DOCSLIB.ORG

STRAWDOG THEATRE COMPANY ANNOUNCES 23Rd ANNIVERSARY SEASON THEMED “EXTRAORDINARY MATTERS”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
STRAWDOG THEATRE COMPANY ANNOUNCES 23Rd ANNIVERSARY SEASON THEMED “EXTRAORDINARY MATTERS” 3829 N. Broadway St., Chicago IL 60613 773-528-9889, www.strawdog.org, www.myspace.com/strawdogtheatre, www.strawdog.org/strawblog MEDIA CONTACT: James Juliano, May 2, 2010 Shout Marketing and Media Relations 773-852-0506 Media passes, photographs, videos, interviews [email protected] and additional materials available. STRAWDOG THEATRE COMPANY ANNOUNCES 23rd ANNIVERSARY SEASON THEMED “EXTRAORDINARY MATTERS” CHICAGO - Strawdog Theatre Company is proud to announce their 23rd anniversary season of presenting “the whole wide world in a little black box,” with three mainstage plays focusing on the theme ‘Extraordinary Matters.” The 23rd anniversary season includes Russel Crouse and Howard Lindsey’s State of the Union, Edward Kemp’s translation of Mikhail Bulgakov’s The Master and Margarita and an adaptation of Manfred Karge’s The Conquest of the South Pole. These productions, plus ongoing late night offerings, are presented at Strawdog’s space in the heart of Chicago’s Lakeview neighborhood, 3829 N. Broadway Street. The scheduled run for each production is Friday at 8 p.m., Saturday at 4 and 8 p.m., and Sunday at 7 p.m. Adult single ticket prices are $20 (single Benefit Preview night tickets are $40 each, closing night tickets are $30 each); preview tickets are $10, student and senior tickets are $15 (with ID); and $15 tickets are available for groups of ten or more. Season flex-passes are $50 for three admissions and $100 for six admissions, benefit performances count as two admissions. (All benefit performances include post-show reception with refreshments). Admission for Strawdog Late Night programming starts at $5. Some events are free. Tickets are available at 773.528.9696 or www.strawdog.org Artistic Statement Strawdog Artistic Director Nic Dimond said, “The plays that we selected for our 23rd season all pivot around the idea of “Extraordinary Matters,” and they attack that idea from radically different angles. As usual, each play gives us a chance to explore a different style, and this year we run the gamut from State of the Union’s “Very American Naturalism” to Master and Margarita’s fantastical Zombie Ball (hosted by Satan himself, of course) to the stripped down expressionism that runs rampant through Conquest of the South Pole.” Dimond continues “State of the Union gives us a chance to immerse audiences in the vivid glow of an America that is still riding high from victory in WWII, when everything was charming and involved cocktails. But this world also has its dark sides, and this story exposes some fascinating “smoky, backroom deals” that can help us track our current partisan political world to its origins. At its core, State of the Union is about the ordinary things that can keep an extraordinary man from trying to gain an extraordinary office.” - - MORE - Strawdog Theatre Company 23rd Anniversary Season Page 2 of 4 “The Master and Margarita is a hot new adaptation of Bulgakov’s classic novel that fantastically weaves together the worlds of an atheist Russian State, Pontius Pilate’s Jerusalem and the fantasy “world of the night” that is cracked wide open when the Devil comes a visitin’ in a paranoid Soviet Moscow. This satire directed against a suffocating bureaucratic social order actually boils down to a simple, beautiful love story in which to some, the extraordinary is the everyday.” “Finally, in our Conquest of the South Pole, a handful of miserable, unemployed friends try to escape their reality by reenacting the story of the first successful expedition to the South Pole in their attic. The story features the extraordinary power of imagination in the battle against the ordinary despairs that so many of us face.” Strawdog Theatre Company’s 23rd Season “Extraordinary Matters” includes: State of the Union • October 10 – November 13, 2010 Previews Thursday, Oct. 7 and Friday, Oct. 8 at 8 p.m., benefit preview Saturday, Oct. 9 at 7 p.m., Opening/Press Night Sunday, October 10 at 7 p.m. Written by Russel Crouse and Howard Lindsey, directed by Geoff Button Strawdog opens their 23rd anniversary season with Russel Crouse and Howard Lindsey’s 1946 Pulitzer Prize-winning political comedy State of the Union. The story follows fictional Republican presidential candidate Grant Matthews and his estranged wife Mary as they reunite to go under the media microscope. Matthews begins as a truth talking, idealist, man- of-the-people but quickly falls prey to the American political machine. State of the Union was adapted for a 1948 film directed by Frank Capra, starring Spencer Tracy and Katherine Hepburn. Strawdog is thrilled to welcome Geoff Button in his Strawdog directing debut. Button is a recent graduate of Northwestern University's MFA directing program and a longtime company member of the theater company The Hypocrites. He directed their productions of Desire Under the Elms and True West (Non-Equity Jeff Nominations - Best Play, Best Director). While at Northwestern he directed productions of Neil LaBute's In a Dark, Dark House, Tony Kushner's Angels In America: Millennium Approaches and The Who’s Tommy. The Master and Margarita • February 27 – April 2, 2011 Previews Thursday, Feb. 24 and Friday, Feb. 25 at 8 p.m., benefit preview Saturday, Feb. 26 at 7 p.m., Opening/Press Night Sunday, February 27 at 7 p.m. Novel by Mikhail Bulgakov, adapted by Edward Kemp, directed by Louis Contey Edward Kemp’s adaptation of Mikhail Bulgakov’s landmark satirical novel, The Master and Margarita, is a phantasmagorical ride through Stalinist Russia. The Master, a playwright trying desperately to get his script about Jesus and Pontius Pilate produced, fights with Theatre Critics and Cultural Commissars at every turn. He is driven to the edge of a despair so deep that not even his lover Margarita can reach him. Into the middle of this bleak picture steps the shabby aristocrat Professor Woland (who actually is the devil in human form), a specialist in black magic and his unwholesome entourage (including a talking cat). The entourage has to come to set Moscow on its ear with magic, violence and a party of the damned that no bureaucrat could. - -MORE- Strawdog Theatre Company 23rd Anniversary Season Page 3 of 4 ever hope to censor. Strawdog is thrilled to welcome Timeline Theatre Associate Artist Louis Contey in his Strawdog directing debut. Contey directed the critically-acclaimed productions of Awake and Sing!, Lillian, and Copenhagen for Timeline Theatre Company as well Shattered Globe’s smash Requiem for a Heavyweight. He is a 12-time Jeff Nominee and has received seven Jeff Citations. The Conquest of the South Pole • April 24 – May 28, 2011 Previews Thursday, April 21 and Friday, April 22 at 8 p.m., benefit preview Saturday, April 23 at 7 p.m., Opening/Press Night Sunday, April 25 at 7 p.m. Written Manfred Karge; adapted by Calvin McLean, Caron Cadle, and Ralf Remshardt, directed by Kimberly Senior Strawdog’s 2010-2011 season concludes with an adaptation of German playwright Manfred Karge’s 1986 comedy The Conquest of the South Pole. The play follows Braukmann and his friends as they fight off the crushing desperation of long-term unemployment by re-enacting Roald Amundsen’s first successful trek to the South Pole, while never leaving Braukmann’s attic. As some of the men slowly regain their lives on the other side of the dole, others keep journeying on into the new Antarctica. Strawdog is proud to welcome back company member Kimberly Senior, who directed their critically productions of Uncle Vanya, Cherry Orchard and Three Sisters as well as Next Theatre Company’s The Overwhelming, Timeline Theatre Company’s All My Sons, and Redtwist Theatre’s The Pillowman. Strawdog Late Night Strawdog Late Night features a variety of programming (Theatre Wars, live music, comedy, improv, roasts) in the newly-renovated Hugen Hall Cabaret space within the theatre, following each night’s mainstage performance at 11 p.m. (10 p.m. Sundays). Admission for Late Night starts at $5 and varies for visiting artists. A cash bar is available and some events are free. Check www.strawdog.org for current listings. Strawdog has received numerous Non-Equity Jeff Awards, including awards for Hurlyburly (1999) Outstanding Ensemble, Outstanding Actor Michael Dobbs, Outstanding Supporting Actress Stephanie Manglaras, Outstanding Supporting Actor Bart Petty; Detective Story (2003) - Outstanding Production, Outstanding Director Shade Murray, Outstanding Ensemble, Outstanding Set Design Ray Vlcek; Three Sisters (2005) - Outstanding Set Design Brian Sidney Bembridge; Marathon 33 (2007) - Outstanding Ensemble and A Lie of the Mind (2008) – Outstanding Original Music Mikhail Fiksel and Gregor Mortis. Public transportation to Strawdog is available on the CTA via the Red Line Sheridan stop, plus 36-Broadway, 80-Irving Park, and 151-Sheridan buses. Strawdog Theatre Company is committed to ensemble acting and an immersive design approach, offering Chicago the premiere storefront theatre experience. We develop new work, re-imagine classic plays, explore new fusions of music and theatre, ask provocative questions and deliver the unexpected to our audience. We provide a home for our celebrated ensemble to work and play with the most sought after artists in Chicago theatre along with the best new talents in the city. Strawdog is a proud member of the NortHalsted Area Merchant Association and the League of Chicago Theatres. -MORE- Strawdog Theatre Company 23rd Anniversary Season Page 4 of 4 The current Strawdog ensemble includes Jennifer Avery, Hank Boland, Abigail Boucher, Don Cardiff, Erin Carlson, Michael Dailey, Anita Deely, Amy Dunlap, Paul Fagen, John Ferrick, Mikhail Fiksel, Aly Renee Greaves, Carmine Grisolia, Christopher Hainsworth, Kyle Hamman, Erik Hellman, Tom Hickey, Shannon Hoag, Anderson Lawfer, Sean Mallary, Kat McDonnell, Gregor Mortis, Stacy Parker Hirsch, Michaela Petro, Mike Przygoda, John Henry Roberts, Justine C.
Load more

Recommended publications
  • E-Notes on the Master and Margarita
    The Master and Margarita Author unknown e-Notes on The Master and Margarita From the archive section of The Master and Margarita http://www.masterandmargarita.eu Webmaster Jan Vanhellemont Klein Begijnhof 6 B-3000 Leuven +3216583866 +32475260793 Table of Contents 1. Master and Margarita: Introduction 2. Mikhail Bulgakov Biography 3. One-Page Summary 4. Summary and Analysis 5. Quizzes 6. Themes 7. Style 8. Historical Context 9. Critical Overview 10. Character Analysis 11. Essays and Criticism 12. Suggested Essay Topics 13. Sample Essay Outlines 14. Compare and Contrast 15. Topics for Further Study 16. Media Adaptations 17. What Do I Read Next? 18. Bibliography and Further Reading 1. INTRODUCTION The Master and Margarita by Mikhail Bulgakov is considered one of the best and most highly regarded novels to come out of Russia during the Soviet era. The book weaves together satire and realism, art and religion, history and contemporary social values. It features three story lines. The main story, taking place in Russia of the 1930s, concerns a visit by the devil, referred to as Professor Woland, and four of his assistants during Holy Week; they use black magic to play tricks on those who cross their paths. Another story line features the Master, who has been languishing in an insane asylum, and his love, Margarita, who seeks Woland's help in being reunited with the Master. A third story, which is presented as a novel written by the Master, depicts the crucifixion of Yeshua Ha-Notsri, or Jesus Christ, by Pontius Pilate. Using the fantastic elements of the story, Bulgakov satirizes the greed and corruption of Stalin's Soviet Union, in which people's actions were controlled as well as their perceptions of reality.
    [Show full text]
  • Lifeline Theatre Announces Six New Ensemble Members-Fall 2017FINAL
    November 1, 2017 Jill Evans La Penna SHOUT Marketing & Media Relations 312-226-6727 [email protected] Media passes, photographs, videos, interviews and additional materials are available on request. LIFELINE THEATRE ANNOUNCES SIX NEW ENSEMBLE MEMBERS CHICAGO – Lifeline Theatre is proud to announce six new members of its artistic ensemble: Bilal Dardai, Andrés Enriquez, Diane D. Fairchild, Anthony Kayer, Martel Manning, and Michael McKeogh. Lifeline’s ensemble determines the company’s artistic programming and provides leadership, support, and counsel in the play development process. Now in its 35th season, Lifeline Theatre is driven by a passion for story. Our ensemble process supports writers in the development of literary adaptations and new work, and our theatrical and educational programs foster a lifelong engagement with literature and the arts. A cultural anchor of Rogers Park, we are committed to deepening our connection to an ever-growing family of artists and audiences, both near and far. Lifeline Theatre – Big Stories, Up Close. Founded by five Northwestern graduates in 1982, the theatre now employs over 150 artists per year. In addition to the six new members listed above, Lifeline’s artistic ensemble is led by Artistic Director Dorothy Milne, and consists of Aly Renee Amidei, Patrick Blashill, Jessica Wright Buha, Christina Calvit, Heather Currie, Victoria DeIorio, Amanda Delheimer Dimond, Alan Donahue, Kevin D. Gawley, Peter Greenberg, James E. Grote, Chris Hainsworth, John Hildreth, Paul S. Holmquist, Elise Kauzlaric, Robert Kauzlaric, Frances Limoncelli, Amanda Link, Katie McLean Hainsworth, Shole Milos, Sandy Snyder Pietz, Suzanne Plunkett, Maren Robinson, Phil Timberlake, Jenifer Tyler, and Christopher M. Walsh.
    [Show full text]
  • Visit Chicago Area Independent Schools This Fall!
    CHICAGO SHAKESPEARE THEATER Chicago Shakespeare Theater salutes Welcome THE PRODUCERS’ GUILD for its tremendous work on Family Gala 2015. DEAR FRIENDS, Who doesn’t love Disney’s The Little Mermaid? It’s one of our favorite stories from the fairy tale canon, and we are so excited to share it with you today. JOIN IN THE FUN— Contact Christopher Pazdernik at Our director Rachel Rockwell has worked for almost a year with a team of ADVOCATE FOR AND SUPPORT [email protected] designers, artists and artisans to create this magical world. In our intimate CHICAGO SHAKESPEARE! or call 312.667.4949 for details. theater, the story comes to life all around you! The Little Mermaid is one of many plays Chicago Shakespeare will produce this season. In just one year, we stage as many as nineteen different productions here on Navy Pier, on tour to schools and neighborhood parks—and all around the world. Our Theater is not only home to work by Shakespeare. We are forever inspired by this famous playwright to create new plays and musicals, and import DARE international theater artists to share their stories with Chicago audiences. We hope you enjoy your journey “under the sea” today, and that you’ll be back soon for more! For a family-friendly introduction to the Bard this summer, we Photo by Lindsey Best © 2015 Blue Man Productions, LLC. Photo by Lindsey Best © 2015 Blue Man Productions, TO LIVE invite you to come see Shakespeare’s Greatest Hits—on tour across the city, IN FULL free for all, through Chicago Shakespeare in the Parks.
    [Show full text]
  • Lab 2019: in the Room
    Lab 2019: In the Room Sunday, August 18th ​ Victory Gardens Biograph, 2433 N. Lincoln Avenue 10:00-10:30am REGISTRATION AND ORIENTATION 10:30-1:00pm INTRODUCTIONS, ICE BREAKERS, AND SETTING GOOD INTENTIONS LUNCH BREAK 2:00-2:45pm THROUGHLINE PROJECT INTRODUCTION BREAK 3:00-3:30pm YOUR ROOM Lavina Jadhwani, Freelance Director 3:30-5:30pm FINDING THE NEXUS OF BEST WORK/BEST ROOM Laura Fisher, Not in Our House/Chicago Theatre Standards TRAVEL BREAK 7:00-8:00pm The Infinite Wrench Created by the Neo-Futurists The Neo-Futurist Theater, 5153 N. Ashland Avenue 8:30-10:00pm DINNER Reza’s, 5255 N. Clark Street Lab 2019: In the Room Monday, August 19th ​ The Design Museum of Chicago, 72 E. Randolph Street 10:00-10:30am CHECK-IN AND QUESTIONS 10:30-11:45am SETTING THE STAGE Hallie Rosen, Chicago Architecture Center BREAK 12:00-1:00pm DOWNTOWN THEATRE HISTORY Melanie Wang, Dept. of Cultural Affairs and Special Events Mitchell J. Ward, Free Tours by Foot LUNCH AND TRAVEL BREAK/OPTIONAL CONTINUED TOUR The Second City, 230 W. North Avenue 2:00-5:00pm SATIRE AND THE SECOND CITY Rachael Mason, The Second City BREAK 5:00-6:00pm COMEDY TODAY & THE MAINSTAGE PROCESS Anthony LeBlanc, Jesse Swanson, Mick Napier, and others TBD, The Second City FREE NIGHT Lab 2019: In the Room Tuesday, August 20th ​ Reva and David Logan Center for the Arts, 915 E. 60th Street 10:00-10:15am CHECK-IN AND QUESTIONS 10:15-11:15am THE BEND IN THE ROAD Lydia Milman-Schmidt, Parent-Artist Advocacy League Cassie Calderone, Love, Your Doula BREAK 11:30-12:30pm DIRECTING VIRTUALLY Alice Bever, Chang Nai Wen, Monty Cole, and Evan Tsitias, Freelance Directors and International Lab Affiliates LUNCH BREAK 1:30-2:30pm ROOM FOR ART IN ACADEMIA Tiffany Trent, Logan Center for the Arts BREAK 3:00-5:00pm CREATING A TRANS AFFIRMING WORKPLACE Carolyn Leach, Chicago House TransWorks 5:00-6:00pm PEER-LED SESSION TRAVEL AND DINNER BREAK 8:00pm THE BEST OF SECOND CITY Directed by Jonald Reyes UP Comedy Club, 230 W.
    [Show full text]
  • "WHAT IS a SECT?" in EAST WEST Perspectivel Edward G
    THE SECTARIAN IN US. QUESTIONS ON THE QUESTION "WHAT IS A SECT?" IN EAST WEST PERSPECTIVEl Edward G. Farrugia, SJ Until before Vatican II the answer to the question what a sect is seemed to present, for many in the Catholic Church, no special difficulties. Whoever cut himself or herself off from the one true Church belonged, in ascending order of distance from the one true Church, to one of three categories: a) schismatics, b) heretics or c) sects. Schismatics had basically rescinded only communion while practically retaining the whole truth; heretics, while giving up some basic truths, had kept many others; and sects ];lad disfigured the truth to such an extent that they could hardly claim to be Christians any longer, in spite of some Christian elements in their new beliefs and could be described as a Christian sect primarily in view of the Christian Church from which they broke off. o. Formulating the problem Our concern here is to formulate a problem in view of a dogmatic aspect which has been insufficiently discussed - sects considered not in thems<:?lves, but insofar as they provide elements for a differentiation between East and West. Given such a methodological self-restriction, it cannot be the purpose of this brief contribution to discuss so many studies on the theme, much less so regarding the question of the definition of sect. The study of L. Greenslade, Schism in the Early Church: What light can the past throw? (London 1984) could here be mentioned, as representative. I. Abbreviations: ALGERMISSEN =K. Algermissen, Konfessionskunde, (Revised by H.
    [Show full text]
  • УДК 81.33 an ARTISTIC IMAGE METAPHORICITY: CULTURAL MEMORY and TRANSLATION V.A. Razumovskaya, E.B. Grishaeva . Abstract the A
    УДК 81.33 AN ARTISTIC IMAGE METAPHORICITY: CULTURAL MEMORY AND TRANSLATION V.A. Razumovskaya, E.B. Grishaeva . Abstract The article presents a complementary semantic-semiotic analysis of an artistic image in the framework of a literary text. The analysis is followed by post-translation descriptions. Being generated and functioning within a literary text an artistic image is considered to be an extended metaphoric formation primarily destined to fulfill the aesthetic function. Particular attention is paid to the cultural information and memory embodied in a unique cultural code presented in an artistic image and closely connected with its metaphoric characteristics. The present research was conducted on the material of the “strong” text of the Russian culture – “The Master and Margarita” by M. Bulgakov. The artistic image of Bulgakov’s tom-cat Behemoth is a heterogeneous metaphoric formation combining the cultural memory of a Biblical monster Behemoth, zoo-metaphorical characteristics of a hippopotamus (as a real fauna representative) and various connotations of a black tom-cat in its real and mythological hypostases. The research methodology assumes integrated analysis combining mythopoetic, hermeneutic and comparative methods. In the situation of literary translation, a literary image can be considered as a regular unit of translation, the reconstruction of which in “other” languages and cultures requires special translator’s decisions and application of effective translation techniques and strategies. Keywords: “Strong” text; artistic image; cultural information and memory; cultural code; metaphor; aesthetic effect; intertextuality; “The Master and Margarita”; Behemoth; cognitive equivalence. Introduction Any literary text is the unique result of individual perception, image comprehension and artistic reflection of the real or fiction life.
    [Show full text]
  • Denise Yvette Serna
    Denise Yvette Serna Director 45 Plays for America’s First Ladies The NeoFuturists Tri-Coastal The (M)others San Jose State University and New College of Florida Tri-Coastal Nine Lives of a Cat Museum Of Contemporary Art Chicago & Prop Thtr Chicago, IL Medusa Pop Magic Productions with Global Hive Laboratories Chicago, IL December Goodman Theatre (Staged Reading) Chicago, IL ​ The Revolutionists Strawdog Theatre Company Chicago, IL Richard & Jane & Dick & Sally 2018 LTC Carnaval of New Latinx Work Chicago, IL Near and Nigh El Semillero (Staged Reading) Chicago, IL ​ #dadawillsaveus Nothing Without a Company (Devised Workshop) Chicago, IL ​ Three Year Summer Prop Thtr Church of the New Play (Staged Reading) Chicago, IL ​ HOMESET Pop Magic Productions (Artist Salon Series) Chicago, IL ​ Just Like Us The Observatory (Staged Reading) Chicago, IL ​ Le Fruit Defendu History Lezons at Pride Films and Plays Chicago, IL Spark 20% Theatre Company (Chicago Premiere) Chicago, IL ​ Climate Change Theatre Action The Arctic Cycle & NoPassport Theatre Alliance Chicago, IL with Global Hive Laboratories After Orlando NoPassport Theatre Alliance Chicago, IL (the)Forget_Me\Knot Inappropriate Theatre Company Chicago, IL La Chingada Inappropriate Theatre Company & Crush Dance Collective Chicago, IL Assistant Director Medusa Pleasance Theatre Katie Merritt London, UK A Doll’s House Writers Theatre Lavina Jadhwani Chicago, IL Cambodian Rock Band Victory Gardens Theater (Chicago Premiere) Marti Lyons Chicago, IL ​ La Ruta Steppenwolf Theatre Company (World Premiere)
    [Show full text]
  • Mikhail Bulgakov's the Master and Margarita Vladimir Lakshin
    Mikhail Bulgakov's The Master and Margarita Vladimir Lakshin In the essay that follows, Lakshin presents an overview of The Master and Margarita and the novel's place in modern Russian literature Published in Twentieth-Century Russian Literary Criticism, edited by Victor Erlich, pp. 247-83. New Haven, Conn.: Yale University Press, 1975. From the archive section of The Master and Margarita http://www.masterandmargarita.eu Webmaster Jan Vanhellemont Klein Begijnhof 6 B-3000 Leuven +3216583866 +32475260793 Where there is no love of art, there is no criticism either. " Do you want to be a connoisseur of the arts ?" Winckelmann says. " Try to love the artist, look for beauty in his creations. " Pushkin 1 On a strange, fantastic moonlit night after Satan's Ball when Margarita is united with her beloved by the power of magic charms, the omnipotent Woland asks the Master to show him his novel about Pontius Pilate. The Master is in no position to do this. He has burned his novel in the stove. "This cannot be," retorts Woland. "Manuscripts don't burn." And at that moment the cat, holding in his paws a thick manuscript, offers Messire with a bow a neat copy of the destroyed book. "Manuscripts don't burn" Mikhail Bulgakov died with this belief in the stubborn, indestructible power of art, at the time when all his major works lay unpublished in his desk drawers only to reach the reader one at a time after a quarter of a century. "Manuscripts don't burn"--these words served the author as an incantation against the destructive work of time, against the dismal fate of his last and, to him, most precious work, the novel The Master and Margarita.
    [Show full text]
  • CONTACT: Denise Schneider/Kiana Distasi/Ramsey Carey FOR
    CONTACT: Denise Schneider/Kiana DiStasi/Ramsey Carey FOR IMMEDIATE RELEASE 312.443.5151 or [email protected] October 6, 2016 IMAGERY: GoodmanTheatre.org/PressRoom SOCIAL: @GoodmanTheatre #TheMagicPlay ONE-OF-A-KIND PART MAGIC SHOW, PART PLAY, THE MAGIC PLAY BY ANDREW HINDERAKER APPEARS OCTOBER 21 – NOVEMBER 20 AT GOODMAN THEATRE ***ACCLAIMED ACTOR/MAGICIAN/ILLUSION DESIGNER BRETT SCHNEIDER STARS IN THE WORLD PREMIERE PRODUCTION, TOGETHER WITH FRANCIS GUINAN AND SEAN PARRIS, DIRECTED BY HALENA KAYS*** (Chicago, IL) World-class magic meets a human story of love and loss in the world premiere of The Magic Play by Andrew Hinderaker at Goodman Theatre, October 21 – November 20. Critically acclaimed magician, illusion designer and actor Brett Schneider portrays a rising young magician who must take the stage just hours after his partner has left him. Though a good magician must always be in control of his show, The Magician’s performance begins to unravel, illuminating his offstage life, which may be as fragile as a house of cards. The part magic show, part play experience, directed by Halena Kays, features an astonishing ending with the audience helping to shape the final moments of the play. Chicago favorite Francis Guinan (The Father) and Sean Parris (The Diver) round out the three-person cast. The Magic Play, recommended for ages 13 and up, appears October 21 – November 20 in the Owen Theatre. Opening night is Tuesday, November 1. Tickets ($10 - $40; subject to change) are available at GoodmanTheatre.org/Magic, the box office (170 North Dearborn) or by phone at 312.443.3800. The Magic Play was originally commissioned by Roundabout Theatre Company and staged in a developmental production at Goodman Theatre’s 2014 New Stages Festival.
    [Show full text]
  • Manual Cinema
    MANUAL CINEMA: NO BLUE MEMORIES—THE LIFE OF GWENDOLYN BROOKS Thursday, November 29, 2018, at 7:30pm Colwell Playhouse PROGRAM MANUAL CINEMA: NO BLUE MEMORIES—THE LIFE OF GWENDOLYN BROOKS Commissioned by the Poetry Foundation Written by Crescendo Literary (Eve L. Ewing and Nate Marshall) Sarah Fornace, director Jamila Woods and Ayanna Woods, music composers Ayanna Woods, music director Drew Dir, storyboards Drew Dir and Lizi Breit, puppet designers Mieka van der Ploeg, costume designer Claire Chrzan, lighting designer Ben Kauffman, sound designer Mike Usrey, sound engineer Mariana Green, stage manager N. LaQuis Harkins, Gwendolyn Brooks puppeteer Rasaan Khalil, Haki R. Madhubuti puppeteer Jyreika Guest, puppeteer Felix Mayes, puppeteer Sharaina L. Turnage, puppeteer Shalynn Brown aka RED, drums Ryan Nyther, trumpet Terry Patrick, Jr., keyboard Ayanna Woods, vocals, bass Kamaria Woods, vocals, sound effects For all North, Central, and South American booking inquiries please contact: Laura Colby, Director, Elsie Management [email protected] TEL: +1 718 797 4577 www.elsieman.org Exclusive Asian Touring representation: Broadway Asia Company [email protected] TEL:+1 212 203 9986 www.broadwayasia.com 2 THE ACT OF GIVING OF ACT THE THANK YOU FOR SPONSORING THIS PERFORMANCE With deep gratitude, Krannert Center thanks all 2018-19 Patron Sponsors and Corporate and Community Sponsors, and all those who have invested in Krannert Center. Please view their names later in this program and join us in thanking them for their support. This event is supported by: RARE BOOK AND MANUSCRIPT LIBRARY AT THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN First-Time Sponsor BRENDA & STEPHEN PACEY CORPORATE & COMMUNITY Nine Previous Sponsorships BRONZE SPONSOR Three Current Sponsorships HELP SUPPORT THE FUTURE OF THE ARTS.
    [Show full text]
  • Showtime 2004
    FOR IMMEDIATE RELEASE Contact: Cathy Taylor, Cathy Taylor Public Relations (773) 564-9564; [email protected] Ben Thiem, Director of Member Services, League of Chicago Theatres (312) 554-9800; [email protected] SUMMER 2019 THEATER HIGHLIGHTS Chicago, IL – Celebrating 2019 as the Year of Chicago Theatre, Chicago will continue to produce some of the most exciting work in the country this summer. Offerings from the city’s more than 250 producing theaters feature everything from the latest musicals to highly anticipated world premieres. For a comprehensive list of Chicago productions including a Summer Theatre Guide, visit the League of Chicago website, ChicagoPlays.com. Half-price tickets are available at HotTix.org or at the two Hot Tix half- price ticket locations: across from the Chicago Cultural Center at Expo72 (72 E. Randolph) and Block Thirty Seven, Shops at 108 N. State. Hot Tix offers half-price tickets for the current week and some performances in advance. “As we approach the halfway point of the Year of Chicago Theatre, I encourage every Chicagoan and visitor to attend a production by one of our 250 theater companies. This summer, there is a wide range of offerings, including an impressive number of musicals and world premieres. Simply, there is something for everyone,” notes Deb Clapp, Executive Director of the League of Chicago Theatres. The following is a selection of notable work playing in Chicago throughout the summer: New works and adaptations include: Lookingglass Theatre presents a new adaptation of Mary Shelley’s Frankenstein. Mary Shelley’s unsettling story crackles to life as Victor Frankenstein must contend with his unholy creation.
    [Show full text]
  • Ambiguity and Meaning in the Master and Margarita: the Role of Afranius
    ARTICLES RICHARD W. F. POPE Ambiguity and Meaning in The Master and Margarita: The Role of Afranius Perhaps the most mysterious and elusive figure in Bulgakov's The Master and Margarita1 is Afranius, a man who has been in Judea for fifteen years working in the Roman imperial service as chief of the procurator of Judea's secret police. He is present in all four Judean chapters of the novel (chapters 2, 16, 25, 26) as one of the myriad connecting links, though we really do not know who he is for certain until near the end of the third of these chapters, "How the Procurator Tried to Save Judas of Karioth." We first meet him in chapter 2 (which is re­ lated by Woland and entitled "Pontius Pilate") simply as "some man" (kakoi-to chelovek), face half-covered by a hood, in a darkened room in the palace of Herod the Great, having a brief whispered conversation with Pilate, who has just finished his fateful talk with Caiaphas (E, p. 39; R, pp. 50-51). Fourteen chapters later, in the chapter dreamed by Ivan Bezdomnyi and entitled "The Execution" (chapter 16), we meet him for the second time, now bringing up the rear of the convoy escorting the prisoners to Golgotha and identified only as "that same hooded man with whom Pilate had briefly conferred in a darkened room of the palace" (E, p. 170; R, p. 218). "The hooded man" attends the en­ tire execution sitting in calm immobility on a three-legged stool, "occasionally out of boredom poking the sand with a stick" (E, p.
    [Show full text]