Talking with solo performer Arlene Malinowski

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

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

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....

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

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

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

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!