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PSHITTER! A DRINKING SONG FOR THE YEAR OF OUR LORD 2020 ILLINOIS THEATRE By Henry Wishcamper Lisa Gaye Dixon, director Thursday-Saturday, December 3-12 WELCOME TO THIS (MOSTLY VIRTUAL) We have done some industry-leading work to SEASON OF ILLINOIS THEATRE! put the shows you’re seeing this year on stage and on screen—and to do it safely. We are very This has been a very fortunate to be a theatre production team in a strange—truly era- research university, because it gives us the chance defining—time to be to find solutions to problems that theatres around making theatre. The global the world are facing. We have developed a set of pandemic has come home protocols that draw on the work of major industry in particularly significant organizations and on the campus and state ways for everyone involved epidemiological and public health expertise. It is in live performance. How remarkable what we can do when the full range of do you produce art when expertise in theatre—stage managers, designers, much of the basis of that technicians, actors, directors, and dramaturgs—are art becomes a danger to in it together. In the end, those protocols not only the very communities for and with whom you offer us the chance to make this work, but also give make that art? When singing, playing instruments, direction to our peers across academic theatre. declaiming, and even breathing heavily carries the risk of transmitting a respiratory virus? When Human stories, the stories smiles, frowns, grimaces, and looks of surprise are Illinois Theatre tells, are a covered by masks? When the numbers of people beacon of hope in dark and needed not only on stage but also backstage and unsettled times. Whether in production shops must be limited to maintain satirical or sentimental, the community’s health? polemical or philosophical, reflective or action-packed, For us, you seek creative new approaches, theatrical art can reveal because the core, underlying need to find human and produce our connection and illumination through stories is as connections to each other strong as it has ever been. And you keep a close when we need them most. eye on the spot where live performance meets So welcome, and thank you. We are glad you are digital media. As our future unfolds in theatre, we here—even if “here” is on your computer. We are increasingly aware of the value of media to help look forward to being with you now and in the us tell those stories and to get them to you, our years to come. audiences. But we are also continuously reminded of the value of liveness, of the unique, ever- —Lisa Gaye Dixon, Producer, vanishing present and the ways that live theatre can Department of Theatre place us in that present like nothing else. —Gabriel Solis, Professor and Head, Department of Theatre 2 PROGRAM PSHITTER! A DRINKING SONG FOR THE YEAR OF OUR LORD 2020 ILLINOIS THEATRE By Henry Wishcamper Lisa Gaye Dixon, director Thursday-Saturday, December 3-12 TIME: Now PLACE: Here This production is intended for mature audiences only and includes strobe lighting, stage weaponry, violence, loud noises, partial nudity, and profuse swearing. Pshitter! A Drinking Song For the Year of Our Lord 2020 was developed, in part, with assistance from the Orchard Project (www.orchardproject.com), Ari Edelson, Artistic Director. 3 PSHITTER! A DRINKING SONG FOR THE YEAR OF OUR LORD 2020 PLAYWRIGHT MEDIA DESIGNER Henry Wishcamper M Opsina-Lopez DIRECTOR PROPERTIES DESIGNER Lisa Gaye Dixon Wendy Wu STAGE MANAGER DRAMATURG Tom Zhang Katayoun Salmasi SCENIC DESIGNER FIGHT DIRECTOR Yvonne Tessman David Sterritt* COSTUME DESIGNER ASSOCIATE DIRECTOR/ MOVEMENT Melissa Hall-Reynolds DIRECTOR Genesee Spridco LIGHTING DESIGNER Tanner Funk VOICE AND SPEECH COACHES Robert Anderson SOUND DESIGNER Allison Moody Miyka’el Hutchins *Member of Stage Directors and Choreographers Society (SDC) 4 CAST DADDY UBU OLD MAN/PEASANT/JUNKHERR MATHIAS Charlie Bauer VON KÖNIGSBERG Gabe Ortiz MOMMA UBU Emma L. Anderson BOUGRELAS/MACDUFF’S SON Alex Parámo COMMENTATOR Sarah Clement FOOKWOD/SHIP CAPTAIN/ PEASANT BANQUO/MACDUFF Latrél Crawford Nathan M. Ramsey SOLDIER/MESSENGER/PEASANT/ FOLEY ARTIST 2ND WITCH/2ND MURDERER Daniel Rivera Antwaun Allen QUEEN WICTORIA/LADY MACDUFF/ ROSS/PUPPETS ON THE HEATH 1ST WITCH Alex George Charlee Amacher UNDERSTUDY #1 KING VENCESLAS/LITTLE RENSKY/ Bree Kazinski 1ST MURDERER/3RD WITCH Corey Barlow UNDERSTUDY #2 Josh Gaff 5 PLAYWRIGHT’S NOTE I first started working on a mash-up ofMacbeth Now, six months later, we live in a completely and Ubu Roi in 2005. At the time, it was different world than we did when many of these principally a theatrical romp through two classic actors, designers, and other theatre artists dramatic texts. It didn’t have much political first explored the text of this play. Our lives edge or urgency. I returned to the play after are completely different on a personal level, the 2016 election. Suddenly, a theatrical world a departmental level, a university level, and a that portrayed a political leader who was equal national level. No one has any idea how our lives parts grotesque, absurd, and despotic felt like it could change, how our nation could change, how explained changes happening in our body politic the world could change in the few short weeks that I had never imagined might be possible in that the company will rehearse and record this my lifetime. I started working on the play a few production. months after the peaceful transition of power that occurred in January of 2017. In the months I am grateful that Lisa and Illinois Theatre have and years since that inauguration, the political selected, again, to explore this text this fall. I environments of our country and Walachia have had the opportunity to sit in on a Zoom reading become more and more similar. the other day, and it was remarkable how the changes that have happened in our world over It has been incredibly meaningful to me that the last six months change the way the play lands, Lisa Gaye Dixon and Illinois Theatre chose to the conversations it sparks, and the connections produce this play last year. While the production it makes to our constantly shifting world. I have last spring was unfortunately canceled as part of no idea what a streaming presentation of the the initial response to our current pandemic, the play will look like or feel like. I hope and trust that final invited dress rehearsal was one of the most what Lisa, the cast, the creative team, and the cathartic and joyous evenings of theatre I have many artists working on this piece create will be experienced. In some ways, that one rehearsal/ a uniquely cathartic, joyous, and urgent call to performance captured the spirit of the play and action that will capture this absurd, grotesque, the times more perfectly than a full, traditional run. tragic, terrifying moment in history. Be safe. Take Care. Vote. —Henry Wishcamper 6 DRAMATURG’S NOTE Henry Wishcamper’s Pshitter! A Drinking Song for population. Power appears to be collapsing on the Year of Our Lord 2020 is a dramatic collage itself, madness and farce are abroad in the land, that uses William Shakespeare’s Macbeth and and harbingers of war appear on the horizon. Alfred Jarry’s Ubu Roi. Ubu Roi was a parody itself of Shakespeare’s Macbeth and some parts Pshitter! is a grotesque journey through the of Hamlet, Julius Caesar, Richard III, and The history of broken and corrupt political systems Winter’s Tale. Alfred Jarry’s Ubu Roi, or Ubu the with disintegrating populations, whose anger King, opened and closed in Paris on December has been nurtured through mass media. 10, 1896. A pioneering effort in avant-garde satire Wishcamper’s play is the story of Daddy Ubu’s on power and self-indulgent leaders, it caused hunger for power and sovereignty. The character a riot in the theatre and a national scandal. The is tempted to commit devilish acts to satisfy play was banned for years due to the way Jarry his desire after three witches predict his future. targets all manner of authoritarian and corrupt Momma Ubu supports his quest and is even more regimes. From South African apartheid to post- ravenous than her husband. Hoping to become communist Poland and the militarism of many queen, she tempts Daddy Ubu to kill the king and other countries, Jarry’s satire has had a profound remove everyone who stands in his path. Perhaps international impact. In its structure, it has also when Daddy Ubu’s time is up, the road will be influenced the development of modern theatrical clear for her to sit atop the heap. styles such as realism and naturalism. Unlike Jarry’s play, which eliminates Jarry once claimed that his play was “an Shakespeare’s witches, Pshitter! has supernatural, exaggerated mirror” of the society. It appears weird sisters whose prophecies, in contrast to that this exaggeration is a part of our reality those in Macbeth, may be changed or undone. today, or perhaps it is the dreadful but factual The witches can decide to end the story of the replication of what we have created as a Commentator as they wish: they can go against 7 the rules and write new scripts. In Pshitter!, we dishonesty, and no fear of his own murderous have a Momma Ubu, who is not only a prime intent. He marches increasingly toward autocracy, seducer, but also represents a woman in pursuit putting his own needs ahead of his people. of money and power. This review of savage royalty affirms the idea that justice is nothing but In the early moments of this “drinking song for an illusion.

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