first game in 2009. The 2010 version of Go-Go-Santa goes a little further, giving players an opportunity to allocate Vertical’s end-of-year contributions to one of five organizations.

At the end of the game, Go-Go-Santa players will be asked to allocate their points to one, two or more of the organizations. Vertical is limited to making $5,000 in holiday contributions for 2010. It will give a minimum of $250 to each of the five organizations. The remaining $3,750 will be divided among the five organizations based on the number of points each organization earns from Go-Go-Santa game players. Players have until December 28 to allocate points to the organizations. In addition, each organization will have the opportunity to link its donor page to Go-Go-Santa to allow players to make direct contributions.

Have fun with the game and enjoy the holidays!

Link: http://gogosanta.com/#16thstreet

Holy the Wordle!

2010-12-14T12:36:00.000-08:00

Here is the entire script of Marilyn Campbell's adaptation of The Beats as a wordle.

Enjoy!

2010-12-10T06:59:00.000-08:00

I subscribe to The Sun magazine and in the December issue that just arrived the main article is "Kim Rosen on Reclaiming the Ancient Power of Poetry." As I am starting to direct THE BEATS, it is easy to get distracted by the scene, the lifestyle, the culture. But they were, they are, Poets. Poets trying to change the world by changing the conversation. Writers changing the way we write and think through Poetry and Prose. Below are two excerpts from Alison Luterman's interview of Kim Rosen in The Sun, but please go here to read the entire article. Enjoy!

Excerpt One

Rosen: When you attend a symphony, you lean back, close your eyes, and go for the ride. You’re not thinking to yourself, Now, what was Beethoven trying to say with that particular chord? Most of us don’t analyze a painting by Georgia O’Keeffe. We stand in front of it and observe what happens in our own bodies and minds.

But with poetry, because it’s words on a page, we think we’re supposed to understand it the way we understand a newspaper article. The left brain says, Aha! This is my domain. It wants a literal meaning to the poem. But poetry is the stuff of the right brain — the ineffable, the emotional, the relational — arriving dressed up in the costume of the left brain: words. Billy Collins has a great poem called 'Introduction to Poetry.' He invites people to "take a poem and hold it up to the light like a color slide," but all they want to do, he says, is beat it with a hose to "find out what it really means."

Excerpt Two

Luterman: You recently wrote a blog in the Huffington Post about this country’s “metrophobia,” or fear of poetry. Why is American culture so poetry-phobic, whereas other cultures revere poetry and poets?

Rosen: Only a few generations ago in the U.S., poetry was much more popular than it is now. My father, who is ninety, still remembers the John Donne sonnet he memorized in grammar school. Poetry recitation used to be a fixture of small-town American entertainment. But over the last few generations we have managed to marginalize the art form. And it’s not just about the rise of tv, radio, and other technologies taking the place of poetry. Did you know that the most popular tv show in the Middle East is Million’s Poet? It’s like American Idol, but the contestants recite poetry. The show has even inspired a tv channel completely dedicated to poetry, an idea that seems unimaginable in the U.S.

-- Kim Rosen and Alison Luterman discuss Poetry in The Sun December 2010 issue.

MENORCA Rehearsal Blog #2 by Charlie Homerding

2010-08-27T21:59:00.000-07:00

16th Street intern Charlie Homerding shares more thoughts on MENORCA rehearsals...

"The first 2 weeks of rehearsal are over! We’ve had additions, cuts, and revisions of the script. It’s crazy to see the process of a new play. Because no one knows what they’re doing. Just kidding, I do, I make the coffee, remember? But seriously, we’re all trying to figure this play out together. Ann will take time to talk about the scenes making sure we’re all on the same page, and every day the actors will bring something new to their characters. It’s been great to be a part of the process. I’ve been helping the actors out with their lines, and I even got to fill in for an actor the other day! Well, it was really for just a scene or two… and I was carrying a bulky stage manager binder. But still fun!

Next week the actors are supposed to be off book. We’ll see how well they do."

Creativity, genius and showing up to work

2010-08-23T08:49:00.000-07:00

Paula Swasko sent this to me. Thoughts on the creative process and where it comes from.

It is a video of Elizabeth Gilbert's speech at the 2009 TED Conference. Didn't know anything about this author before or her work (though I think I saw the film Coyote Ugly) but now I am intrigued.

I hope you enjoy it and that it inspires you to show up for your part.

MENORCA Rehearsal Blog

2010-08-17T07:45:00.000-07:00

Charlie Homerding, who was my assistant director on last summer's The Last Barbecue is joining us again to help out with MENORCA until he goes back to school at Northwestern for his final year. He will be sharing his thoughts and impressions throughout our rehearsal process. Enjoy! -- Ann Filmer

"Most of my days this summer consisted of half hour drives down Harlem Ave. that took 20 min. or 45 min. depending on road construction, car accidents or my own tardiness. My destination? The 16^th Street Theater. Yesterday was our first rehearsal for Menorca. I was told to make coffee. I really don’t drink coffee… How much do I put in? I figured stronger was better than weaker. The actors can always put more creamer in it, so I went with five – not four – spoonfuls of the generic coffee mix that Ann bought.

The actors slowly filled in the seats around the large table that our stage manager (Patrick) and his assistant (me) made out of two smaller tables that can be found in many park district basements. I noticed the age diversity in our cast as they poured their coffee (hope they liked it) and chatted with each other. The older members of the cast are, for lack of a better description, middle aged. The younger members range from early 20s to young 30s. Where do I lie? I’ll be 21 on August 18^th. Ages are important. It helps when we can put people on a spectrum.

The opening monologue begins with the main character’s perspective on time. Layers are more important to her than linear progression. She’s an archeologist and likes to dig. Apparently that qualifies her to make grand statements about the world. Like she’s been through life or something. Oh wait, I forgot... she’s middle aged. And of course, we later see her struggle through slightly confusing time lapses that capture everything from love to identity crisis. And she doesn’t really talk about layers and linear progression again… at least not as overtly as in that opening monologue. Her life is confusing. She grew up speaking Catalan with a Basque accent, then Castilian with a Catalan accent. Then went to England with a “Spanish” accent, and now she’s in America where she fits perfectly. Ha! Just kidding, she doesn’t fit perfectly. That’s the whole point of the play.

I think this play is about deconstruction. We start with the epiphany. We start with message. It’s there in the first five minutes. The audience can leave. See ya later! Come back for next season! But a paragraph or a quote or a cute little message doesn’t really touch an audience. It doesn’t let the audience have their own epiphany. We have to deconstruct first, and that happens when we see this character slowly realize how fragmented and chipped and fractured her life is. She doesn’t think linearly. She can’t.

Every night I drive home from 16^th and Ridgeland and go back to Burbank, IL, and I see the landscape slowly change. I pass through Chicago’s very own borderlands. Cultures and languages that have nothing in common find their place on a pot holed line called Harlem Ave. Do we just see it as a spectrum? Where each end stays put and everything in the middle is lost in the shuffle of left turns and yellow lights? Or do we see it as layers? Where one thing makes up the other thing and we build upon each other?

I guess the only way to answer that question is if we deconstruct. What are our layers? How can we be this thing and also be that? Can I be the rehearsal assistant stage manager and learn more than just how many spoonfuls makes the best coffee?

I don’t know… I guess we’ll have to see how the rest of the rehearsal process turns out."

Bones, Basques & Barcelona: Day 9 (Final Day)

2010-07-26T10:44:00.000-07:00

Hope you have enjoyed actress Kirsten D'Aurelio's blog. This is her final post. Rehearsals for MENORCA begin in just 3 weeks from today!

"On our last day of “Where’s Ollie?”, I was up and out of our Barcelona hotel with great anticipation to see a local phenomenon of cultural identity: the Sardana.

Every Sunday at noon in Barcelona's Barrio Gotico area, traditional Catalan music is played by an 11-piece band. As the music begins, groups of men and women appear, forming circles of about 12-30 people. In the center of the circle, they all place their belongings—purses, shopping bags, etc. as a statement of sharing, unity, trust. When the music starts, they clasp hands and hoist them above their heads, where they remain for the whole dance. Then the fancy footwork begins (I couldn’t get it down), sometimes with a spring in the step but never rotating the circle very much at all. This is the mid-19th century folk dance known as the Sardana. The dancers, most of whom were in their 60’s and above, had very determined expressions on their faces. Though the music sounds pretty upbeat to me, there’s wasn’t a lot of joy expressed in the dance; it doesn’t seem to be about that. There is a quiet elegance, a rootedness about it. Some of the dancers wear white espadrille shoes (invented by the Basques, by the way.) When the song ended, the groups dispersed, but others popped up all around the plaza while the band continued to play. An elderly woman approached me for a donation “for la musica”, and then looked me strongly in the eye and carefully pronounced the word “Sardana” to me, as if this were an important moment of cultural transmission between us. When I repeated it back, she nodded and gave me a sticker with the name of the sponsoring organization on it, and then disappeared into the crowd, just like the dancers. I was so moved by this display of unity, cultural pride, creative expression. For me, there was a feeling emanating from them that this dance is a link to a collective past, and ain’t no way they’re letting go of it (and indeed, there was one group of 40-somethings, not quite as skilled, but clearly grooming themselves to receive the torch.) All of this was made even more meaningful to me when I learned that the Catalans had their own 9/11 terror---in 1714. The King of Spain sent orders from Madrid to slaughter Catalan patriots, and they were killed on September 11, 1714 and buried in a mass grave in another plaza nearby, which has a monument with an eternal flame commemorating their 9/11 massacre. Even today, this dance is apparently ridiculed by many in Spain. So expressing their cultural identity week after week is an act of historical defiance and cultural survival. The serene but resolute looks on the dancers’ faces tell the whole story of what this enduring ritual means to them. I was moved to tears by the entire thing and will never forget it. Here’s another traveler’s footage of it:

After this glorious beginning, it was on to the Picasso Museum. Somewhere into his Blue Period, I was hit with a mild case of Stendhal Syndrome and Could. Not. Take. In. One. More. Visual. So I sat on a bench while my husband finished the exhibit, and I contemplated the artist’s loooong baptismal name, a series of names honoring various saints and relatives. The early paintings in the exhibit were signed “Pablo Ruiz Picasso”. Then “Ruiz Picasso.” And by 1901, I noticed that the Ruiz had dropped out. From then on, he was just Picasso, which is his mother’s birth name. Why did he go the nontraditional matrilineal route to self-identify? Was Ruiz too common? Was he closer to his mother? My character’s name, Ollie, is actually a nickname for a long set of names like Picasso’s, but her surname is the traditional patrilineal. So much of the “who am I?” and “where do I belong?” questions seem to be wrapped up in a name. Perhaps that’s because, as the Basques say, “Izena duen guria omen da.” (“That which has a name, exists.”) When you choose a name, you pull that identity more strongly into existence.

Continuing our exploration of the Barri Gotic, we found the old Jewish Quarter, which was an active ‘hood in the 12-14th centuries but now has been completely subsumed. We peered at buildings up and down those narrow streets until we finally spotted a mezuzah (ritual door ornament) on a small, unobtrusive doorway. At that moment, a young man and and elderly woman approached and knocked on the door. “It’s the old synagogue,” he said, and it was closed, but according to the elderly lady we could find a Hebrew plaque “dans la rue.” Several meters down la rue, we finally saw some Hebrew lettering and an inscription dedicating the service of one Rabbi Samuel. Scrawled on the plaque in pink spray paint were the words “LIBRE PALESTINE!”, making the dedication to the rabbi only partially legible. As Ollie says in the script, “It does not matter if you are not political, because the world is political, and you live in it every day....you cannot avoid it, it follows you home.”

The easy, clean Metro took us to 3 final attractions: La Sagrada Familia, Gaudi’s cathedral-in-progress (since 1882); Park Guell (wonderfully whimsical Gaudi—Willy Wonka meets Dr. Seuss); the Magic Fountains of Plaza Espanya (even better than Buckingham Fountain). Then on to a fabulous farewell meal with tapas and sangria. Barcelona is a beautiful city that anyone would be proud to call home.

Now back to Chicago to integrate the things I’ve learned in the last 9 days so I can bring Ollie to life! Thanks for traveling with me. Hope to see you at the show in September!" ----Kirsten

Bones, Basques & Barcelona: Day 8

2010-07-22T12:41:00.000-07:00

Second-to-last post from actress Kirsten D'Aurelio...

"We’re back in Catalan territory here in Barcelona, though there are little touches of Basque culture here---mostly bars or restaurants, where the Euskera font is used to draw you in, but the food isn’t really Basque cuisine. It’s just a lure, a way of appearing exotic or something, and a bit exploitative if you ask me, like a Native American at a casino. No Basque flags, no Euskera on the signs here. It’s fascinating how geographically contained Basque culture is; just a short 45-minute flight southeast within Spain and poof! A whole would-be nation has disappeared. Which means that Ollie was an outsider here at 8 years old, and found herself faced with a new language (Catalan.) By the time this play begins, adult Ollie can speak Euskera, Castillian Spanish, Catalan, and English (British, Canadian, and U.S. varieties.)

To get a fast orientation to Barcelona since we’ll only be here 2 days, we hopped on a city tour bus that allowed us to hop on and off as we pleased. First stop: the Joan Miro museum. Really wonderful collection. Then we rode a cable car gondola that took us to the top of Mont Juic (“Mount of the Jews”). Ironically, the 9th century Jewish tombstones that gave this place its name were moved to a museum one year ago, so it’s now really “Mount of No Jews”...But the view from there is stunning, overlooking the whole city, harbor and sea. Barcelona really is a gorgeous city. Back on the bus, we glimpsed the Olympic Stadiums and a cool sculpture by Calatrava. Then a very tall statue of Christopher Columbus on a colonnade near the harbor. It’s interesting how many peoples like to claim him: his native Italians, Italian-Americans, the Basques (who built his ships and sailed with him), the Spanish (who employed him.)

Also saw the stadium complex for FC (Football Club) Barcelona, the city’s pride and joy athletic institution and soccer team. Ollie mentions them in the play.

Got a brief taste of the wonderful Gaudi architecture at the Pedrera house. I’m starting to understand “modernisme” (the Catalan art noveau movement) better, and in general the contributions by Catalans like Gaudi and Miro. Catalans here live inside the city, but are also outside it (one bit of graffiti read “Catalonia is NOT Spain!”) So would Ollie have felt a kinship with Catalans, who have a separate, distinct cultural identity just as the Basques do? Interestingly, there was a “Forum of the Cultures” in Barcelona in 2004 to recognize “nations without states,” and attendees included Basques, Catalans, Native Americans, Roma (Gypsies) and Maoris. A big party for the outsiders.

Late in the day, we wandered the Ramblas, a long pedestrian mall lined with trinkets, trash and tourists, which I found to be crass, commercial and cacophonous (wasn’t happy to see Burger King, McDonald’s and KFC jammed with excited tourists at 1 a.m., either.) But on one side street off the Ramblas, there is a recently-discovered Roman necropolis right in the middle of this commercial district! Not your every day find in modern day Barcelona, and the novelty of this made me wonder how the heck a person like Ollie becomes interested in antiquity (archaeology) when surrounded by so much modernity in a big, up-to-date cities like Barcelona and San Sebastian. Where did her vocational passion come from? Have to figure that one out.
Here are the tombs:

Tomorrow: my last day to soak up sunny Spain, and to find more of Ollie in her childhood city!"

corrections for Chris Jones

2010-07-19T08:33:00.000-07:00

Some corrections to Chris Jones review of THIS TRAIN

Dear Chris,

John Rice is the guitar player, the music director and the one who wrote (along with Kat) the music for the song poems that Kat sings.

John did not have his back to the audience the whole time.

That man playing the harmonica was Buzz Kilman as the Hobo Ghost. You could also think of him as Mr Fowler.

The lyrics for those song poems are from Tony's Hobo Alphabet Series of collages. A collage was projected after a story (they go together) while Kat gives voice to the poem within the work of art. Video artist Kristin Reeves focuses our attention onto the detail of Tony's art so we can see the hobo alphabet symbols, poetry, details and objects within his collages. Then she shows the collage in its entirety.

THIS TRAIN was not found. It was deliberately and specifically crafted to give the audience a deeper look and understanding into Tony's work as an artist and a storyteller, along with his day-to-day struggles and shortcomings as a human being who lives, works and participates in our great and complicated city of Chicago.

more later
ann

Bones, Basques & Barcelona: Day 7

2010-07-19T08:32:00.000-07:00

Actress Kirsten D'Aurelio's blog researching MENORCA... Day 7

"Devoted the last day in Euskadi (Basqueland) to visiting Ollie´s birthplace: Donostia (also called San Sebastian, in Spanish.) I was eager to see what kinds of formative sights/sounds/flavors might have shaped Ollie as a child. 2 buses got us from Bilbao to Donostia´s Boulevard near the old town, which is chock full of pintxos bars, gelaterias, and bakeries. After a quick breakfast, we strolled along the 2-mile shoreline of the Playa Concha, which has beautiful views of the surrounding hills and the Atlantic Ocean. Less beautiful though is the dingy promenade and the surrounding buildings. A bit like Coney Island--faded glory. For some reason that even the tourist office couldn´t explain to us, there were polizia everywhere, some doing random vehicle checks, and we also encountered some pretty unfriendly merchants in the shops. Are they sick of all the tourists (who apparently comprise 50% of the population at any given time), perhaps? We tried to shake it off by wading into the ocean, but the hypodermic that washed ashore didn´t help matters. What to do? Something that is not deductible on my performing artist tax return: a visit to the fancy beachside spa. 4 pools, 2 saunas, and a relaxation room later, we felt ready to return to the town. I sought out the famous "pastel vasco" (Basque cake), which has been around for centuries. It was oddly-shaped, sort of like a pot pie, but tasted delicious. The ikkariña (Basque flag) was displayed everywhere. Unfortunately, we ran out of time to stop by Bar Herria, a haunt for Basque nationalists, where apparently there are photos displayed of some of the more violent members of the movement, who are currently serving prison terms.

Did a mad dash back to Bilbao to catch our flight only to find it delayed due to the rain in Spain. So all in all, not the best day of the trip. But still some highlights, like the picturesque views of the hills and valleys and the whitewashed, red-roofed Basque houses I could see out the bus window between Donostia and Bilbao. Also a great ariel view of the Pyrenees on the flight to Barcelona tonight (where I am writing this blog entry.) By the end of the day, we will have followed Ollie´s trail on 5 buses, 2 taxis, and a plane---whew!

And what of Ollie today? I came away from Donostia wtih the thought that due to the massive tourism industry in her hometown, Ollie was exposed to lots of people from different places, speaking different languages, different cultural values, etc. San Sebastian today has 180,000 people, so Ollie didn´t grow up in a tiny Basque village like the one we visited last night. She had a big view of the world right from the start, and though she would have had plenty of company as an "euskal herria" (speaker of Euskera), she was living in a place where other cultural identities were alive and well. Was that environment enough to cement her Basque identity, or did it leave a window open for questioning who she was? At 8 years old, she would move to an even bigger place--Barcelona--with her family, so that´s where I´m headed now to see where she finished growing up. Tomorrow: Barcelona!"

Bones, Basques and Barcelona: Day 6

2010-07-18T06:56:00.000-07:00

Day 6 of actress Kirsten D'Aurelio's trip to Spain to prepare for her role as Ollie in MENORCA...

"Took some time away from show research to visit Bilbao´s pride and joy: the Guggenheim. Fantastic. Shimmering. Sculpture within sculpture. For a Chicagoan, seeing designs by Gehry, Kapoor and Calatrava is a very familiar experience, so that makes Bilbao truly feel like a sister city. I love it here.

But in the evening it was back to the show. We were treated to 4 hours of incredible hospitality from our new Basque friends, Itsaso and Egoitz. (These are older Basque names that are being revived by the parents of the post-Franco generation. Itsaso means "sea.") They picked us up at the hotel and we took a scenic drive out to their farm in Laudio, about 30 minutes outside Bilbao. Their traditional etxea (house) has been in the family for 150 years, and its name and family crest are prominently displayed over the door, just as Ollie describes in the script. We met an aunt, grandmother (88 años)and Dad. Beside the house is a vegetable garden, and lots of roosters. Down a short path, the family´s vineyard appears---4 hectares worth. We got a tour of the winery, and Itsaso and her dad explained the process with the vats and showed us the labeling and corking machines.

Then the fiesta! We drank the lovely wine, of course---a white variety called txakoli--and Egoiz cooked for us. Our meal: deep-fried pig´s blood cubes (very good if you follow Itsaso´s advice and don´t think about it too hard), tortilla espanola (Spanish omelette), fresh (from their garden) green peppers with coarse salt, bread, and some chocolate candies we had brought as a gift from Gernika. Delicious! Served informally on napkins with toothpicks for utensils. The weather was perfect,and we were joined by 3 more friends as well. So the 7 of us had a lively conversation about gender roles in Basque life, politics, Basque culture, music. Some struggling to understand each other at times, but Itsaso´s great English saved the day (and her Spanish-English dictionary, which enabled us to look up harder words like¨"wild boar", "partridge", "woodcock", "criminal", and "stubborn".)So grateful to Itsaso for all her translating. 4 hours must have been exhausting, though we all tried to help by being enormously expressive and pulling on the little Spanish and cognates my husband and I knew.

Some ideas: there is displeasure that, especially by Spaniards in the south, the Basque country is perceived as a dangerous place, since in reality there is so little crime and the terrorism has been so infrequent and small-scale (esp. compared to 9/11, as one person pointed out.) It´s true--we´ve felt perfectly safe here even at midnight on the Gran Via, and there are no partitions between driver and passenger in the cabs as there are in Chicago and NY and other US cities. There´s a feeling that politicians use the terrorists as a dodge for talking about real problems, such as drunk driving and domestic violence. Sound familiar?

What about a separate Basque nation, we asked? Not much interest in our group. They feel solid in their identities as Basques (their primary identities) and feel very content with their lives. Securing a nation isn´t a priority for them, and they consider themselves apolitical (like Ollie.)

Speaking Euskera outside of Basqueland? This would provoke curiosity, they said, but not necessarily disdain.

Female power? Lots of spontaneous discussion about this. Women rule the home and family in Basque culture. But they cannot inherit the legacy homes, and they aren´t always paid equally in the workplace or represented in political bodies. Despite this, Basque women are considered to be very independent, especially compared to other Spanish women as a whole. They have jobs, own property, delay motherhood. We were told repeatedly that Basque women have this very strong, indepdendent character, and that their men aren´t threatened by that, including the possibility that a woman would earn more money. This is a lot for me to think about as I consider Ollie´s relationships to the men in the play.

All of these serious themes were interspersed with guitar playing and loud singing (including La Bamba and "Don´t Worry, Be Happy.") As if all of this weren´t enough, Itsaso very graciously agreed to read Euskera words and even an entire English monologue from the script into my digital tape recorder, so I have fantastic source material now to design my dialect for Ollie.

One final treat on the way home: a stop at a scenic overlook for a fabulous view of Bilbao at night. Reminded me of Mulholland Drive in L.A. What an incredible, authentic experience! I feel so fortunate.

Tommorow: to Ollie´s birthplace!"

Bones, Basques & Barcelona: Day 5

2010-07-17T07:33:00.000-07:00

Actress Kirsten D'Aurelio's MENORCA blog from Spain continues...

"The rain in Spain falls mainly on the northern coast, according to Ollie (in a shared line with George), and sure enough I am seeing overcast skies and lush terrain. Once again, I'm in chocolate heaven with what is basically hot drinking chocolate, almost a pudding. Fantastic. This country really knows how to do chocolate! Still trying to get my ear around the Euskera. I can´t quite detect a rhythmic or melodic pattern yet, so it sounds like a rapid jumble of consonants at the moment.

We boarded a bus for Gernika (Guernica in Spanish) today, the symbolic center of Basqueland, and saw 3 important sites that certainly would be a part of Ollie`s heritage. First, the Peace Museum, a theme museum which documents the horrific 1937 bombing by the Nazis and Italians that razed this peaceful Basque village. Visitors are asked to contemplate concepts and tools for conflict resolution, and there are profiles of the world's peacemakers, who get so little coverage compared to the warmakers. My favorite quote: "violence is the last refuge of the incompetent" (Isaac Asimov). See this inspiring place at www.museodelapaz.org

Next stop: the Assembly House and the Tree of Gernika. Since the Middle Ages, the 7 Basque territories have each sent representatives here to uphold the ancient fueros (laws), many of which were quite progressive for their time and would have directly conflicted with the US Patriot Act. The oak tree is a universal symbol of unity for the Basque people and there is controversy over how it survived the 1937 bombing. But survive it did--very much like the Basques themselves.

So, all this evidence of Basques as a collaborative, peaceable people is a contradiction with the modern image of the violent terrorist Basque nationalist. No wonder Ollie has trouble sorting this out for herself.

Finally, the Basque Cultural museum, where we learned about Basque history, geography, language, sports, legends, Proverbs, and my favorite part: music. Videos of traditional dances were accompanied by flute and drum songs, so I heard the sound that according to the script should begin and end the play. I learned that Ravel was Basque, and now "Bolero" makes so much cultural sense to me (dominant flute and drum.)

Ended our Guernica visit with another pintxos crawl, featuring slightly different(more Basque?) cuisine. OMG--I think I ate octopus. Or squid. Or anemone. All 3 are popular. I chewed through a little suction cup thingy......but mild tasting. These pubs and stores all play American pop music, so we're eating these exotic things but hearing Beach Boys and Whitney Houston. Back to Bilbao on a very efficient bus, and then we fell asleep watching a televised pelota match. Tomorrow: our dinner with the Basques!"

Bones, Basques & Barcelona: Day 4

2010-07-15T08:19:00.000-07:00

Actress Kirsten D'Aurelio's MENORCA blog continues... Basqueland

"Now that I´ve learned about Ollie`s work life, it´s time to learn about her personal background. So it´s off to her childhood home around the Pyrenees: Basque country. We bid farewell to Antoni, our Menorcan host in Ciutadella, and drove to see the only part of Mahon I´ll get to: the airport. While there, I stepped onto a scale in the Farmacia and was horrified to learn that I now weigh a 5-digit number: 65,700! Too many Trufo bars and ensaimadas! Luckily my husband calmed me down by converting that awful kilo number back to the 3-digit lbs I´m used to, and since I wasn´t in the "Obesidad" column on the slip, I thought it would be a really good idea to try a chocolate croissant. The best one of my life! Good thing there is so much walking involved in these cities, or I won´t fit into my costumes...

Arrival in Basqueland brought signage with Spanish and Euskera, and temperatures that are 10-15 degrees cooler than Menorca. We checked into a plush hotel that was once the headquarters of the Republican Basque government, and a favorite of Hemingway, Bacall, Ava Gardner, and many famous bullfighters. Probably says something about Spain´s current economy that we can afford this place, which costs less per night than a lesser quality room in downtown Evanston.

At night, we ventured out to the charming Casco Viejo (old town)and did the wonderful tradition of txikiteo (pub crawl) that features Rioja wines and a dazzling array of pintxos (tapas.) We got the hang of it quickly: step right up, order your beverage, and choose 4 or 5 pintxos. Stay about 15 minutes, remember how many pintxos you had so you can pay the bill (about 10 euros for bevs plus the tapas--couldn´t even get two glasses of wine for that in Chicago, let alone these gorgeous, delectable works of art with cod, pork, olives, quesos, mushrooms, and other unidentifiable things--we think we might have eaten some baby squid legs)and then you´re off to the next bar. The whole ritual is so enjoyable and efficient. Napkins are to be thrown on the floor in order to keep the bar clear for the next patron, since the turnover is so fast. We hit 4 bars in rapid succession, and in the last one, my friendly husband asked the woman next to us if she was Basque--and she said yes and excitedly began speaking to us in good English. She introduced us to her brother and mother (whose birthday they were celebrating) and took us to a 5th bar to sample a particular kind of wine that her family grows. By the end of the evening, we had an invitation to visit their vineyard and have dinner on Thursday at their traditional Basque home, which has a name, just as Ollie describes in our script. Jackpot! We are in for a very authentic experience. I am so excited and awed by the kindness of these strangers (to paraphrase Tennessee Williams) and our new friend told me that it´s important to her that we have a good time in Basque country because even in the south of Spain, Basqueland is considered by many to be filled with terrorists, and not a nice place to live. So she is deeply appreciative of our interest in Basque culture and, I think, our potential as ambassadors. I´m glad to oblige! Tomorrow: deeper into Basqueland."

Bones, Basques & Barcelona: Day 3

2010-07-14T08:52:00.000-07:00

Actress Kirsten D'Aurelio continues her journey in Menorca researching her role for Menorca...

"This morning, our last full day in Menorca, we walked around the city centre. These narrow cobblestone streets are where the fiesta de Sant Joan took place 3 weeks ago, so it was great to take in this exact locale and picture the horses, revelers and bonfires which are part of the world of our play. At the shops, I was able to get some items that might make great props for the show (with our propmaster´s approval, of course.)

The 12th century cathedral (mostly Gothic) intrigued me, not only with its beauty and the organ recital we stumbled upon (Mozart on a 2,347 pipe organ is pretty magnificent!), but because, like Menorca itself, the cathedral has been looted and nearly destroyed many times, all the way up to the Spanish Civil War. So the decor is a hodgepodge of time periods and styles in the same way that Menorca contains such a diverse combo of elements from its history of domination and surrender to the Turks, the Moors, the Brits, the French. I see now that Menorca is the perfect backdrop for a play whose themes include misplaced cultural identity and boundaries.

In the afternoon we drove to the southern coast and the sparkling waters of Cala en Turqueta, a gorgeous cove beach that was about 40% topless (don´t ask--I´m not telling.) Also had a wonderful ensaimada from the oldest bakery on the island, and am continuing my love affair with the Trufo bar (the creamiest ice cream bar I´ve ever had---nuevo flavor "choc-orange"! For dinner, we opted for modern Menorcan cuisine, including more Menorcan gin and some tasty mozzarella and pinons (pine nuts.) Struck up a conversation with the table next to us, and voila! met my first Basque, a lovely 20 something French Basque woman who spoke excellent English and whose favorite shows are "Dexter" and "True Blood" (ah, the things we export!) She and her brother were taught some Euskera in school, but her mother doesn´t speak it, and her grandmother still feels the shame and secrecy brought on by the Franco regime´s cruel banning of the language. This attitude is depicted in one of Ollie´s monologues. I asked her if I look at all Basque, and to my delight she said, "Oh, definitely. Except for the nose--Basques have a hump on the nose, like a beak." This is not a feature I plan to acquire for the show, although that kind of thing won Nicole Kidman an Oscar....

Only one disappointment as we leave Menorca: no sightings of the famed Menorcan horse which is so central to the culture and to our play. As one tourism brochure put it, this exquisite breed is "a means by which to understand our history, our present and future, which we share with a character who has the leading role: the horse." We made several attempts to schedule equestrian shows, peered eagerly into fields, even drove to a stable, but to no avail. So, I´ll have to rely on the many beautiful photographs I´m bringing back with me, and fill in the rest with my actor imagination in order to do Ollie´s Act 2 monologue justice. Tomorrow: on to Basqueland!"

Bones, Basques & Barcelona:Day 2

2010-07-12T15:16:00.000-07:00

Written by actress Kirsten D'Aurelio currently traveling in Menorca...

"Today was the big day for archeological ruins, to immerse myself in the world of the play and in Ollie´s profession. First we saw a well-preserved naveta (collective burial tomb) and then a second site with the mysterious structures of taula and talayot, thought to be a religious structure and a watchtower, respectively. Then a short drive (everything is a short drive on an island that is only 40km wide) to the Ecomuseo de Cavalleria, on which the play is based. We met the founder, two senior assistants, and about a dozen students (mostly American and Canadian.) I got to hold lots of artifacts: a skull, bones, a handle of a pitcher, Roman glass shards,and small pieces of pottery. The students are working to do the detail work of excavating the vertebrae of what they believe to be the remains of a 3year old child. We had a fascinating interview with one of the archaeologists from the British Isles, who was so knowledgeable and gave me lots of insights about the mindset and lifestyle of an archaeologist. We learned how to identify a skeleton´s gender based on pelvic and cranial structures---fascinating! Due to the 37degree celsius heat and the World Cup match, there was no live excavation to observe today. But we were able to wander the dig site and see where the artifacts (often an entire basket a day)have been unearthed. Afterward, we drove up to the Cap de Cavalleria and the desolate area surrounding it and the lighthouse. Evening brought tapas and watching Spain win the World Cup! Lots of happy Spaniards, firecrackers, and cheers of ESPANA!!! Tomorrow:in search of the Menorcan horse."

Kirsten's MENORCA blog.... writing from MENORCA!

2010-07-11T08:26:00.000-07:00

Actress Kirsten D'Aurelio has just began an amazing adventure. In preparation for her role as Ollie in Robert Koon's MENORCA (beginning Sept 9) she has traveled to Spain. She will be sending us her journal and we will be posting them here. Here is Number 1. Enjoy!

"Got to Menorca easily and safely.Last night went to a minor fiesta for St.Christopher in Es Mijorn Gran and met Lana, who is one of the people in charge of the Ecomuseum. We got to stroll the cobblestone streets covered in palm leaves, eat some traditional baked goods (including the popular ensaimada!) and got our first sampling of Menorca gin (excellent--sweet tasting)in Britain´s legacy to Menorca: pomade (gin and lemonade.) Been navigating the maddening streets of Ciutadella, with me driving a stick shift for the first time in 15 years! Lots of Catalan spoken here and even on the international flight, where safety instructions were given in English, Catalan and Castillian Spanish.

So I'm hot on the trail of Ollie´s many languages. To get along,though, been hauling out some of my French and even Italian sometimes to cover my lack ofCatalan, but of course the most successful interactions are happening in the universal language of pointing and pantomime...

Today we visit several archeological ruins. Tonight we find a bar to watch the World Cup with the very excited locals, who have even shortened their time at the archaeological dig today so they can watch the match. The adventure has begun!"

Actors return to 16th Street in MENORCA

2010-05-19T20:15:00.000-07:00

Just cast my three leads in Robert Koon's beautiful new play MENORCA and I am thrilled to announce the return of two actors: Kirsten D'Aurelio and Juan Gabriel Ruiz.

Kirsten D'Aurelio is one of those 'wow' actors who you think after working with her... "She can just do anything and make it multi-layered, full, honest and engaging." She was one of the powerhouse cast of our all-female FIRES IN THE MIRROR during our Season Two in 2009. She tore it up as Leonard Jeffries talking about the making of Roots. Made you squirm, she did. She will play Ollie, a woman misplaced.

Juan Gabriel Ruiz is a young man I first worked with when he was still a student at De Paul. It was my first time directing there and I had a blast working with 10 2nd year BFAs on Steven Dietz' THE NINA VARIATIONS. Gabe was a standout, not only acting in the piece but also creating the music for the sound design. So I was thrilled when he appeared in OUR LADY OF THE UNDERPASS in its original production with Teatro Vista and then followed them here to Berwyn. If you partook in any of the post-show dialogues you will remember Gabe's thoughtful, intelligent and passionate musings on Tanya's play of faith and desire under the interstate. He is a very gifted and funny actor. He will play border patrol agent, George.

And then today I had the pleasure of seeing Doug MacKechnie who I have known in name for a long, long time but only recently saw his work in Mia McCullough's knockout Lucinda's Bed at Chicago Dramatists last year. He and Kirsten erupted with an intense chemistry during the callback today. They are going to be great together. Playwright Rob and I could not be happier!

And by the way, on a side note, you can see Kirsten on stage now in PEOPLE YOU KNOW at side project acting with playwright Koon. Yes it is true Rob is back on stage.

Now onward to cast the students. I already cast Rachel Rizzuto (from UIC) who did the reading of MENORCA for us last year. She is fabulous, a smart actor and awesome to work with.

Casting always make a new play seem that much more real. 5 more roles to go. The biggest cast thus far at 16th Street. It will be very exciting to have all that energy up on stage.

The arts impact our lives. Sing it loud! Sing it proud!

2010-04-13T10:30:00.000-07:00

Today is Arts Advocacy Day. I had to repost the letter below written by actor Gary Houston sent to his representatives. He has a way with words. Most of us do not speak so eloquently, yet we must add our voice to the dialogue. If we do not, then who will? The arts feed our souls and make us more engaged citizens. It is necessary and vital for the good of our society. And now, I turn it over to Gary:

"On April 13, 2010, Arts advocates from across the country spread out over
Capitol Hill to urge Congress to support the arts and arts education.
While I could not be in Washington, I stand by my fellow arts supporters
in asking you to support the following:

The arts provide an essential service to public life. They are the brick
and mortar with which we sustain our morality, our sense of balance
between what is true and what is illusory and between what is and is not
of value. Some believe you cannot defend the role of the arts in society
to a stubborn utilitarian because their value is intrinsic and not of
immediately visible utility. Yet each of us is a personal witness to the
influence of one or more of the arts upon our individual lives, influences
that led us to better mindsets with which to make important decisions than
we otherwise would have had. This is utility of the personal rather than
the recorded sort, but it is utility all the same. And it is vast in its
impact upon our neighborhoods, towns, cities, states and country."

Sincerely,
Gary Houston

And now it's your turn. Go here to nudge your representatives:

Unveiled: "What good theater should be"

2010-03-25T07:44:00.000-07:00

It's so nice to wake up the next morning after opening a show the night before to an email like this. Thanks Elizabeth. Spread the word!

"I really loved Unveiled. I was going to tell you last night, but you were busy and I was afraid I wouldn't find the words. But that play was so enlightening, so funny, so poignant, mostly, so important. It taught me a lot about what good theater should be: something that makes you leave the theater just buzzing inside, and dying to tell everyone you know to go and see it. It's the kind of multi-level play that really stays with you. I loved the set design, too. And what an actress!
I've told you this before and I'll say it again: You're doing such good and original and refreshing and thought-provoking work, and I'm so glad to have met and worked with you. But mostly I'm glad I get to see whatever you'll come up with NEXT."
Best,
Elizabeth

Rabbi Brant Rosen on Rohina Malik at JRC: Unveiling Our Humanity

2010-03-08T22:09:00.000-08:00

Rabbi Brant Rosen of JRC in Evanston posted this on his blog about the interfaith event Sunday night. Thank you JRC for once again welcoming 16th Street to your beautiful synagogue (we were there one year ago with FIRES IN THE MIRROR). This is why we do theater. For dialogue. To be moved to conversation and action. To share our humanity indeed. --Ann Filmer

"Last night JRC was honored to host a performance of the one-woman show Unveiled by Rohina Malik. Breathtaking.

Rohina is a playwright, actress and solo artist of South Asian heritage who was born in London and emigrated to Chicago when she was 15. She is an impressive and important contemporary artist – and her identity as an American Muslim woman clearly plays an important role in her art."

Read the rest of Rosen's blog here

A Great Review from a new fan of 16th Street!

2010-03-01T21:20:00.000-08:00

Hey all at 16th Street,

I saw "The Last Barbecue" twice, and loved it. I knew that I would have to come back.... so I did. I saw "The End of the Tour" last Saturday and loved it just as much. Cecilie Keenan did great things with a wonderful cast. I was probably most impressed with the relationship that Madrid and Kevin were able to develop. Those two men were outstanding together, so genuine and lovable, so three dimensional and real. They weren't stereotyped people, they weren't over the top gay men, they were real people, they were three dimensional human beings. The stage presence of Madrid was overwhelming, he forces you to listen to every word he has to say. Kevin was able to cry like a man that has been beaten into submission, to watch a man being pushed to that point is painful, and he made it so real. Kathleen was able to dig so deep and truly react to everything, she made everything important, significant, and meaningful. In her specificity she was able to develop a great character. Roslyn is a treat, with her wonderful timing and bravery to just jump in and be bold she keeps you on your toes. Valerie was wonderful, it is often hard to pay attention to the characters that don't really say much, but she was able to say everything without opening her mouth. Her face told a thousand stories because everything meant something to her, and it was beautiful to see her reacting and living through Norma. Ron was definitely able to find subtlety and boldness, and he was good at choosing exactly when each was appropriate. H.B. Ward was just outstanding. He was so invested in his cat, his daughter, his house, Jan, and Tommy... it was heartbreaking. He was able to make me wonder how he got that cat to stay in the box, he got me mad at him for hitting his wife, he made me feel bad that they couldn't even be in the same room any more... he made me feel so much. It is for these reasons that I'm coming back to see the show again. I'm very excited, and I wanted to thank you all. And to you, Ann Filmer, thank you for making all of this possible.

Thank you from a lover of theatre and the art we create,
Bob Gardner

Thank you, Bob, for sharing. This makes us all here at 16th Street very happy!

Thoughts on Home

2010-02-25T18:00:00.000-08:00

We are only into our second show in our Season Three 2010: What is Home? but I am already hearing such lovely musings on home from our audience members. Thanks for sharing your thoughts. Keep them coming.
This below from 100 Club member, Rich Faron:

"We were very moved by the play. Afterwards I kept thinking about your theme of 'Home' and one thing that 'Tour' helped to render are the many facets of 'home'. There is the reality of the home that continues to be in real-time but there also exists the home of our memories, the memories of others who have shared our home with us and perhaps most importantly the way that all of that can be suddenly altered when we eventually return home. And for that reason I'd like to shout-out a 'Bravo' for the staging which allowed all of the characters to remain in the scene while the play moved from one scenario to another. Each scene whether 'live' or not... reinforced for me that 'Home' is not something that can be defined in any singular fashion."

Thanks for the dialogue.

Lots of laughs, pain and hope

2010-02-11T09:02:00.000-08:00

Here is a review posted on Chicago reader online by one of our audience members. Thanks for the dialogue!

"Don’t miss this play! Great theater in a little space. Our group of four saw ‘The End of the Tour’ and went through the range of feelings – joy, sorrow, fear, hate and love. Johnson writes strong story elements of family and friends, dysfunctional as they were. As audience members, if we didn’t directly relate to their stories, the story certainly appealed to our emotions. Lots, of laughs, pain and hope. Well acted and well staged. Congratulations to 16th Street and the theatrical company for a highly entertaining evening. Keep them coming."

Top 10 Reasons to see The End of the Tour

2010-02-10T11:38:00.000-08:00

This email below was posted on Berwyn Talks blog from Ted Korbos. And it is so good, I just had to repost it here. Thanks Ted for your approval and your wit!

In my best David Letterman fashion, here are my top 10 reasons to see "The End of the Tour"

10. Ronald Reagan - his speeches, his home town and his former girlfriends (sort of).

9. The 16th Street Theatre - its intimate setting allows the play to grab you by the throat.

8. Tommy - the stereotypical Sox fan - dressing sloppy, guzzling beer and conjecturing about menopause and love.

7. Silence - the silent acting in the "off-screen" scenes that play out in darkness next to the "on-screen" main scene.

6. Chuck - the husband whose world is falling apart, walking around with a dying cat in a cardboard box,

5. Coldness - the coldness of Jan toward her husband Chuck and Andrew toward his partner David.

4. Andrew - Andrew is HOT!, especially in the opening scene in his pajamas and tank top t-shirt - think older version of Patrick Kane with a more well defined body.

3. Mae, the Drama Queen - .Mae, the elderly matriarch of a dysfunctional family, entertaining her fellow senior citizens in a nursing home by singing the Johnny Cash song "I Walk the Line".

2. Mothers - Mae, the mother who can't give up her small town thinking; David, the ultimate Jewish mother; and Jan, the woman who has become a mother to her husband Chuck.

1. Hugs -
- the frantic hug between Jan and Mae at the nursing home when Jan tells Mae she's moving away;
- the tearful hug between Andrew and David after Andrew is once again rejected by his mother Mae;
- the non-hug between Tommy and Chuck after Jan tells Chuck she doesn't love him any more;
- the awkward hug between Jan and Ronald Reagan's old girlfriend at the nursing home
- the warm hug between siblings Andrew and Jan at the end of the play.

Thanks Ted! You deserve a hug!

THIS TRAIN getting people talking

2010-01-27T12:07:00.000-08:00

After watching Tony in THIS TRAIN I find myself sharing stories I've never told anyone about my past. There must be something about Tony... here's what you have been sharing with us:

"Thinking about how my parents both made it through The Depression, Mom in Oklahoma and Texas and Dad in Virginia and West Virginia. Tony Fitzpatrick's This Train opened at 16th Street Theater in Berwyn last night -- it's an emotional ride through those days and today. Thanks Tony and Ann Filmer!" -- Debbie

"The piece was so powerful, it's taken three days to find the words
to express my gratitude for this theater experience!
Like homespun cloth, like jazz . The driving rhythm . . . I could feel the
energy of the rushing train . . . the unrelenting mindless force
that changed a nation and people's lives . . . also as a symbol of the rush
business and politics that catch folks in a whirlwind and obliviously
moves on . . . . contrasted with the details of daily life . . . infused with meaning
through impassioned storytelling.
From my point of view, this was a masterpiece echoing the life force
manifesting beauty, horror, humor . . . heart.
Authentic . . . truly a great privilege to be present to the monumental, human
presence of Tony Fitzpatrick and his friends.
Congratulations, Ann . . . for bringing This Train into the station." -- Joyce

"I must say I've seen a lot of theater in my life and found This Train to be hilarious, sweet, and thought provoking. It made me nostalgic of growing up in the old neighborhood as I have encountered many of the characters Tony speaks of in the play. I laughed, I cried (I did). Wonderful!!" -- Michael

"Thanks for putting together such a fab show! THIS TRAIN was really outstanding....I am a native Chicagoan and so I made a lot of immediate connections with it but I believe there are a lot of universal themes..." -- Rich

"Congrats, Ann,

Thank you for a string of unique pearls, linked together for an excellent concept of home. You directed a clean and simple sketchbook of impacting notions that appeared and disappeared right before our eyes. With surprising brevity, the echoes reverberated many hours later.

This brought to mind an article I recall from many years ago about Picasso visiting a Kindergarten art class. He said, 'When I was their age, I could draw like Raphael; I've been trying to draw like they do ever since.'

You and Tony succeeded in jumping into the middle of our lives and showed us pictures we're often too busy to otherwise notice."

Ron and Celia

Thank you for sharing your thoughts. Keep them coming. We treasure the dialogue.

Fitzpatrick... Fitzgerald... it's only a name

2010-01-23T09:59:00.000-08:00

Thanks Nina Metz and Tribune for coming and covering Tony Fitzpatrick's THIS TRAIN at 16th Street Theater. Always appreciate the attention and coverage.

"For some reason Fitzgerald never bothers to explain what the symbols mean. It's a baffling omission that robs the images — of crossed arrows and entwined circles — of their context and power. It's a small yet vital shard of unfinished business."

To Nina: Tony says you and Tribune owe him at LEAST half a star for fu*king up his name in the final paragraph. Hopefully by the time I post this blog Tribune will have corrected the error.

To reader: I also sent Nina, who I really like by the way and who has always made it out to our little Berwyn theater, an email correcting her on another point:

Tony explains three symbols in the show:
"This one is symbol for 'This Town is hostile' " he says as he points to his projected collage before Sally Timms sings.

He also names the hobo symbols tattooed on his arms: "This one means Don't give up. This one means Get out fast. Each morning I look at both and decide which is the most prudent action to take"

So, Nina, I take your bafflement and raise you.

I would love to dialogue more about the show with you, Nina, and others. I love to hear what people get or don't get out of the show, especially with a new work.

Thanks for the dialogue.

Tony Fitzpatrick in Best of Chicago - New City

2009-11-18T13:08:00.000-08:00

According to New City Tony Fitzpatrick is the

Best iconic Chicago personality now that Studs is gone

We agree.

"Studs Terkel was the last of a generation of Chicagoans who came of age in the fifties and sixties, and through a combination of talent, output and staying power became fixtures in our cultural consciousness...." Read the whole entry here.

I was out of town last weekend. Maybe someone can grab me a leftover copy of New City from November 11 ?

And remember to see Tony here at 16th Street Jan 21 - 30.

Richard Roeper on Our Lady of the Underpass

2009-10-08T10:18:00.000-07:00

Richard Roeper in yesterday's Chicago Sun-Times writes about the Our Lady miracle and its effect four years later.

16th Street Theater in a co-production with Teatro Vista... Theatre with a View presents Tanya Saracho's Jeff-nominated play Our Lady of the Underpass on the 5-year anniversary of the Holy sighting on Fullerton Avenue.

We will be cheering Tanya on as she competes against herself for Best New Play at the Jeff Awards on October 18. She also is nominated for her play Kita y Fernanda which we produced last fall here at 16th Street.

Tanya also is up against Pulitizer-prize winner Lynn Nottage, Masha Obolensky and the excellent Lisa Dillman. All women, I might add.

Keep the faith!

Read Roeper's full article here.

Anna Deavere Smith's new play in New York

2009-10-07T09:26:00.000-07:00

Anna Deavere Smith's latest show Let Me Down Easy is now playing at Second Stage Theatre in New York. Below is a brief excerpt from an in-depth article published September 30 in the New York Times about Ms. Smith and her work, including Fires in the Mirror which 16th Street produced earlier this year:

A theater critic once wrote that Smith doesn’t impersonate characters so much as she does impressions of their souls. As lovely as that sounds, it’s not what she’s striving for. Her project, since the ’70s, she told me, has been about trying to understand “the relationship of language to character.” She explained: “By that I mean the rhythms, the sounds people choose to make while they’re speaking.” Pursue those, she argues, and you’ll get somewhere interesting, even if it’s not precisely inside their heads or inside the part of you that can relate emotionally to what’s inside their heads. Read the entire article by Susan Dominus here.

Thanks, Kathleen, for passing this article on. Enjoy!

"Yes, America, there really is a value to the arts"

2009-09-12T19:26:00.000-07:00

Thanks to Stephanie Diaz (Concha and Jessica from KITA Y FERNANDA) for posting this on Facebook. (Yes, there really is a value to Facebook too!)

Enjoy!

Karl Paulnack, music department head at Boston Conservatory, wrote and presented this speech to the incoming freshman at Boston Conservatory earlier this year.

--------------------------------------------------------------------------------------------------------

One of my parents’ deepest fears, I suspect, is that society would not properly value me as a musician, that I wouldn’t be appreciated. I had very good grades in high school, I was good in science and math, and they imagined that as a doctor or a research chemist or an engineer, I might be more appreciated than I would be as a musician. I still remember my mother’s remark when I announced my decision to apply to music school—she said, “you’re WASTING your SAT scores.” On some level, I think, my parents were not sure themselves what the value of music was, what its purpose was. And they LOVED music, they listened to classical music all the time. They just weren’t really clear about its function. So let me talk about that a little bit, because we live in a society that puts music in the “arts and entertainment” section of the newspaper, and serious music, the kind your kids are about to engage in, has absolutely nothing whatsoever to do with entertainment, in fact it’s the opposite of entertainment. Let me talk a little bit about music, and how it works.

The first people to understand how music really works were the ancient Greeks. And this is going to fascinate you; the Greeks said that music and astronomy were two sides of the same coin. Astronomy was seen as the study of relationships between observable, permanent, external objects, and music was seen as the study of relationships between invisible, internal, hidden objects. Music has a way of finding the big, invisible moving pieces inside our hearts and souls and helping us figure out the position of things inside us. Let me give you some examples of how this works.

One of the most profound musical compositions of all time is the Quartet for the End of Time written by French composer Olivier Messiaen in 1940. Messiaen was 31 years old when France entered the war against Nazi Germany. He was captured by the Germans in June of 1940, sent across Germany in a cattle car and imprisoned in a concentration camp.

He was fortunate to find a sympathetic prison guard who gave him paper and a place to compose. There were three other musicians in the camp, a cellist, a violinist, and a clarinetist, and Messiaen wrote his quartet with these specific players in mind. It was performed in January 1941 for four thousand prisoners and guards in the prison camp. Today it is one of the most famous masterworks in the repertoire.

Given what we have since learned about life in the concentration camps, why would anyone in his right mind waste time and energy writing or playing music? There was barely enough energy on a good day to find food and water, to avoid a beating, to stay warm, to escape torture—why would anyone bother with music? And yet—from the camps, we have poetry, we have music, we have visual art; it wasn’t just this one fanatic Messiaen; many, many people created art. Why? Well, in a place where people are only focused on survival, on the bare necessities, the obvious conclusion is that art must be, somehow, essential for life. The camps were without money, without hope, without commerce, without recreation, without basic respect, but they were not without art. Art is part of survival; art is part of the human spirit, an unquenchable expression of who we are. Art is one of the ways in which we say, “I am alive, and my life has meaning.”

On September 12, 2001 I was a resident of Manhattan. That morning I reached a new understanding of my art and its relationship to the world. I sat down at the piano that morning at 10 AM to practice as was my daily routine; I did it by force of habit, without thinking about it. I lifted the cover on the keyboard, and opened my music, and put my hands on the keys and took my hands off the keys. And I sat there and thought, does this even matter? Isn’t this completely irrelevant? Playing the piano right now, given what happened in this city yesterday, seems silly, absurd, irreverent, pointless. Why am I here? What place has a musician in this moment in time? Who needs a piano player right now? I was completely lost.

And then I, along with the rest of New York, went through the journey of getting through that week. I did not play the piano that day, and in fact I contemplated briefly whether I would ever want to play the piano again. And then I observed how we got through the day. At least in my neighborhood, we didn’t shoot hoops or play Scrabble. We didn’t play cards to pass the time, we didn’t watch TV, we didn’t shop, we most certainly did not go to the mall. The first organized activity that I saw in New York, that same day, was singing. People sang. People sang around fire houses, people sang “We Shall Overcome”. Lots of people sang America the Beautiful. The first organized public event that I remember was the Brahms Requiem, later that week, at Lincoln Center, with the New York Philharmonic. The first organized public expression of grief, our first communal response to that historic event, was a concert. That was the beginning of a sense that life might go on. The US Military secured the airspace, but recovery was led by the arts, and by music in particular, that very night.

From these two experiences, I have come to understand that music is not part of “arts and entertainment” as the newspaper section would have us believe. It’s not a luxury, a lavish thing that we fund from leftovers of our budgets, not a plaything or an amusement or a pass time. Music is a basic need of human survival. Music is one of the ways we make sense of our lives, one of the ways in which we express feelings when we have no words, a way for us to understand things with our hearts when we can’t with our minds.

Some of you may know Samuel Barber’s heart-wrenchingly beautiful piece Adagio for Strings. If you don’t know it by that name, then some of you may know it as the background music which accompanied the Oliver Stone movie Platoon, a film about the Vietnam War. If you know that piece of music either way, you know it has the ability to crack your heart open like a walnut; it can make you cry over sadness you didn’t know you had. Music can slip beneath our conscious reality to get at what’s really going on inside us the way a good therapist does.

I bet that you have never been to a wedding where there was absolutely no music. There might have been only a little music, there might have been some really bad music, but I bet you there was some music. And something very predictable happens at weddings—people get all pent up with all kinds of emotions, and then there’s some musical moment where the action of the wedding stops and someone sings or plays the flute or something. And even if the music is lame, even if the quality isn’t good, predictably 30 or 40 percent of the people who are going to cry at a wedding cry a couple of moments after the music starts. Why? The Greeks. Music allows us to move around those big invisible pieces of ourselves and rearrange our insides so that we can express what we feel even when we can’t talk about it. Can you imagine watching Indiana Jones or Superman or Star Wars with the dialogue but no music? What is it about the music swelling up at just the right moment in ET so that all the softies in the audience start crying at exactly the same moment? I guarantee you if you showed the movie with the music stripped out, it wouldn’t happen that way. The Greeks: Music is the understanding of the relationship bet ween invisible internal objects.

I’ll give you one more example, the story of the most important concert of my life. I must tell you I have played a little less than a thousand concerts in my life so far. I have played in places that I thought were important. I like playing in Carnegie Hall; I enjoyed playing in Paris; it made me very happy to please the critics in St. Petersburg. I have played for people I thought were important; music critics of major newspapers, foreign heads of state. The most important concert of my entire life took place in a nursing home in Fargo, ND, about 4 years ago.

I was playing with a very dear friend of mine who is a violinist. We began, as we often do, with Aaron Copland’s Sonata, which was written during Worl d War II and dedicated to a young friend of Copland’s, a young pilot who was shot down during the war. Now we often talk to our audiences about the pieces we are going to play rather than providing them with written program notes. But in this case, because we began the concert with this piece, we decided to talk about the piece later in the program and to just come out and play the music without explanation.

Midway through the piece, an elderly man seated in a wheelchair near the front of the concert hall began to weep. This man, whom I later met, was clearly a soldier—even in his 70’s, it was clear from his buzz-cut hair, square jaw and general demeanor that he had spent a good deal of his life in the military. I thought it a little bit odd that someone would be moved to tears by that particular movement of that particular piece, but it wasn’t the first time I’ve heard crying in a concert and we went on with the concert and finished the piece.

When we came out to play the next piece on the program, we decided to talk about both the first and second pieces, and we described the circumstances in which the Copland was written and mentioned its dedication to a downed pilot. The man in t he front of the audience became so disturbed that he had to leave the auditorium. I honestly figured that we would not see him again, but he did come backstage afterwards, tears and all, to explain himself.

What he told us was this: “During World War II, I was a pilot, and I was in an aerial combat situation where one of my team’s planes was hit. I watched my friend bail out, and watched his parachute open, but the Japanese planes which had engaged us returned and machine gunned across the parachute chords so as to separate the parachute from the pilot, and I watched my friend drop away into the ocean, realizing that he was lost. I have not thought about this for many years, but during that first piece of music you played, this memory returned to me so vividly that it was as though I was reliving it. I didn’t understand why this was happening, why now, but then when you came out to explain that this piece of music was written to commemorate a lost pilot, it was a little more than I could handle. How does the music do that? How did it find those feelings and those memories in me?”

Remember the Greeks: music is the study of invisible relationships between internal objects. This concert in Fargo was the most important work I have ever done. For me to play for this old soldier and help him connect, somehow, with Aaron Copland, and to connect their memories of their lost friends, to help him remember and mourn his friend, this is my work. This is why music matters.

What follows is part of the talk I will give to this year’s freshman class when I welcome them a few days from now. The responsibility I will charge your sons and daughters with is this:

“If we were a medical school, and you were here as a med student practicing appendectomies, you’d take your work very seriously because you would imagine that some night at two AM someone is going to waltz into your emergency room and you’re going to have to save their life. Well, my friends, someday at 8 PM someone is going to walk into your concert hall and bring you a mind that is confused, a heart that is overwhelmed, a soul that is weary. Whether they go out whole again will depend partly on how well you do your craft.

You’re not here to become an entertainer, and you don’t have to sell yourself. The truth is you don’t have anything to sell; being a musician isn’t about dispensing a product, like selling used Chevys. I’m not an entertainer; I’m a lot closer to a paramedic, a firefighter, a rescue worker. You’re here to become a sort of therapist for the human soul, a spiritual version of a chiropractor, physical therapist, someone who works with our insides to see if they get things to line up, to see if we can come into harmony with ourselves and be healthy and happy and well.

Frankly, ladies and gentlemen, I expect you not only to master music; I expect you to save the planet. If there is a future wave of wellness on this planet, of harmony, of peace, of an end to war, of mutual understanding, of equality, of fairness, I don’t expect it will come from a government, a military force or a corporation. I no longer even expect it to come from the religions of the world, which together seem to have brought us as much war as they have peace. If there is a future of peace for humankind, if there is to be an understanding of how these invisible, internal things should fit together, I expect it will come from the artists, because that’s what we do. As in the concentration camp and the evening of 9/11, the artists are the ones who might be able to help us with our internal, invisible lives.

It's a reunion. It's just for fun. (Bring your own baggage.)

2009-07-28T10:54:00.000-07:00

It's been interesting reading the reviews of Brett Neveu's The Last Barbecue. And I am taken aback by the dedication and thoroughness in exploring the underbelly of the play taking place in middle America. It's impressive to read such deep thought into a play about a family barbecue that fails to get underway when the guest of honor never shows.

But I also find it "sad and funny" to read such dissection of the despair. As one respected writer commented: "...the devastating view of everyday people who would surely have ended it all at 18 had they only known what their lives would look like 10, 20 and 30 years down the road." Really? Suicide? Just cause Ted only wants to enjoy a quiet evening alone in the backyard? Because he gets frustrated when he can't find the briquettes? Because he dreams of the things he used to do when he was younger: dreams that are now buried in the back of his closet?

Ann James who plays Jan, the mom who is determined not to let anyone or anything dampen the spirit of "fun!," told me a story of the last time we performed the show. One woman approached her after the show and said, "You frustrated me to end! You reminded me of my mother." Another woman after the same performance came up to Ann and said, "You were so sweet. You reminded me of my mother." Ann told me, "It was at that moment I knew we were on the right track."

Let the audience bring their own baggage.

For both productions the cast was given this extraordinarily difficult yet simple task: Do nothing. Stay on your mantra. Say the lines. Adhere to the rhythm. During a pause, keep the silence until it becomes unbearable. And more than anything else: No added subtext. No tricks. No acting. (Mamet would be proud.)

I have always loved Brett's work cause he just tells it like he is. He writes what he hears. He observes. It seems random and profound at the same time. Like art. Like life. Like poetry, I'm not always sure what it all is supposed to mean, yet it is profoundly meaningful to me.

So it is because of this that I also argue with another writer I thoroughly respect when he says "few audience members are likely to have Chekhov, Ionesco, Beckett and Pinter floating around through their heads to help build some kind of intellectual resonance with this difficult and at times depressing material, an emotional connection may be an even harder thing to expect." I will respectfully counter: our audiences don't need intellectual resonance. They are all alive and human and American and because of this I bet they have experienced a barbecue or two and maybe even a reunion.

I find it just as ironic that while everyone (myself included) is here trying to dissect what it all means , and uncovering some deep pain underneath, Brett sits in the back of the dark theater laughing. All we have to do is listen to Barry and Ted, the two competing "assholes." The two clowns laughing at each other when the joke of life is on the other one, yet defensive when the tables get turned: "It wasn't a big deal. It's a reunion. It's just for fun."

I sit in the back of the theater too. Watching and listening to audiences. Hearing the laughter of recognition. I would argue that most of our audiences don't see despair: they just see real life. Funny and sad. We all have dreams, most of which are never fully realized. We rail against our parents and then often end up just like them. We complain about the briquettes being in the wrong place and want to throw Frisbees at our loved ones sometimes. And man! I would have to argue that Ted isn't just triumphant that he was able to drive his son's ex-girlfriend away. Ted is also relieved by the end of the play to be the asshole left sitting in the wet grass all alone, as opposed to being the man next door dead at 54 from mowing his lawn.

I love The Last Barbecue because like life it unnerves me: it is deeply profound, completely meaningless and totally random at the same time. What the hell does it all mean?! We are always asking life's biggest question.

So I am glad to still be here, existing in my own suburban backyard. Left here to grapple with simple annoyances, few answers and lots and lots of questions. Existential? I guess so.

Don Blair speaks about Redlands High, Russ Tutterow, and not doing anything on stage.

2009-06-10T19:57:00.000-07:00

Don Blair (Ted in 16th Street's upcoming The Last Barbecue, pictured left with Ann James as Jan) sent me this below as his biography for the program. But it's too good to wait for. So take a walk with Don down memory lane. Come on.... he won't bite.

"The Blair", as he is known to the two or three hundred of his closest friends, was born in Redlands, California during the last Ice Age. He graduated from Redlands High in 1961 with a 3.71 grade average. That's a lie. Who remembers? Our mascot would have been a Terrier, if we'd had an actual one, because the University of Redlands' was a Bulldog. I firmly believe that John Lennon wrote "Hey Bulldog" about us. Everybody gets to believe what they want.

The last time I Googled “Redlands”, the High School I went to was now the Jr. High School. And the elementary school I went to was now a park - or perhaps just a verdure of some kind - bordering a huge parking lot. The trees were still there, but the building not so much. It was on the corner of Cajon and Cypress. Check it out.

The Blair came to Chicago in 1982 and didn't work for seven years. As an actor. Too many guys in front of me in the line. Then I met Russ Tutterow, and my life was enriched. People started calling, The Blair started working. The frustration gave way to unmitigated joy. Well, perhaps slightly mitigated. We never get everything we want, do we?

Along about this time, I was called to audition for Descent - A Darwinian Comedy by Tom Patrick (I quote from the poster which sits in the foyer of my palatial one bedroom apartment in Edgewater.) The Director was a shy, slightly awkward teenager from my home state ( California ) who'd been a dance major. A Dance Major. From Northern Cal. A blond. I knew I'd get the part because God hates me. I did, and it was a great experience. But wait, it gets better!

So, some time later, this same pink-cheeked schoolgirl asked me to read a role in a play she was considering for the upcoming season at her theater – The Aardvark - for potential backers. I read the script and I was horrified. This guy was the meanest son of a bitch on the planet. I had no idea how to play him, but I'd already said yes to the reading. So I was in a cold sweat when it came time to do the thing. As we walked from the lobby into the rehearsal room where the reading was to take place, I was panicking - any emotion, any inflection in my interpretation of this character would turn him into a monster. So, being the cautious individual that I am, I decided not to do anything. What the hell, it’s only a reading. They'll hold auditions if they decide to do the play. So I didn't inflect, I didn't act, I tried to be as neutral as a stone. And then Ann started laughing. You should be so lucky in your life as to hear this woman laugh. And then I began to understand what Brett Neveu, the playwright, was saying. And now here we are.

Hope you like The Last Barbecue. But, as one woman who saw a production of The Marriage of Bette ' n Boo I was in at Apple Tree said: " I don't need to come to the Theater to see this, I can get this at home."

You and The Me, Mom & Dad Show!

2009-04-18T20:36:00.001-07:00

Have you seen Martie Sanders' The Me, Mom & Dad Show!? If so, and if the angle from where Charlie Sanders took the picture is just right, you may be able to find yourself sitting in the audience enjoying the show......
Now you are a part of his memory. Thanks for coming. Just 2 more shows left. Spread the word!

The first picture is from Sat April 18 at 8pm. 2nd pic from Friday April 17 at 7:30 PM, and the third from the Free Senior Preview Wed April 14 at 4:00 PM.

Best Emerging Theater - wow!

2009-03-27T20:47:00.000-07:00

Best Emerging Theater Company

The Reader’s Choice: 16th Street Theater

"Most Chicago theater companies get started because like-minded artists decide they want to do the work they love best the way they want to do it—finding a space and an audience comes later in the process. Ann Filmer took a different approach. When she moved out to Berwyn a few years ago, she found there was a nifty little black-box theater in the Berwyn Cultural Center, but no professional company to use it. So with the help of the North Berwyn Park District, the longtime director started 16th Street Theater, and got busy producing work that would speak to the western suburb’s ethnically diverse, working-class audience base..."

Read the rest of story here.

Thanks Chicago Reader and Kerry Reid!

Anna Deavere Smith at Columbia College

2009-01-28T10:36:00.000-08:00

The cast and crew of FIRES in the MIRROR with playwright Rohina at reception for Anna Deavere Smith at Columbia College.

Overwhelmed from hearing Ms. Smith speak and seeing her perform last night. It was unforgettable.

"The stories that we express--and that we don't--determine our survival."

---Anna Deavere Smith, 1/27/09

ON THE ROAD with Anna Deavere Smith, MLK and Obama

2009-01-21T10:05:00.000-08:00

(Warning: This post is as jumbled as my thoughts. It is clear why I am not a writer. But as Anna says: It is all about the struggle to articulate. That is where character lives. Therefore I struggle and struggle...)

Been getting lots of inspiration from these three exceptional human beings.

And then in speaking to a fellow artist today, a playwright, the two of us (as unexceptional yet full human beings), were debating the issue of THE STRUGGLE. In his case, is it worth it to continue rewriting and working on his play if there is no guarantee he will ever see his play produced on stage?

So the question is: Does satisfaction and reward only come through a sense of accomplishment? And if one does NOT accomplish the goal, is it worth the effort? OR as in yoga, is it not about successfully completing each and every pose, but about the practice? The struggle. Action.

So our conversation has me go back to the posting from Jan 19 (see below), MLK's speech on race relations: That the extreme optimist and the extreme pessimist have one thing in common. Neither will do anything about race relations. The extememe optimist because there is nothing to do since we have come so far. And the extreme pessimist because it is futile since we have so far to go.

Do we not put any effort into this goal, or any other goal, unless we are ABSOLUTELY sure there will be a clear and positive outcome and reward?

If we only attempt to achieve what we know we can accomplish, where does greatness live? Where does creativity live? Imagination lives in the unknown, rather than what is clearly known. If we knew all, we would not need imagination.

And I realize that Obama ran for President of the United States even though there was no guarantee that it would be worth it. In fact most of us thought we would never see the day. Yet people were moved to action. Without guarantee. And that action did result in the reward. At least for this moment.

But of course as Obama said in his inaugural speech, the struggle continues. It is in each and every one of us. It takes the effort of us all, even though we do not know what the result will be. Yet we move to action. Take on the struggle

So I will try to be, as MLK asks of all of us, to be the extreme realist. To struggle for the outcome, to live in action, even though I do not know where this will all end up.

Interesting to note that my friend's play is about death. Inevitable death. Why do we continue to fight to live even though the outcome is clear: That we all someday will die.

Sorry to be so grim! I am hoping this knowledge is liberating as opposed to paralyzing.

So I say to him and to me: the day we give up the struggle... isn't that the day we truly cease to continue living?

Here's to the struggle.

Martin Luther King on Race Relations

2009-01-19T21:20:00.000-08:00

Today was an emotional day for me. Working deep on FIRES in the MIRROR. When insecurity takes over, I feel overwhelmed by the emotions within this piece. The strong and sharp words. Today I took the opportunity to read the words of MLK for inspiration and guidance. And tonight in rehearsal I read this excerpt from Martin Luther King Jr.'s speech A Realistic Look at the Question of Progress in the Area of Race Relations

"...There are three basic attitudes that one can take toward the question of progress in the area of race relations. And the first attitude that can be taken is that of extreme optimism. Now the extreme optimist would argue that we have come a long, long way in the area of race relations. He would point proudly to the marvelous strides that have been made in the area of civil rights over the last few decades. From this he would conclude that the problem is just about solved, and that we can sit comfortably by the wayside and wait on the coming of the inevitable.

The second attitude that one can take toward the question of progress in the area of race relations is that of extreme pessimism. The extreme pessimist would argue that we have made only minor strides in the area of race relations. He would argue that the rhythmic beat of the deep rumblings of discontent that we hear from the Southland today is indicative of the fact that we have created more problems than we have solved. He would say that we are retrogressing instead of progressing. He might even turn to the realms of an orthodox theology and argue that hovering over every man is the tragic taint of original sin and that at bottom human nature can not be changed. He might even turn to the realms of modern psychology and seek to show the determinative effects of habit structures and the inflexibility of certain attitudes that once become molded in one's being. (Yes) From all of this he would conclude that there can be no progress in the area of race relations. (Alright, Alright)

Now you will notice that the extreme optimist and the extreme pessimist have at least one thing in common: they both agree that we must sit down and do nothing in the area of race relations. (Yes) The extreme optimist says do nothing because integration is inevitable. The extreme pessimist says do nothing because integration is impossible. But there is a third position that is another attitude that can be taken, and it is what I would like to call the realistic position. The realist in the area of race relations seeks to reconcile the truths of two opposites while avoiding the extremes of both. (Yeah) So the realist would agree with the optimist that we have come a long, long way. But, he would go on to balance that by agreeing with the pessimist that we have a long, long way to go. (Amen) [applause] And it is this basic theme that I would like to set forth this evening. We have come a long, long way (Yes) but we have a long, long way to go. (Amen) [applause]..."

So I am thinking that "long, long way to go" starts with dialogue. It starts with hearing each other. I must believe it can begin within the sacredness of a communal place, like a theater. Where we sit in the dark, side by side, in order to see it clearly.

Walking in San Francisco

2008-12-30T09:36:00.000-08:00

Spending the end of 2008 rejuvenating and getting inspired for the New Year in my home state of California. The Bay Area. Full of different emotions for me. So much has happened here. It is my past, it was my home. I had to leave in order to see it.

As I prepare for Anna Deavere Smith's FIRES IN THE MIRROR I am devouring Smith's TALK TO ME about her travels through media and politics. Smith studied and lived in San Francisco and as I walk those familiar hills, the energy charges through me. But then I also look around to try to find those who do not look like me. I am surprised by the lack of color. I see mostly a sea of White among the Asian population. My old friend Chris tells me we are in the Western Addition. "Yeah the blacks were pushed out, once again." I read up on it and find the Fillmore District after WWII indeed was a cultural center for San Fran's African-American community. But then read about the changing demographic. And the "return of the middle class." I wonder why "urban renewal" means more whites and less people of color. I think about economics and code words like "bad neighborhood." I think of Oakland and turf wars. It's complex and unsettling. I look to myself to see where I fall in this.

It's scary to look. Afraid of what I may find. I am nervous about diving into FIRES IN THE MIRROR and those strong, uncomfortable words. To put that out there: our complicated relationship with race, with class, and with difference. Our American identity. The melting pot that has yet to melt. The melting pot that seems only to continue to separate.

I remember something. I open up the intro to FIRES IN THE MIRROR and read Ms. Smith's words: "I think there is a gap between those who are heard and those who speak. Those who really speak in their own communities, to their own people, are not heard as frequently as those who speak on a regular basis with authority. The media most often goes to experts to speak about difference. My sense is that American character lives not in one place or the other, but in the gaps between the places, and in our struggle to be together in our differences. It lives not in what has been fully articulated, not in the smooth-sounding words, but in the very moment that the smooth-sounding words fail us. It is alive right now. We might not like what we see, but in order to change it, we have to see it clearly."

I keep walking. I keep listening. I keep looking.

The Scarlet Ibis - video poem

2008-11-24T20:19:00.000-08:00

This video poem of Susan Hahn's The Scarlet Ibis is by Kristin Reeves who designed the video projections for 16th Street Theater's production that premiered July 2008. She captures the essence of the text, movement, music, metaphor, video and dramatic arc all within 6.5 minutes. I am in awe. Enjoy!

What audience members said about KITA

2008-10-30T23:18:00.001-07:00

Thanks to our audiences for sharing their thoughts on KITA Y FERNANDA. It means so much to us to hear from you!

"We all enjoyed the show immensely. Both my girlfriends speak Spanish and really appreciated seeing a show that they both could relate to in such a personal way. They recognized songs and personal echos from their own pasts.

I especially liked the fact that it was centered around that amazing rally in downtown Chicago. I remember that day so vividly. Maria was working across the street at LaSalle bank that day and she totally blew off her job and got swept away in the crowds and the passion of that day! She will never forget the feeling either. I wish she had seen the show."
-- Marilyn

"Ann, Congrats on Kita y Fernanda! Well done. I enjoyed the show very much. The whole production touched me and left me with a wonderful warm feeling inside. Thanks!"
-- Ivan

"Funny story: On the drive home, Matthew was talking about how all of the actors deserved Jeff nominations. Without playing favorites, I said I was particularly impressed by the two women who played double characters. Matthew said, "OK, I know that the actress who played Fernanda's mom also played Kita's tough friend... but who played the "Valley Girl" friend?" And I said, "The same woman who played Kita's mom."

"What?!" he shouted, eyes bugging out and hair on end. (Seriously, his hair stood up.) "No way!"

I laughed...

Kudos to all of you."
-- David

"Hi Ann,

Mark and I both very much enjoyed the show. We discussed it the entire walk home.

I thought the play was well written. The playwright commented after the show what a great job you did as director. I hadn't considered how much a director shapes a performance. (What about a question/answer/discussion some time before or after a play?) Mark and I both thought the actors were all great, and I was amazed how the "mothers" played the friends with such skill. Some friends of ours, also in attendance last night, didn't even realize they were the same actresses. Lastly, even though I don't speak Spanish most of the time I could pick up on the emotion and a lot of the story during the "Spanish-only" moments. When a few audience members responded to the Spanish-only moments I felt disappointed I didn't know what was being said. I so admire - and am envious of - those who are multi-lingual.

Thanks, Ann. I hope your first year was a success. We plan to get subscription passes for next year."
-- Sara
"Ann,

Kita y Fernanada is a perfect ending to a great inaugural season. We enjoyed the show thoroughly last night in so many ways. And the acting was stellar. Wow! Congratulations!"

--Will

"Seriously, Ann. I've always admired your work but hadn't been able to see much of it for a while. Kita was just wonderful. Yes, you did have some fabulous actors with whom to work, but your wonderful work was evident and on display, as well. I've been seeing a lot of shows lately in prep for leaving town and although some of them have been good, yours was the one that restored my faith and reminded me why I LOVE theatre so much. And the friends I brought along agree whole-heartedly."
-- Adrianne

"Dear Ann,

Just wanted to let you know my wife and I attended Kita Y Fernanda and once again we were very impressed. I think what I liked most was that the two characters don’t reconnect in the end—that no matter how much we are tempted to want it, they don’t come together, they don’t face each other. In my own experience, it is always so hard when you can’t give the audience what they want, when you have to deny them that happy ending, because the world of the play itself denies it. I felt so sad and yet so satisfied by the ending, because it was utterly courageous in sticking to the truth of the play.

Congratulations on a successful first season, and thanks for bringing theatre into the neighborhood."

--Carlo

"KITA Y FERNANDA is really lovely. I was very engaged and moved."
-- Russ

"Dear Ann,
Harlan and I are bursting with pride for all you have done at 16th Street. We not only loved KITA Y FERNANDA and your direction last night, but you have started a new equity theater in an area that will now easily have access to local theater."
Love,
Susan

"Ann,

Thanks for your note! I just knew it would be a hit!!
My friends and I enjoyed the show so very much! The acting was awesome and so realistic, and the story so heartfelt.

You are a very gifted director. Thank you for the wonderful season of plays and for bringing your art to Berwyn! You've enhanced our lives! Looking forward to seeing next year's plays!"

--Mary

Illinois State Representative Lisa Hernandez at KITA

2008-10-22T19:38:00.000-07:00

Illinois State Representative Lisa Hernandez was in the house for Tanya Saracho's KITA Y FERNANDA on Saturday October 18 for the 8:00 PM show. She spoke to the cast after about Tanya Saracho's powerful play which puts the human touch on the immigration issue.

Pictured: Stephanie Diaz, Suzette Mayobre, Amanda Lopez (understudy) and State Representative Lisa Hernandez after KITA Y FERNANDA running thru Oct 25 at 16th Street Theater (708) 795-6704

"I experienced communion that night."

2008-10-07T09:54:00.000-07:00

This is an excerpt from my friend and fellow Artistic Director, playwright David Alan Moore:

"In many ways, that play was as far removed from my own experience as it could possibly get. Much of the dialogue was in Spanish (I speak French and English). It explored the immigrant experience (my family has been in America for many generations). It examined the challenges facing women (I know a lot of women, but...).

Yet, despite all of these differences, I understood what was happening on that tiny stage, in that darkened room. I knew what those characters were feeling, I looked through a window into a small part of their souls, and I knew that the people around me also saw through that same window - and saw themselves reflected. As audience members and as actors, we laughed together, we grew silent together, we were moved together. Together, we considered the meaning of both our own, unique experiences and our common, shared experiences.

We sat by ourselves, inside our own skins, wrestling with our own reactions to what we saw onstage. At the same time, we sat together, enveloped by a sense of community and common exploration. And as we applauded at the curtain call, I hope we all felt, in some small ways, less alone. Felt that our lives, as separate and distinct as they can be sometimes, had touched the lives of others - briefly, perhaps, but in a way that also left a mark.

That, I believe, is the value of live theatre. That, I believe, is what makes theatre different from literature and film and television. That, I believe, is why the ensemble and board of Stage Left Theatre and of companies across the city devote so much of their own time, energy and resources to the act of sharing stories, person to person.

We make theatre and we see theatre so that all of us - me, my suddenly unemployed friend, my friends who just got married, my friends who just had their first baby (and are finally getting out of the house!), and my friend fighting breast cancer - can gather in one place to laugh and to weep and to ponder together. To live together. In communion."

Beautifully said, David.

Filmer's gringa notebook...

2008-10-06T20:16:00.000-07:00

WARNING! Another language is spoken in this play. And it’s not Irish!

Working on this play with Tanya and the cast has made me think about language, culture and isolation. Below are excerpts from the notebooks I have kept during this process. Enjoy!

“The greatest distance between people is not space but culture.” -- Jamake Highwater
Stephanie Diaz, who also hails from the Bay Area, gave me the book Drink Cultura by Jose Antonio Burciaga. The above quote is in the book. Chapter One is titled “Chief Wachuseh”. Say that out-loud. Go ahead.

I took 3 years of French at Westmont High.
When I hear another language, whether it is Polish or German, Italian or Spanish, or even American Sign Language, I wish I knew what was being said. I long for understanding, communication. But maybe I just hate being left out.
Sidenote: My senior year my boyfriend Rick criticized me for taking choir instead of French IV. Now I work in the language of theater.

I am gringa.
My father immigrated to the US from England after WWII. He never became a citizen of this country, though he has lived here ever since. He had two daughters born here. He now lives in a public housing high rise in Sacramento, CA. His neighbors are mostly all Ukranians. He complains all the time he has no one to talk to. They don’t speak English. He doesn’t speak Russian. Do svidaniya.

Poquito espanol.
I am frustrated that I cannot know everything! That I may never learn Spanish even though my sister married a Ruiz and my daughter is leaning Spanish in preschool. Do I resent them from achieving what I have not? Do I berate those that don’t speak “my language”? Whose job is it to reach out to whom?

I learned to count to 10 in Espanol on Sesame Street.
I am nervous to speak the little Spanish I do know. Do I order Mexican food in Spanish. Side order of frijoles y arroz por favor? Am I a phony? Trying too hard? Will I be made fun of? I don’t want to butcher the pronunciation.
Forget it. I’ll just say rice and beans.

“Speak only in our secret English language.”
Just learn the language?! Between making a living and raising a family, how does one have time to learn a language? It is more than just words and sentence structure, no? It is culture. One of my closest friends has lived in Berlin since 2001. He tells me communicating in German has opened up a new way of thinking for him. His next experiment was to learn Spanish by way of German. The experiment failed.

Culture Barriers
In a hipster diner in Humboldt Park. A group of six hungry construction workers walk in. They are working in the ‘hood. They speak English. They are American. Yet they look over the menu as if it is in another language. They snicker a bit about home fries, seitan meat, and organic tofu.
I give one of the men a bite of my vegetarian pastrami sandwich. He says, “That’s not bad.”
No Literal Translation
Must I be threatened? Can another language be a beautiful mysterious thing? Like poetry. Like dance. I realize art has no literal translation. I will try to let these “foreign words” wash over me and let my mind and thoughts and feelings travel where they may.

Will I understand it?
Do I understand the moon and the stars?
I only want to see myself up on stage. Why? I am with myself all day.
There is so much I have yet to comprehend. Does this paralyze me or inspire me to learn more? I long for the latter.
“But, Tanya, I don’t understand!”
“Does that make you feel isolated?” she replies.
“Well… yes. Yes. I do feel isolated,” I respond defensively.
“Good.”
“Good?”
“Silvia and Concha. They also feel isolated.”

Oh… It’s not all about me. I am beginning to understand…

A conversation with Tanya Saracho by Amanda Lopez

2008-09-20T20:03:00.000-07:00

Amanda Lopez: What has been one of your most rewarding experiences so far as a playwright, and what has made it so?

Tanya Saracho: Every year keeps getting better and better. Technically as a writer, I've been enjoying rewrites more. That's something that's been quite rewarding because I feel like I'm more in control of the craft. More in control of the story that way and that's kind of exciting to me. And in the social aspect, I think I get addicted to having people come up to me after they see the show and say, "that's my story." "That's my sister up there. That's my mom." Or "oh, I feel that way about Americans too." "Eso es lo que yo pienso de los Mexicanos." It's so important for me to reflect our lives, our stories. To represent us in complicated and fully dimensional ways. It's imperative we see the riches in our culture, in our gender, but also the barnacles and the flaws. That's what makes us interesting and worth hearing about.

AL: Is there anything or anyone specific who inspires you to write?

TS: I love real people. Sitting in a waiting room, on a bus, at the airport, overhearing a conversation at a cafe- that's inspiring to me. What I mean is that it inspires me to write something down, it prompts an essence and oftentimes a character. I love listening how real people talk. I love hearing how my family talks. Well, mostly they argue, but it can become quite cathartic to write it down. To sift through it on paper. My family and friends are my ultimate source of inspiration: Con ellos tengo material para largo!

I do have heroes that I look up to, of course, my former teacher Maria Irene Fornes, Sandra Cisneros (whose classic "The House on Mango Street" I'm adapting for Steppenwolf), Zora Neale Hurston, Caryl Churchill and (my most beloved) Achy Obejas for their literary brilliance. I love artists like Frida Kahlo for how she navigated her art and the struggle with her health, that's something very close to my body. I love Sor Juana Ines de la Cruz for being complicated and so accomplished in such a dark time in our history. Marta Carrasco, the Spanish eminence who is a genius with her body; I think in another life, I'd have liked to have been as capable of the sublime with my body as she is in this lifetime.

I just realized my list only includes women. That was not on purpose by the way, but it's interesting to see who my influences have been. Very interesting to me.

AL: After seeing Kita y Fernanda, what do you hope that people will come away with?

TS: Oh, I don't know. Questions like this make me nervous sometimes because I don't think about an effect or even a message when I write. I just hope people love these women as much as I do. That they get a glimpse of what it's like to live on the border, both physical and imagined. I hope this sheds some light on the invisible people. I hope I've put at least four faces on the whole topic of immigration and that an audience realizes the whole thing is much more complicated than a bit of legislation. I don't know. I hope they snap their fingers when they hear "Los Garibaldi."

AL: If you could go back in time and talk to yourself 10 years ago, what advise would you give yourself?

TS: Become an accountant, Tanya!

It's funny, I talk to myself a lot and I write myself letters. So every so often I find written mantras and declarations to myself in this form or that. Not long ago, I found my high school yearbook while I went home to McAllen for the holidays and on the "Senior Hall of Fame" pages I read my answer to the prompt, "Where will you be in 10 years?" Well, I was very detailed with how I answered, I said: "I will be walking home in the snow from a rehearsal of my latest play, happy and satisfied." Reading it made me smile because it has actually panned out that way. Of course, back then I thought walking home in the snow was super romantic, having grown up in the desert; turns out it's not as romantic as I'd cracked it up to be, but the whole thing still made me smile. I mean... it made me smile that I was a little psychic. I AM happy and satisfied ten years later.

AL: And....Chivas o América???

TS: Chivas. We lived in Guadalajara for a time, so if I had to pick... escojeria a Las Chivas

Going back in time to... 1990

2008-09-16T23:18:00.001-07:00

1990... the year of 21 Jump Street and Edward Scissorhands.

Jessica is looking through this magazine at one point during the play.

Oh... johnny depp. what a treat.

so sassy.

Scenic design for KITA Y FERNANDA

2008-09-16T23:05:00.000-07:00

Scenic design by Ian Zywica

The separation, all under one roof but isolated, is a great way to see the play, so the three platforms work well to accomplish this.

The three drops represent the Mexican flag itself in shape, color.
Our musings on the set: Think these are not literal flags but are abstract flags, Tanya said like a watermark. I really like that. We like that the three drops represent the Mexican flag itself in shape and idea. Maybe use color as the element that draws us together and then apart? Red and white are the what unites us. Red also is female and red is blood. Blue and green are the separators. Blue separates the US and Green separates Mexico.

A Conversation with Elizabeth Berg

2008-08-13T11:15:00.000-07:00

by Maggie Carlin

First thing I really would like to ask, after reading and seeing your play is what inspires you to write?

I really believe that writers are born, not made. Some people love horseback riding or baseball, it is what each person feels most comfortable doing, and for me that is writing. That has been true since I was a kid.

In the play, Nan as a child has these dreams and as she gets older she has felt like she has lost these dreams. I know you started writing when you were a child and found yourself discouraged and for a while became a nurse. Do you feel like in a way that was modeled after you?

Wow, I really never thought of it that way. You know, when I was a child, I was so positive that I was going be a famous writer. I used to tell my Dad that I was going to be rich and buy him a Cadillac. And you do, you just let it go. As I got older I just thought too much. I believed you had to be a man even though I knew people responded to my work.

So what brought you back to writing?

Well, I have two daughters and when they were 9 and 4 I really knew that I wanted to be able to spend more time with them. I was working as a nurse back then and I thought about what I could do to be at home and still bring in some income, which we needed. So I started writing! I started out working for magazines and did that for 10 years then I moved on to novels. It just kind of happened that way.

What made you chose to adapt your novels into plays?

I love plays! It is my favorite thing to do, to go see a play. For me, when I’m writing I feel like I’m acting. It just seemed like the most logical step for me. It’s funny because if I had to pick one of my novels to adapt it would not be The Pull of the Moon. But a friend of mine really encouraged me to do it. I guess it’s because people respond to this story.

What was the hardest thing about adapting this novel into a play?

Understanding that the vehicle is different. Half of what I wrote was lost. You need to pick the essential and emotional parts but still be able to link them together in flowing manner that is true to the piece.

How are you hoping your audience responds to this play?

Tears and laughter! I guess that’s the easy answer. Beyond that I’m hoping for some identification. It feels so good to identify with people and know you’re not the only person going through it.

Is there anyone you would like to thank?

There are so many people who have been behind me and helped me throughout this. I really want to thank the actors, and director Kevin Fox, and Ann Filmer for teaching me how to be a playwright.

encouragement from MiLkBabY

2008-07-30T17:37:00.000-07:00

i send this message to encourage you...

encourage you that the world is not a machine...

encourage you to leave the house, be with other human beings, and share
something...

encourage you to fly out of your skin and be with a bird, a lady, and a magician @ 7:30 (before the MiLkBabY show @9:30) and see THE SCARLET IBIS
directed by Ann Filmer, music by Barry Bennett, and video by Kristin Reeves.

i encourage you to make a small statement to our friend , laurie, that even if the monetary amount raised at the MiLkBabY show seems inconsequential in the long run; that a group of hUmaNs came together to celebrate her healing...

OK
enough!
it sounds bit new agey, but i am a ROCKER at heart and can sort of get away with it!
i shouldn't have to encourage you to have an awesome time, but i am.
on top of everything else, i feel a real rebirth in the MiLkBabY beast
with Davidly's visit and the show we have planned for you on FRI AUG 1ST is
the kind of shows that MILkBabY want to keep doing in the future.
We would love to have you come out and be a part of it with us...

summing up for ED in vienna...

MiLkBabY + DavidLy (from berlin)
FRI AUG 1ST

LIVE @ 16TH STREET THEATER
6420 W 16th Street ** Berwyn
9:30pm sharp ... all ages ... $5
have a fever dream with us....

love
milkme
www.milkbaby.net

Audience responds to THE SCARLET IBIS

2008-07-28T09:18:00.001-07:00

Hi, Ann,
Well. You were right. I have never seen anything like IBIS. And it was such an interesting experience, watching it. I started out feeling overwhelmed. As a lover of poetry, of it's (usually) necessary intimacy between page and reader, or poet and listener, I didn't know what to pay attention to. But then I settled down and let it happen and got comfortable and just really really enjoyed it. It was moving and funny and truly magical. It made me want to get the poems and read them, which I did.
I am so proud to be associated with a theater doing things that are so artful and different and risky and satisfying.
Thank you for all you to bring such richness to your community.
xoxo
E.

Ann,

Just wanted to reiterate that your staging of the poetry was brilliant -- very David Lynch -- and all three actors were superb.

Will

Hi Ann,

just wanted to say congratulations again for doing such a beautiful thing. I am so impressed.

As I was saying when we spoke after the show, I felt grateful to you for carving out a space and time in the world where the kind of communication and experience that happens through poetry and dreams got to have a little play in waking life. And I think you did succeed in allowing the witness to relate to the images, actions and words with as much room for personal experience as we have in the arenas of dreams and poetry. I think you succeeded in embodying ephemeral important things without limiting their expansiveness or possibility very much at all, which is a wonderful thing.

I also feel like you did what my favorite absurdist theater does, which is to represent dynamics that are recognizable to us, without any context or detail of situation. I felt like the bird and the woman and especially their relationship to each other in the second half was archetypal, and wordlessly familiar... and didn't need any time or location of description to be deeply understood. very yay. :)"

And I felt the same about seeing you. I thought, 'gosh that lady shines'. It was really fun to see you again, and nice to be there on that night. I liked that you had so many women in attendance who you've worked with/are going to be working with this season... that was cool. :) I'll definitely be out to see more of your work!

With love,

Janna

A conversation with Susan Hahn

2008-07-24T08:48:00.000-07:00

The Poet.
A conversation with Susan Hahn by Gina Tarullo

“I felt like the bird had come into my life and kept informing me as to what to do next.”
- Susan Hahn, on writing The Scarlet Ibis

You are an experienced poet and this is not your first play. How would you describe The Scarlet Ibis in relation to your body of work?

Susan Hahn: Of all the books I’ve written, The Scarlet Ibis was a complete surprise. I never intended to write it.

It probably – as oddly as it sounds – is my most personal book. And if someone had said to me, “Someday, Susan, you’re going to write a book about a bird and a lady and a magician and it’s going to be your most personal book of poetry,” I would have just looked at them and said, “That’s nuts.”

How did the idea for the book come about?

SH: It happened exactly like it is in the play: I saw a picture of a scarlet ibis in a book and I became enamored by its beauty… I am not a person who goes and looks at birds. I’m not a birdwatcher. I had bought this book Earth From Above – it’s a gorgeous book, and because I loved it so much, I bought the version for children. It was in the children’s version that I saw the scarlet ibis. I remember opening it up and thinking there was something about the bird that just insisted on its appearance.

I decided that I would find out more about the scarlet ibis and consequently, I started doing some research. It became unbelievable to me what I was learning in terms of this bird – the wealth of information and the possibilities to write poems. I always felt like the bird was leading me somewhere.

I never, never imagined writing The Scarlet Ibis until I saw that picture in the book. It was almost like something was happening to me that I wish for every poet – that the muse comes to visit them in such a way that it almost carries them. I really have not had an experience like that – where the intention for the book appeared out of nowhere. It was a very odd, very magical experience. That’s why I added the [bird and lady] tricks.

Had you always intended for this book to be produced for the theater? How did you come to know it could work as a performance?

SH: I had asked one rather accomplished poet to do cover copy for the book and he said no –that he didn’t do that anymore – but he gave me a greater gift because he asked, “Do you realize what a theatrical piece this is?”

… I immediately e-mailed Ann [Filmer] and asked if she would read it as a theatre piece. Suddenly I saw the possibilities. She read it saying she couldn’t get it out of her mind. I knew that was a good sign that she would probably take it to the next level.

16th Street Theater’s production of The Scarlet Ibis incorporates a number of artistic elements, including original music and video. How would you compare this performance to the experience of reading these poems on the page?

SH: This performance of it is like a fully fleshed-out version of the book – it’s so unified, it’s got so many facets to it – it informs the audience so much better.

With the added layer of videography, at first I didn’t quite know where to look. And then I just allowed it in with the music and with the language – and once I embraced it as a whole, then I decided I could look at the entire stage and it’s such a rich experience. As a poet, it’s almost overwhelming to have all that happening; to see the different layers of intention in the language highlighted in such a way.

Would you call this piece autobiographical?

SH: Emotionally, it is. With the publication of The Scarlet Ibis, I think what I did is I took my book Mother in Summer and reinvented it. [Mother in Summer] is a very personal book about losing my mother but I think The Scarlet Ibis takes that subject matter to a much higher level. When I see The Scarlet Ibis, it seems the most accurate way of putting what I wanted to say about the loss. And I am struck by that. I knew that was happening while I was writing the book but I had pushed it out of me and gone on to other things since. And it was only when I saw it staged that it really hit hard.

I think it can be enlarged for anyone about any kind of loss and about how you replace it.
In my case, I had this bird visit me.

###

The Scarlet Ibis performs July 24 – August 2, 2008 at 16th Street Theater in Berwyn.

Audience responds to SAINTHOOD and CARLOTTA

2008-07-16T08:40:00.000-07:00

Dear Ms Filmer,
I was so moved by Arlene Malinowski's Aiming for Sainthood. It was a beautiful piece of writing and the acting was astonishing. I don't gush, but this show left me speechless. Her story, her energy, her honesty was amazing. I will enjoy coming back to 16th Street Theater. Great job by everyone!!
Grace

Dear Ann,
Another great evening at 16th Street. A terrific show. Our friends were knocked out by the theater, the show, Arlene, and of course, you. They'll definitely be back.
Thanks.

Donna

Ann,
I just wanted you to know how terrific I thought the play "Aiming for
Sainthood" was!!!
Arlene Malinowski's story and acting is awesome!

Mary

Dear Ms. Filmer,

I just wanted to say how much I loved your recent production of Will Dunne’s “The Ascension of Carlotta.” I was talking with my good friend Arlene (Malinowski), and she asked me if I had shared my appreciation with you. I told her that I had wanted to Saturday night but that my courage faltered. Arlene’s mantra—and I love her for this—is that artists love to have their work appreciated by other artists, so I am taking her advice.

I live just down the street on Harlem, and it is nice to finally have a theater in my back yard. And as a working-class boy myself, it was so refreshing to go to a theater dedicated to this kind of work. I had thought that this voice had all but been silenced. (Maybe I am going to the wrong theatres.) Will Dunne’s play presented a range of working-class experiences rather than just presenting a monolithic picture of that experience. It is an insider’s view; I am sure of it. When Romeo—what a great character!—accuses Carlotta of stealing his dream—however small—I felt as if Will Dunne truly knew what he was about. More than anything, I feel, this is the way of things for the children of the working class.

All I wanted to say was, I hope to introduce myself at the next show. I wouldn’t miss Arlene’s show for the world. She also mentioned that you might need people to help out for your summer programming. If you have need of me for anything, please don’t hesitate to write.

Thanks,

Carlo Matos

Talking with solo performer Arlene Malinowski

2008-07-07T08:38:00.000-07:00

A conversation with playwright/performer Arlene Malinowski
by Assistant Director Maggie Carlin

Arlene, doing a one-woman show like this is kind of unique. I have to know, how did you come up with this idea and what did you base your ideas off of?

There are two people I have to mention in order to answer this question. The first is Anne Etue. I saw a performance of Tokyo Bound, which Anne Etue directed, and I said, “I want to do that!” Anne became my fairy god mother. Tokyo Bound is a one-woman autobiographical play written and performed by Amy Hill, who was even nominated for an award. So, anyway, I was talking to Anne and telling her about myself and my family and she told me that I had a story to tell and that I needed to tell it. And that’s how I got into autobiography work.

The second person I must mention is Kerry Haynie. He directed my first show and really helped me develop my story. We started out with a sixteen-minute piece and he wanted to know if I could go further and really expand my story. I had been working on some material for about a year but nothing was complete so this forced me to put it together.

I based my ideas on an American Sign Language storytelling style. The characters that I have, their positions, placements and quirks are based on deaf storytelling, which was an easy way to tell my story. There could be no other way to tell my story!

You have kind of already addressed this but who have been your biggest influences over the years and why?

Every storyteller that I have ever seen at the Deaf Club. Oh, and my Dad too. He is an amazing storyteller.

What do you think are you greatest accomplishments thus far?

Holding the vision of being a good daughter, sister, wife and friend. And of course being a good teacher. I have been lucky enough to have a number of careers that have prepared me for the next level and they are all a part of my accomplishments.

You share a lot of personal facts about your life and your families’ lives. How have they reacted to this?

Wow, so many moments are pivotal that people don’t remember! Some things that have meant so much to me, my family will say, “That didn’t happen.” I really believe that reality is truly shaped by who you are and what you see and what’s important to you.

Is there anything else you’d like to share about Theater and the work you’re doing?

I just want to say that the reason I love autobiographical work so much is because as a culture I feel that we don’t know enough about the people around us. We know and connect with the people of “Grey’s Anatomy” or even “Project Runway” but we don’t know our neighbors! Most of us don’t even know the stories of our grandparents! We’re not connecting to each other and in doing so we’re losing ourselves.

I want people to watch my story and think, “I know what that’s like,” not just C.O.D.A.’s (Children Of Deaf Adults) but everyone. I want my story to be a springboard for all of us to share our own stories and make connections.

I really feel that a play is like a molecular structure that can change who you are. I mean, a good play invites you to watch but a GREAT play lets you see the world differently. My goal is to connect the world one story at a time!

Scenic design for AIMING FOR SAINTHOOD

2008-07-02T10:42:00.000-07:00

Katie Schweiger's scenic design for AIMING FOR SAINTHOOD. She is building and painting a "false proscenium" to frame Arlene's Malinowski's solo performance. The hanging photos will be abstracted images from Arlene's childhood using the image of Arlene below.

Saintly Arlene

2008-06-25T20:27:00.001-07:00

Arlene Malinowski studying up on how to be a saint circa 1967.

I went to a run thru of Arlene's play AIMING FOR SAINTHOOD yesterday at Arlene's place. The script is in great shape and I am just in awe of her storytelling.

She has such a rapport with the audience. Even with just me, Maggie and Ann Boyd sitting there in her kitchen, I was completely pulled into her world.

and man, that woman has some comic timing!

Now, the ramblings of an old man....

2008-06-20T19:42:00.000-07:00

This from my friend and artist Fred Burkhart who turns 67 this Sunday. Inspiring words from a man of the earth. Too good to keep to myself. Had to share them with you:

"Recently I've gone to gazing into the sun, about a half hour a day now for the last six months, an ancient practice, safe one hour after sunrise or before sunset, when UV does not exist, as a means of recharging the battery and reducing my need for food, releasing energies to assist in consciousness building and conscious living. The Ancients long ago -- from both East and West -- realized that our energy comes from Breathing and the Sun, and from nothing else. Period. Modern science agrees -- more than 95% of all NUTRIENT required for our bodies comes from the sun and breathing. So why do we require 5% food to sustain us? Because this is what feeds our fears, expectations, apprehensions. Christ was wise enough to point out: "Be not anxious...I have food that ye know not of." But modern day inhabitants of this earth are too busy eating, drinking, drugging and tv-ing to appreciate a method that would reduce all flesh to a combined transparency through which the whole truth might surface.

When I say that I am getting old, it is only young people who tell me, "Ah, Burkhart, old age is all in your mind!" Ha ha... I wonder what these same youth will say in 40 or 50 years, when they too are old. But be assured, my concept of aging is refreshing, not deteriorating: We ALL are the age of this earth from which we are composed, be it a young earth of the religions or the several billions of years old model of the scientists. To realize that we are measured according to a space/time continuum, separated at birth by just few inches from everyone else -- we can still reach out and touch them! -- is to recognize that we are likewise only seconds apart. A relative situation, move closer, move apart, but always remain in the same space'time construct/illusion -- the same age. What I'm saying is we differ only in consciousness, only in our individual images we each carry around of who we are -- our age is always consistent with our earth. I repeat: we are all the precise age of the earth we inhabit. Only a fool would try to argue with eternity or infinity."
---- Fred Burkhart

Happy Birthday Fred

Testimonials

2008-05-28T22:06:00.000-07:00

I wanted to say how much I loved "The Ascension of Carlotta"! The entire experience was one that I have shared with my neighbors in hopes that they will enjoy our new Theater as well. Everyone involved with the show should be applauded.
--- Kenneth, subscriber

My mom went to see your PLAY this past weekend and she is RAVING about it how wonderful it is to anyone who will listen....so...Way to Go...my mom is a hard to impress...artist...congrats!
--- Rich

CAST AND CREW OF CARLOTTA TAKE ONE LAST PIC TOGETHER ON CLOSING NIGHT

Hi, Ann . . .
I read the article in today's Tribune and was so excited and happy for you, the actives at the theater, and Berwyn!
Thank you for making such a wonderful contribution to our community!
My friends and I are so looking forward to seeing the play on Saturday!
--- Mary, subscriber

Kathy and I went last night and had a great time! This is a great opportunity for Berwyn!!!! Try it you will like it!!!
--- Mayor Michael O'Connor, subscriber

Congratulations on the great press (again!) on the show and for 16th Street! The show was really wonderful last night; the cast was spot-on. I enjoyed each performance immensely. The writing was particularly sharp and smart...funny, without being over-the-top. I found the story touching and each character had real depth.

I'm amazed at the economy of the set design. It's impressive how much you have going on in this show, but the stage never comes across as crowded, considering the amount of physical space there is. Kudos all around.
--- Maggie, subscriber

Berwyn's theater history from Alexander

2008-04-25T14:18:00.000-07:00

Thanks to Alexander for setting the record straight about the history of theater in Berwyn!

"I wanted to say, once again, how much we enjoyed the play Saturday night. I was really affected by the characters and I can't quite get them out of my mind. I felt an empathy with them, and it makes you want to fall in love all the time. The use of music between scenes was very effective and the selections were perfect. I haven't heard "Let's all go to the Lobby" since I was about eight years old at the Ritz Theater.

For your information, the 16th Street Theater is not the first in Berwyn ( I hope you don't get mad at me). The Berwyn Theater (originally the Parthenon) at Ridgeland and Cermak and the Ritz Theater on Roosevelt and Ridgeland were originally legitimate theaters for many years, long before they started showing movies. They even had dressing rooms for all the actors. I guess you can say that 16th Street is the first theater in town in 75 years or the first in the "Modern Era."

There were actually four theaters in town: the Ritz, the Roxy, the Oakwyn and the Berwyn (Parthenon). The Oakwyn was on Roosevelt and Grove and was owned by a friend of our family. My father and uncle's ice cream parlor was right next door (where Homescape is today). The Roxy was in the Depot area on 33rd and Grove (across the street from Salerno's). I don't know if the Oakwyn and the Roxy had live theater. It is possible that they did. For sure the Ritz and the Berwyn ( Parthenon) were legitimate theaters. The Parthenon was built by a friend of my father's named Andrew Karzis. He is the one who built the Aragon Ballroom on the north side.

You know that the Olympic Theater on Cermak and Lombard in Cicero has been remodeled and looks the way it did in the 30's. This was also built as a theater and remained so for many years before movies were shown. This is a beautiful place."
- Alexander Rassogianis

You may say I'm a dreamer

2008-04-16T19:46:00.000-07:00

Below is my response to Catey Sullivan, a writer whom I very much respect and admire, and a Berwyn resident no less! Thanks Catey for the inspiration! I am hoping this opens up a dialogue. Those of you that have seen the play, feel free to weigh in.

You may first want to read Catey's review of The Ascension of Carlotta in the Windy City Times

IMPORTANT! If you have not seen the play yet, some secrets may be revealed below. You have been warned!

Catey,

So sad to read you didn't like our play.

Since reading American Theatre's recent issue on criticism I finally feel comfortable having a dialogue about the work I present with professionals whom I respect, such as yourself. So here I am responding to you. This is actually my first time! (And now it will be quite obvious my skill is not as a writer!!)

Romeo is an innocent. He just happens to come from a family of robbers and feels pressured to follow his destiny. But our intention is that it should be clear from the first moment that Romeo is incapable to pull off such an act and hence can't even get the unloaded squirt gun out of his pocket! He is not a robber. He is a dreamer. And a planner.

Alice Kowalski is not quiet or introverted. Instead she is simply a young woman with no dreams. No plans. Going about her life doing what she is supposed to do. Until love and possibility sweeps in and knocks her over and makes her start doing things she has never done before. She has been awakened yet turned inside out by love. Yes, it's irrational. Yes, it's messy. It's love.

So I must defend that nonsense the characters utter. It is due to them being drunk on love.

It starts out as an immature love, where one loves the FEELING of being in love more than seeing the very real human being on the other side of the sheets. But by the end, after they have both been hurt by broken dreams and confronted very real danger, they maybe begin to find a more mature love and more mature dreams. And though they are unsure of where they are headed and how they will get there, they choose to commit to the journey. Ah, a semi-happy ending. If anything, I would call it an urban fairy tale.

I chose to open our first season with The Ascension of Carlotta because to me it is about dreams and destiny and finding oneself. I am intrigued by the robbery theme too. Stealing is an act perpretrated by humans and animals alike. We have all stolen at some point. Maybe it was a piece of candy, an expensive jacket, or someone's heart, but we have all done it. (See this month's Sun Magazine Reader's Write section on "stealing.")

So I was most surprised by your analogy of the horrible incident at the Lane Bryant store. That was an act of violence where innocents were killed by a real gun by a real person. Possibly a person with no dreams. I just don't see the connection at all. No character in our play has the capacity to harm anyone, let alone end someone's life.

Thank you for opening up a dialogue on the play. It helps me articulate why I believe it's beautiful and worthy.

With much respect,
Ann Filmer

oh... a quick fact correction (can't help myself!): Though Act Two may have seemed long and over an hour, it is actually 58 minutes. Sorry to be a stickler!

Mowing the Lawn by Kevin Stein

2008-03-31T10:41:00.001-07:00

Putt putt, I ride on fossil fuel, the juice of fern and leaf,
the muck of once-was. Putt putt, I warm our globe
one green acre at a time. As a boy, I mowed without gas power
as does my buddy Dean. Green Dean. Back then as now
it was economics not ecology. Have you priced a hybrid?

I pushed, I sweated, I earned a man’s allowance,
not unlike Tag, the bow-legged Japanese gardener
who plucked the lawn’s eyebrows for my grandmother,
she of blue hair and lace gladiolas terraced along
the terra cotta porch. She of the voice that curdled milk.

Tuesdays he made landfall, hurricane of shears and clippers,
toting the lone mower he’d not so much push as chase.
Tag had no time for lost time, though just to be sure
the war-time feds interned him to save us from the Japs
he wasn’t. The Republic’s no match for paranoia.

Once, chasing the wiffle ball of my World Series,
I spilled over Tag yanking weeds beside the arched porch
trellised with trumpet creeper and the strumming
of hummingbird wings, thrum of this world,
his knees keeping the porch safe for democracy.

That good man sang foreign to me and I got scared –
as kids will. But I didn’t care – as kids won’t,
I please wanted my ball please, which he found
amidst a clutch of dandelions he’d turn to wine.
Come winter he sipped the bittersweet of our fear.

Talking with actor Galen Murphy-Hoffman by Assistant Director Vaun Monroe

2008-03-30T11:32:00.000-07:00

What attracted you to The Ascension of Carlotta?

My interest in the project was piqued by the sense of humor of the play, the witticisms of the language that lead to that moment of reality, of clarity. The audience will get caught up in the rhythm of the speech, then have those “AHA!” moments that reveal something really human. Also the simplicity of Will’s writing, clean, not in as non-dramatic, but the brevity and clarity.

And Joey’s character is someone I always wanted to play because he is nothing like myself in that he’s a bitter, on the edges type of guy. I wanted to explore that part. But he’s also a guy that has his own kind of fierce sense of honor and he won’t go against that, won’t violate that part of himself.

What’s it like working with Ann Filmer?

Her priority is to have the language be extremely clear. She’s a taskmaster for language, but aware of the need for rhythm. Technical, but always looking to get to a place of truth. Earnest. She encourages us to bring ideas and she gives the “yea” or “nay” but she’s open to ideas and willing to work with us through confusion. Carlotta is an interesting choice for an inaugural production. It sets a gutsy tone for the 16th Street Theater. New work that is immediate so the audience can come away with a visceral experience. I’m grateful for the opportunity.
I hear you had a dramatic costume one Halloween...

In the eighth grade when I was thirteen years old I dressed up as Willie Loman from Death of a Salesman for Halloween. I got the old suit, put the pillows inside, grayed my hair, and even got the salesman’s case. None of the other kids at my junior high knew who the heck I was.

Then as I went trick or treating, no one else recognized who I was either. I went from house to house and I’m starting to feel kind of down, no one knowing.

Finally very, very late in the evening an older man, must have been in his fifties opened the door and looked at me hard. After a long pause he said “A man’s gotta sell what a man’s gotta sell! How are you, Willie?”

On the way home I was buzzing with excitement and my Dad kept chuckling “That guy knew”.

Talking with playwright Will Dunne by Assistant Director Vaun Monroe

2008-03-30T11:24:00.000-07:00

What is it like to work with Ann?

We met when she directed a scene from my play at the Chicago Dramatists and I liked the way that she worked with the actors. I think we have a similar approach to thinking about the acting and I was very happy with her work. She told me she was opening up a theater this summer and I was very happy to work with her again.

When I sit in on rehearsals I’m just there listening but when I hear her speak to the actors she says things I would say. I’m expecting a great show.

Why did you choose to set your play in Berwyn?

Well I never dreamed the play would be performed in Berwyn. But the play is really a metaphor for a place that is somewhere between rural life and city life but I’ve never seen a play about people who live in a place like Berwyn. Berwyn is either a small city or a large town. We have one character that comes from the city who has very different values and he meets this young woman from Berwyn and the play is about how their worlds are going to fit together.

What do you think of the casting?

Casting is a very important part of the decisions. I left the final part of that to Ann but she welcomed and appreciated my input. Each of the actors has something special to bring to the story. Janna has read the parts over the course of a year and seen the play develop, I’m happy that she is able to do the role of Carlotta now.

When a playwright writes a play you’re really writing a blueprint for the actors to have an experience and for the actors to emotionally communicate that experience through the play to the audience. So the play is a blueprint for all this experience to happen. You also factor in the production people and the director, the designers, lights, costumes, sound and the people you don’t see like the stage manager, the technical folks…they add their talent to the blueprint and you have a wonderful new experience. This is what separates live theater from film, where each performance is a brand new experience.

Last words?

I often describe the play as Romeo and Juliet in Berwyn. The play has many different themes running through it but ultimately is a love story. A lot in the play is about the importance of having dreams. While I worked on the play I came across a poem by Langson Hughes that reflected the themes I was trying to incorporate. We’re each born into families and cultures and circumstances and one of the central questions of the play is can you rise above the circumstances you’re born into? Throughout the play the characters are bumping into their limitations and seeing if they can rise above them.

The play is a comedy and a love story but it does address serious issues, I’m trying to explore serious issues while having fun with the characters and the story. This is a play where the characters are the story, not a part of the play but the play itself, very character driven.

From Illinois Poet Laureate

2008-03-24T11:27:00.000-07:00

Continuing the conversation of Poetry as Theater...

"One redemptive aspect of art is its capacity to surprise. By this I mean art's ability to invoke surprise within both artist and audience, for without it the artist falls into unknowingly self-parody and the audience snoozes in the warm blanket of the familiar. To have my work staged and performed by fine actors offers just this sort of aesthetic opportunity for the fresh and the unpredictable -- a way to rearrange the furniture of my poet's living room."
Kevin Stein

Baboon Island

2008-03-18T21:15:00.000-07:00

Sunday we went to the zoo. "Alice" and "Tammy" rehearsed amongst the baboons. Not a frisky one in site though. Passerbys got to see more than animals in captivity: they got to witness the human actor.

Below Desmin as Romeo and Janna as Alice talk though their scene that takes place at Proksa Park.

Susan Hahn on Poetry as Theater

2008-03-18T08:37:00.000-07:00

In preparation for 16th Street's event on Thurs April 3 with Illinois' Poet Laureate Kevin Stein, the artists and myself have been conversing about what IS poetry as theater. Here is what Susan Hahn author of The Scarlet Ibis, had to say about our exploration into staging her book of poems at last year's Estrogen Fest and at the Rhino Fest...

"Having my book of poems come to life on stage last year, directed by Ann and performed by these most talented actors, was extraordinary. I hope that all poets can experience the transformation of their language to theater at least once.The process more than redoubles creative inventiveness and reveals the multifaceted, precise ways in which words, when coupled with presentation, can entertain, deeply move, and enlighten."

Traveling the land of Berwyn

2008-03-12T14:33:00.001-07:00

The cast of The Ascension of Carlotta, which takes place in and around Berwyn, enjoyed slurpess from 7 Eleven last night.

Anna as Tammy and Janna as Alice rehearse their scene in the alley next to the 7 Eleven.

After we hung out at the convenience store, we went to Lalo's to rehearse Joey's & Alice's scene which takes place at "The Happy Sombrero."

The cast with stage manager Jennifer at Lalo's.

Arlene's play

2008-03-01T18:54:00.000-08:00

Today I had the pleasure of seeing a reading of Arlene's Aiming for Sainthood which 16th Street is producing this summer (starting July 10). The reading was at Chicago Dramatists and Oh, you are in for a treat. Seriously. Only Arlene's first draft and she is already giving a performance so touching, funny, beautiful and transformative. I don't want to give any details away right now, but again let me just say, you are in for something special this summer.

Wow - two excellent readings in just one week. And our third playwright-in-residence Tanya Saracho is hardly out of the picture. In fact, it was on her set that Arlene performed today. Tanya directs Teatro Luna's next show Solo Tu beginning tonight at Chicago Dramatists.

Carlotta first read - staying out of the way

2008-02-27T21:14:00.001-08:00

Pictured left: Gintare measures Galen while playwright Will looks on and sound designer Tom studies his script.
Stay out of the way. Directors, myself included, often state this at the first rehearsal as the smart thing to do, less we screw up the play, but I'm not sure how often we really mean it. I direct cause I love to direct right? But this time when I said it, I knew I really need to mean it.
Will's words really need to fly off the page without too much encumbrance. And tonight they really flew. The actors were perfectly in line with them. And now, as with most plays, we spend the rehearsal period trying to get back to that "perfect" first read. Working towards capturing each uninhibited, spontaneous moment over and over again. Stay out of the way, Filmer.

This Blog

2008-02-26T12:34:00.000-08:00

This here blog...
Thought this would be a good place to archive thoughts and comments on 16th Street Theater and the work we do. These thoughts will be from myself, other artists and from others of you in the community. Just starting this today so having a little stage fright currently. But I'll get the hang of it. Thanks for your interest and I hope you return and add your own comments.

Welcome to 16th Street

2008-02-26T12:30:00.000-08:00

I am so proud to welcome you to Berwyn’s new professional theater and our inaugural season. Here at 16th Street we have chosen to begin at the beginning: with the writer. Our first season of plays will center on three diverse voices: Will Dunne, Arlene Malinowski and Tanya Saracho. I invite you to subscribe now to guarantee your tickets to these excellent plays.

We also are proud to bring Teatro Luna’s hit show MACHOS to our intimate space in the Berwyn Cultural Center for a limited engagement beginning January 25. Their Chicago run sold-out very quickly. I saw it at Chicago Dramatists, and it was the most fun I’ve had in the theater in a long time. Don’t miss it.

I have always loved the theater. While I sit in a dark room surrounded by "strangers", a door opens and I choose to step out of my life giving myself over to someone else’s. At the end those people around me are strangers no more. We have shared an experience unique to that particular night. And it only exists if you are there to witness it. YOU make the theater live.

I hope 16th Street Theater stimulates your mind, engages your imagination, and enlivens your spirit.

I also hope it encourages debate, discussion and compassion. I invite you to sit in a dark theater with me. Become a subscriber, take a class, volunteer, get involved. This is your theater and I look forward to experiencing it with you.