Wednesday, June 25, 2008

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!

Friday, June 20, 2008

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

Wednesday, May 28, 2008

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

Friday, April 25, 2008

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

Wednesday, April 16, 2008

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!

Monday, March 31, 2008

Mowing the Lawn by Kevin Stein

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.

Sunday, March 30, 2008

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


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”.