sign in sign up
<<
Home , Cheryl Crawford, Clifford Odets, Deadline at Dawn, Golden Boy (play), Harold Clurman, Lee Strasberg

b a c k s t o r y

Your behind-the-scenes look at TimeLine productions

yesterday’s stories. today’s topics. From Artistic Director PJ Powers a message

Dear Friends, that their “Person of the — can influence history is made With his blend of social classic for the ages. You just Year” was You. Me. Us. The through activism, be On behalf of TimeLine’s not only in commentary and might be surprised that the average citizen. it personal, social or entire company, I am government emotional complexity, age in which it was written political. thrilled to welcome you to Admittedly, upon first buildings and Odets revolutionized the really is not our own! our 11th season! Each year hearing that, I thought There are many complex at corporate American theater during As we usher in a second we go through a series of it was a poor excuse for issues — not the least of board tables, but in the The Depression by putting decade of making history at discussions about the issues not choosing a person of which will be a Presidential homes and workplaces of the struggles and longings TimeLine, we’re delighted and types of stories we national prominence — a election — that will demand people like you and me. of everyday citizens on the to share another Odets stage. With , want explore, and this year single someone who had great thoughtfulness in the We begin our season-long play with you. With much he gives voice to those our deliberations seemed made a sizeable imprint on coming year. Each of us will conversation by revisiting to discuss, I hope our little individuals and exposes a even more extensive and issues of global importance. play some role in the history an old friend — Clifford theater again this season family’s quest for utopia passionate than at any But soon I recognized an that will be made, and it’s Odets. If you saw Louis will be a place where big amid a sea of economic and time during our 10 previous opportunity to explore up to us as individuals to Contey’s Jeff Citation- conversations take place! political turmoil. years. There was a lot on our Time’s idea. determine how active (or winning production of minds and an abundance passive) that role will be. Quite often TimeLine is Odets’ Awake and Sing! With a vast landscape of topics quite worthy of drawn to stories about With that in mind, TimeLine at TimeLine in 2002, you of ideas, this is an Odets examining on stage. legendary figures who is pleased to present may attest that Odets is There was one moment, defined their times and four plays that showcase a playwright who seems however, that turned claimed their chapters ordinary people living in custom-made for our “It’s equally important to tell the stories the tide for how I was in history books. But it’s extraordinary times. They company and that Contey of how average individuals —you, me, us is a director who has a approaching our planning. equally important to tell are filled with probing —can influence history.” At the end of 2006, Time the stories of how average questions, refreshing humor tremendous gift for making magazine announced individuals — you, me, us and the notion that history Odets’ urban poetry shine.

Special Events and Resources the conversation

Sunday Scholars Series The panel is moderated by Post-Show Discussions production dramaturg, Lobby Displays Study Guide TimeLine Board member these brief, informal discus- Immediately following the Stay after performances Don’t miss our historical Also online, you may obtain Peter H. Kuntz, managing sions are your opportunity performance on Sunday, on Thursday, August 30; lobby displays, available a production study guide, director of programs and to hear from the cast and September 9, TimeLine will Sunday, September 2; for perusal before and after our compilation of all the production for the Chicago production team about their host our Sunday Scholars Thursday, September 6; each performance. They historical background, Humanities Festival. experiences, ask questions Series. This one-hour panel Thursday, September 13 also can be downloaded at contextual articles and about and comment on the discussion features experts Please note that you do not and Sunday, September www.timelinetheatre.com. additional resources col- performance and engage talking about the themes need to attend the Sep- 16 for free post-show lected during production of fellow audience members and issues of the play. Tick- tember 9 performance of discussions. Moderated Paradise Lost. in conversation about the ets are $10; $5 for TimeLine Paradise Lost to attend the by a TimeLine Company themes of the play. subscribers; call the Box Sunday Scholars panel. member and featuring the Office to order. : Origins the playwright A TIMELINE July 18, 1906 Clifford Odets lifford Odets was the of increasingly expensive inclinations and refused to After a performance in a is born in Philadelphia. Cson of Eastern Euro- apartments in New York send him to college, hoping small role with the 1912 Odets’ family moves to pean, Jewish immigrants. City. They were in social instead to train him in his Guild, Odets met Harold . He was born in Philadelphia neighborhoods, and Odets, own printing and copywrit- Clurman, who invited him to June 28, 1914 Archduke on July 18, 1906. His mother, always seeking family, was ing business. Odets was meet with a group of Franz Ferdinand, heir to the Pearl, who suffered from often in the homes of his not a success in his father’s and directors who were Austro-Hungarian Empire, and tuberculosis and bouts neighbors, observing their business and drifted from holding weekly meetings to his wife are assassinated. In of depression, was often lives with his prominent job to job before finding discuss the state of theater, the months that follow, Aus- remote and emotionally blue eyes. like-minded actors and writ- the need for more training tro-Hungary, Serbia, Russia, Belgium, France and Germany inaccessible when he was a ers with whom he shared and rehearsal time, and the Odets’ childhood journals all are drawn into what would child. His father, Lou, was ragged apartments paid method of pioneered are filled with precocious become the World War I. both an ambitious business- for by bit parts in plays and, by Konstantin Stanislavski. and self-conscious accounts man and womanizer who occasionally, financial con- These meetings would ulti- April 6, 1917 The U.S. of his dreams of becoming Congress declares war on had high expectations for tributions from his mother. mately grow into the Group an or a writer. Early Germany. his son. Theatre, and Clurman would successes in theatrical per- Throughout this time, Odets become Odets’ friend and November 11, 1918 World Lou Odets was obsessed formances in grade school suffered from depression the director of many of his War I ends with the signing of with the American dream, and high school cemented and entertained thoughts of plays. It was the Group that, the Armistice. and, as he grew more suc- his desire to act. suicide, even as he worked for a time, offered Odets a cessful, he distanced himself to educate himself in the 1920 Adolf Hitler, as head of His father, however, did not Clifford Odets at age 28. family and artistic home. the National Socialist German from his immigrant past. theater, art and music. appreciate his son’s artistic (Photograph by ) Workers’ Party (Nationalsozial- The family was forbidden istische Deutsche Arbeiterpar- to visit his mother’s grave tei or Nazi Party) announces Clifford Odets and circa 1937. (Photograph by Carl Van Vechten) for fear they would see the his 25-point program which family name, Gorodetsky, provided the permanent basis “Dear American friend. of the party. on the gravestone. After moving to New York City, October 24, 1929 The stock he added the initial “J” to That miserable patch of market crashes; it came to be his name and expanded his event, that mélange of known as Black Thursday. first name to Louis. He also October 29, 1929 Five began claiming he had been days later, there is a second born in Philadelphia. nothing, while you were stock-market crash. Soon known as Black Tuesday, this Caught between the looking ahead for some- crash causes widespread panic. emotional distance of his Most historians now believe mother and the severity and these crashes were symptoms thing to happen, that of the Great Depression, not ambition of his often-absent the cause. father, Clifford Odets was a bookish child who craved was it! That was life! 1930 , Lee approval and a family. Strasberg and You lived it!” begin holding meetings to dis- He grew up living upstairs cuss theater; Odets is among from an aunt and uncle in — Clifford Odets, 1963 a number of actors attending Philadelphia, then in a series these gatherings that would become the basis for the Group Theatre. : a timeline The Group Theatre

1931 Banks suspend opera- the experiment tions by the end of the year.

November 8, 1932 Franklin irectors Harold Clur- about an authenticity they Theatre became increasingly Delano Roosevelt defeats Dman, and felt was lacking in the the- socially aware. For a time Herbert Hoover and is elected Cheryl Crawford organized ater. The young company Odets joined the American the 32nd president of the the Group Theatre in 1931. struggled; while some plays Communist Party but found United States. They called it the Group were well reviewed, there it artistically restricting January 1, 1933 Hitler because the three directors were also financial failures and abandoned it, though is appointed Chancellor of had been holding weekly and pressures. Many mem- his desire to address social Germany. meetings to discuss theater bers of the Group shared issues remained the driving 1933 President Roosevelt with their group of actors run-down apartments to force of his plays through- commences his plan to allevi- in volunteered apartments save money. out the 1930s. Socially ate the economic privations since November 1930. conscious and topical of the Great Depression with Odets played several small Notable members included subject matter and striking, , with at center, arms raised. (Courtesy Theatre a series of legislation, creating roles in their productions Collection, Museum of the City of New York) social and public-works pro- , Sanford Mei- naturalistic language would but did not immediately grams that would collectively sner, Elia Kazan, Howard become the hallmark of reveal his literary ambitions. mance. Waiting for Lefty “Strike! Strike!,” joining the be known as the New Deal. Da Silva, , Lee Odets’ early plays. Strasberg worried that was remounted, paired with characters in their moment J. Cobb, 1935 Legislation to create the Odets was not a very good Writing became a way to act his anti-Nazi one-act, Till of decision. Works Progress Administra- and . the Day I Die, with great tion, which would ultimately actor and expressed his on his desire to address the 1935 was a banner year for The name of the theater doubts about his inclusion social problems of poverty, critical success. Till the Day include the Federal Art, Music, Odets: After the success of Theatre and Writers’ Projects, derived from one of its guid- in the Group, but Clurman homelessness and labor I Die was one of the first Waiting for Lefty, the Group is passed by Congress. The anti-Nazi plays produced ing principles, that the plays maintained that Odets was abuses. In 1935, the Group Theatre also produced his Group Theatre’s work was on the American stage and were meant to be part of “stewing” and would pro- Theatre performed his one- Awake and Sing!, which fol- a forerunner to this only Odets had written it in a American attempt to develop a whole in which all actors’ duce something interesting act play, Waiting for Lefty, lows the trials of the Berger performances were impor- in time. in which a group of taxi single week. a nationalized theater program family in 1933. in the form of the Federal tant. There were no stars, drivers come to the decision As the Great Depression The audience response to Theatre Project. Many Group nor were the playwright and to strike. It was performed With Awake and Sing! the wore on, Odets and other Waiting for Lefty was even actors work for the Federal director superiors in the first as a benefit perfor- Group Theatre hit a pin- members of the Group stronger than the critics’. Theatre Project and the style nacle of critical success of acting pioneered by the production of a play. Simi- Clurman recounted how, and social awareness. It Group Theatre would strongly larly, all members were paid, at the pivotal moment at rushed to produce Odets’ influence FederalT heatre and, while there was some the end of the play, the Paradise Lost, later that productions. salary variation, the size of audience would call out, the part did not determine year. It opened to mixed 1935 Odets’ play Waiting the size of the paycheck. for Lefty is performed as a “There were to be no stars in our benefit for the GroupT heatre; The company devoted itself it is later remounted and per- to long days of summer theatre, not for the negative purpose formed with his anti-Nazi play rehearsals in rented camps , with great of avoiding distinction, but because all critical success. Waiting for and homes in the country. Lefty wins the George Pierce They studied movement, distinction — and we would strive to Baker Drama Cup and the Yale their version of Stanislavs- attain the highest — was to be embod- University and New Theatre drama awards. ki’s method of acting, and ied in the production as a whole.” rehearsed. All their efforts 1935 The Group Theatre per- were designed to bring The Group Theatre taking a movement class at Dover Furnace in 1932. — Harold Clurman, The Fervent Years: The Group forms Odets’ plays Awake and (Photograph by Ralph Steiner, courtesy of Caroline Steiner) Theatre and the Thirties Sing! and Paradise Lost, both directed by Clurman. The Great Depression

1935 Odets, as a representa- the crash tive of the League of American Writers, is among a group of reviews. But in spite of loyal ing, ever-present financial est financial success.I ts artists who make a protest audiences, it failed to be the problems and the depar- 1938 production of Odets’ “Whenever people talk to me of the advan- trip to Cuba, to investigate the financial success the com- ture of various members Rocket to the Moon received tages of America, I think of all these broken treatment of students under Fulgencio Batista. He is ar- pany hoped it would be. for Hollywood took their mixed responses from crit- middle-class lives which I know so well.” rested and deported. toll. In 1937, after a harsh ics and audiences. In spite Odets, who had resisted the — Clifford Odets, 1940 critique of their skills from a of the financial success of 1936 Odets writes lure of lucrative Hollywood committee of Group actors, , the financial t is difficult to understand his own household, is on I Can’t Sleep. screenwriting jobs, finally Strasberg and Crawford burdens of producing the juxtaposition of the new and unsteady footing. left for Los Angeles and I January 8, 1937 Odets resigned. Clurman, who was subsequent seasons and Roaring ’20s with the Great Under the emotional upset marries actress Luise Rainer. sent back money to help working in Hollywood and the increasing pressure to Depression. The change of fathers and mothers is pay the actors’ salaries for 1937 He writes the film trying to shore up his finan- cast outside actors already from economic security to the sense of trying to build Paradise Lost. scenario for The General Died cial situation, returned from had started a downward financial duress happened on quicksand. … If you have at Dawn. The utopian theater experi- Los Angeles to direct Odets’ slide for the Group Theatre, within a few years, or even been hungry, you may build ment began unraveling in Golden Boy, which became which dissolved in 1941. a few months, for many up when you get food. But April 1937 Lee Strasberg the late 1930s as infight- and Cheryl Crawford resign the Group Theatre’s great- families. your whole outlook on life from the Group Theatre. changes when you have As Harold Clurman wrote been discouraged too often August 23, 1937 Clurman in The Fervent Years: The or too long.” returns from Los Angeles to Group Theatre and the direct Odets’ Golden Boy for Thirties: “Between 1921 and At the height of the Great the Group Theatre; it becomes 1927, society’s headlong Depression in 1933, nearly the Group Theatre’s most profitable play. rush looked as if it would one quarter of the popu- never end. Between ’27 and lation was unemployed, 1938 Martin Dies is named ’29, a slowing down became according to the Franklin head of the newly formed perceptible, notes of doubt, Delano Roosevelt library. House Un-American Activities Committee. fear, loneliness, stole into Odets and other members the picture.” of the Group Theatre saw 1938 The Group Theatre and experienced the eco- produces Odets’ Rocket to A set of government case nomic reality of the Depres- the Moon. studies on the unemployed sion. These hardships between 1921 and 1929 June 25, 1938 The Fair Labor proved to be the catalyst compiled by the Unem- Standards Act passes, creating Odets needed to drive his a minimum wage. ployment Committee of playwriting. the National Federation of December 5, 1938 Group Theatre directors (from left) Lee Strasberg, Harold Clurman and Cheryl Crawford at Brookfield Center. Settlements suggests that A photograph of Odets this anxiety was grow- appears on the cover of Time “No one talks magazine with the Malraux “From consideration of acting and plays we were plunged ing well before the stock quote as a caption, “Down with market crashes of 1929. The about the the general Fraud!” The Time into a chaos of life questions, with the desire and hope of chapter of the government feature claims “Odets defines making possible some new order and integration. From an study entitled “Effects on depression of the general fraud” because of the Spirit” suggests that, his Cinderella story and rise to affluence. experiment in the theatre we were in some way impelled “The man who, with the loss the modern to an experiment in living.” of his job, has lost his sense man’s spirit” 1939 Six Plays of Clifford of belonging, and with it Odets is published. — Harold Clurman, The Fervent Years: The Group Theatre and the Thirties his place in the scheme of — Lucas Pike, Paradise Lost Paradise Lost An Interview with Janet Brooks

September 1939 Germany the themes the cast invades and annexes the Danzig region; France and Eng- n 1935, the Group Theatre language of his other plays Group Theatre called him Janet Ulrich Brooks began working with TimeLine in land declare war on Germany. Iand Odets were flush and a more allegorical a “sell-out.” He surprised 2003, appearing in Paragon Springs. She next appeared World War II begins. with the success of Awake style that might speak to his critics by returning to in A Man For All Seasons in 2005 and gained widespread 1940 Odets writes . and Sing!. universal themes. The play the company with 1937’s acclaim for last season’s one-woman production of still features the slangy production of Golden Boy 1941 Odets writes Clash by Odets had been offered Lillian. She was named a TimeLine Associate Artist this Night. He and Luise Rainer language Odets heard from writing contracts in Hol- It would not be the last time season and plays a prominent role at TimeLine this year, divorce. his father — whose favorite lywood but still clung to the Odets would be accused appearing in Paradise Lost and Tesla’s Letters. slang, always monetary, was 1943 Odets writes the film Group Theatre’s ideals and of compromising his ide- “a million bucks” — but at Two weeks into rehearsals for Paradise Lost, TimeLine scenario and directs None But found it his artistic home. als. A 1938 article in Time the Lonely Heart. the same time he also used Artistic Director PJ Powers (PJP) chatted with Brooks He also was struggling magazine was heralded by poetic, symbolic language. (JUB) about her career and her work at TimeLine. 1944 Odets writes the film through multiple revisions a photograph of Odets on scenario for . of Paradise Lost, afraid the The title of the play, a refer- the magazine’s cover with play would seem like a ence to John Milton’s epic the André Malraux quote as May 8, 1945 Winston pale shadow of Awake and poem of the same name, a caption “Down with the Churchill announces the end of World War II on the European Sing! with the references suggests this shift to a more general Fraud.” front. to the family’s Jewish faith metaphorical landscape. Attacking the general fraud removed. Milton’s poem retells the was a task Odets openly set September 2, 1945 Japan story of the angel Satan as signs its unconditional surren- In fact, he was striving to for himself. With his earliest der, ending World War II on the he overreaches himself in find a balance between plays critics praised him Pacific Front. attempting to become a god the naturalism and street as a voice for social reform and is cast out of paradise but even in 1938, the Time May 14, 1943 Odets marries actress Bette Grayson. by God. While Odets draws article pointed out the on language that references paradox of Odets’ financial 1948 Odets writes Clifford Odets on the cover of the Milton — there are images . December 5, 1938 issue of Time success allying him with magazine. (Photo by Lara Goetsch) of fruit, fire, sickness, the middle-class fraud he 1950 Odets writes death and failed ambitions sought to attack. By 1953, The Country Girl. — the world of the play is a however, Odets, like his decidedly fallen one. Odets friend Elia Kazan, would (PJP) How long have you I toured for 4½ years and, 1953 Odets is called before the described Paradise Lost as been acting in Chicago and after the death of Artistic House Un-American Activities name names in front of the Committee as a “friendly wit- “about a man, Leo, who was how did you get your start? Director Victor Podagrosi, House Un-American Activi- ness.” He disavows communism began directing the acting trying to be a good man in ties Committee. (JUB) I was in my early 30s and names fellow communists. companies and education the world and meets raw, when I moved to Chicago in evil, and confused condi- Safe from blacklisting, programs. I did that for the 1954 Odets’ writes The Flower- ’88 to nanny my niece and ing Peach, and it is produced on tions where his goodness Odets wrote for film, televi- next eight years. sion and the stage. Toward start a new chapter. Broadway. Bette Grayson dies. comes to nothing.” I missed acting, wasn’t the end of his life, Odets I’d been entertaining in 1961 Odets receives the Award getting any younger, In spite of some praise, the frequently told others of Branson, Mo., acting in of Merit Medal for Drama from didn’t have any kids to put play struggled financially, his plans for another play, Kansas City, marrying the the American Academy of Arts through college and had and Odets decided to go to but , wrong guy and getting a and Letters for his body of ripened into proper “char- dramatic work. Hollywood in order to help produced in 1954, would be divorce. In ’91 I landed a acter-actor” age — so off I finance it. He experienced his last. full-time acting job (with August 18, 1963 Clifford went to start yet another his own “fall” as New York benefits! Woo-hoo!) with Odets dies in Los Angeles of new chapter. It was tough critics and some in the Child’s Play Touring Theatre. stomach cancer. getting back on the audition performer. When you have As for arts education, while become unnecessary! (JUB) It was thrilling, a pin- horse, but luckily it has a group of 300 students teaching I learn more nacle for me. On first readI (PJP) In a relatively short worked out for me! I also rapt, not in noisy response about my process. I have to fell in love with the script. period of time, TimeLine have an extremely sup- to hilarious hi-jinks, but articulate concepts in ways has become an artistic I had never done a one- portive partner, Paul Roeder, rapt with attention to that communicate with the home for you. What is it woman play, and wondered who helps subsidize my lack live storytelling, you have learning styles represented that you like about doing about acting without an of a full-time job. achieved something — and in any group of students. plays here? ensemble. Good God, it takes skill, craft, honesty. Also, seeing how easily (PJP) Your career has what if I belched? I’d have What you give, you get back young people “play” and (JUB) TimeLine has a pas- included a lot of work to be very careful about ten-fold. create ideas inspires me to sion for quality. I like that. in arts education and in what I ate! trust the creative process Every time I’ve returned to children’s theater. Can you Inviting the energy of the and open up to the creative As , testifying before TimeLine there has been I knew I’d have to have this talk about that work and audience into the story, the House Un-American Activities energies of the folks I’m growth. I like that. And you story in my bones in order how it has fed what you do as opposed to a one-way Committee in Lillian. working with. I still teach make me laugh, PJ! I really to invite the audience in, as an actor? communication, is probably part time and will probably like that! so I got an early start by the most important quality energy, abstraction, as well (JUB) Children’s theater continue to for a while. reading it aloud every day I got from doing children’s as critical thinking, problem- I always feel artistically — the red-headed stepchild for more than a month theater. Also, we performed (PJP) What do you see as solving, etc. challenged here and at the of the theater world, but a before rehearsals started. I stories and poems written the biggest need or chal- same time, comfortable and wonderful place for a char- The arts are the language, also read Lillian’s memoirs by children so I got to play lenge facing the world of supported — safe. I also like acter actor to work while the form of communication and re-read all her plays. characters ranging in age, arts education today? the connection with history. aging. Victor Podagrosi was people have used since time The play drew on all of my gender and matter. I’ve Like [poet and philosopher] a huge influence for me, (JUB) Yikes! How much began to express them- experiences to date and played broccoli — as well George Santayana’s quote: with his deep respect for time have you got? Time selves and document their seemed to validate all my as mice, mothers, bad boys, “Those who cannot remem- the sophistication and intel- and money come to mind. societies. So for absorbing life choices, as I used every cookies, rocks, flowers and ber the past are condemned ligence of children. Their Also, fear. We seem to be in history, I don’t know how one of them to connect with God (not in a public school, to repeat it.” honesty is so valuable to a a quagmire in this country. you can do that without the journey. though). Everyone talks about how studying the arts. As we (PJP) Your portrayal of Lil- I also turned 50 during the important education is, but blend cultures in our big lian Hellman in last season’s run — over the hill with no one can agree on what melting pot, we can find production of Lillian was As Alice More (with David Parkes, center, as Sir Thomas More and Joey Lill! — and it was an amaz- should be taught or how it connection and understand- one of the surprise hits Honsa, right, as Margaret), preparing for her husband’s execution in ing birthday present to be TimeLine’s 2005 production of A Man for All Seasons. should be taught — or who ing through the language of the season. The show doing what I most love to should be teaching it. And, of the arts. Maybe if we played to large crowds for do at such a milestone. meanwhile, there’s so much understood more about six weeks on off-nights to learn!! each other, we wouldn’t during The Children’s Hour, I still only feel articulate be so afraid of each other. and it received tremendous when saying other people’s Connecting the arts Without fear, we might press and acclaim. Can you words, but the Lillian experi- to school curriculum is actually enjoy learning so talk about what the experi- ence gave me a new level of essential. Take away the much that testing would ence was like for you? confidence in my abilities as humanities, and you take away humanity. The sci- ences and arts go hand in “[Lillian] drew on all of my experiences to date and hand. They hold the same principles — line, shape, seemed to validate all my life choices, as I used form, color, rhythm, tempo, every one of them to connect with the journey.” BACKSTORY: THE CREDITS an actor. I proved to myself before going into rehearsal. in a way that would make that I could do things I had Otherwise, I start picturing the playwright proud. It Dramaturgy & only dreamed of doing. But, the character as someone is honoring the past and Historical Research I gotta say, that one drag off else and am startled at the informing our work. by Maren Robinson that opening cigarette was sound of my voice at the (PJP) About one-third of Written by Maren a great nerve stabilizer on first reading! Finding the the way through the run of Robinson, PJ Powers opening night! rhythm of the play is essen- Paradise Lost you will start and Lara Goetsch tial — which feeds into the (PJP) So now you’re doing double-duty as you Edited by Karen A. Calla- movement of the character, reunited with Lillian director begin rehearsals here for way and Lara Goetsch which informs emotional Lou Contey for Paradise Tesla’s Letters, the second underpinnings. Then I love Photography and Graphic Lost. Is the process different show in our season. How the first time you look up, Design by Lara Goetsch since you have already done will you juggle two vastly connect with a fellow actor Paradise Lost Cover one show with him? different plays? Brooks with fellow cast and production staff, rehearsing Paradise Lost. and are able to catch a wave Photo by Ryan Robinson (JUB) Yeah. I feel like he and ride it together for a (JUB) This speaks to my doesn’t pay as much atten- what’s good for one or the (JUB) Right now, I wonder while. This always lands you inner schizophrenic. The Backstory is published tion to me. Kidding! Now I other: The “haves” and why Clara doesn’t walk somewhere new. different dialects will be the four times each season. just have to share him with “have-nots.” Who’s in power. through Act II saying “I told biggest challenge, as I tend (PJP) Our dramaturg, Pictured on front cover everybody else. I like watch- The consequences of our you so.” She seems to me to let dialects bleed into my Maren Robinson, has sup- (from left): Costume ing him work his magic on actions. The consequences the most pragmatic charac- everyday life anyway. I have plied you with a wealth of designer Alex Wren others. of industrial power. Reli- ter in the play — interesting to make sure I get enough information about life in Meadows; cast and gious freedoms vs. religious for a woman written by a sleep, too! But it also comes (PJP) Why do you think the 1930s and the world in production staff at the reign. man. I’m intrigued with how at a time in the production Odets’ writing is still reso- which Odets was writing. first read-through of the outspoken she is, yet still process where I am ready to nating in 2007? I think once someone has How does that information script; actor Mechelle deferential to her husband. begin creating something decided they have the inform rehearsal? Moe; set model by scenic (JUB) Probably because his She is loyal to her fam- new. Does that sound like I answers they close them- designer Karen Hoffman; writing is so socially minded. ily and welcoming to her (JUB) Maren’s been have a short attention span? selves off from possibilities. actors Aaron Golden and Lots of different ideals are friends. Clara suffers great great! We had some good Ooh, look! A shiny penny! I think Odets wants us to Michael Kingston. represented in this play loss, as do others in the play, table talk for the first few remain open to ideas and (PJP) What else do you for us to consider. When and I’m still navigating that rehearsals. We talked Pictured on back cover possibilities. have coming up this year? Odets was writing, folks journey. about the Group Theatre (from left): Actors were questioning capitalism, (PJP) Tell us about your and ensemble acting as it (JUB) Soon after Tesla’s Michael Kingston, Hanlon (PJP) How do you prepare exploring options — social- character, Clara, the matri- connected to socialist and Letters I’ll start rehearsals Smith-Dorsey and Angela before rehearsals begin? ism, communism, etc. Odets arch of the Gordon family in humanist values. It’s always for Richard III at Strawdog Bullard; actor Jeremy reminds us to wake up: Paradise Lost. (JUB) I like to read a fun to find the roots of slang Theatre. It opens in late Feb- Glickstein; scenic designer When you get complacent, play aloud several times and catch phrases — makes ruary. And opening in May, Karen Hoffman; actor things can happen around me wonder what actors 100 I’ll be playing Golda Meir in Janet Ulrich Brooks; you that you don’t notice years from now will do if Golda’s Balcony at Pegasus actor Aaron Golden; until it’s too late. And the “I love the first time you look up, they find an oldS econd City Players — another one- director Louis Contey political climate today is so connect with a fellow actor and script! But I think all the woman play! This will come with dramaturg Maren charged. People are fright- discussion gets everyone with a whole new set of Robinson; actors Craig ened and searching. Politics are able to catch a wave and ride it focused on the task at hand challenges that seem a bit Degel and Whit Spurgeon. and social idealism clash at and excited at the prospect daunting right now, so I’ll all turns. We still question together for a while.” of bringing the play to life think about that tomorrow. Paradise Lost the play

August 20 07 August 25 - October 21, 2007 previews 8/21 - 8/24 Su M T W T h F Sa by CLIFFORD ODETS Brian McCartney: Sam Katz 19 2 0 21 2 2 2 3 24 2 5 directed by LOUIS CONTEY & Detective Milton 2 6 2 7 2 8 2 9 3 0 31 Mechelle Moe: Pearl Gordon Sep tember 20 07 Reportedly considered by Hanlon Smith-Dorsey: Dave Su M T W T h F Sa Odets himself to be his Post & Mr. Schnabel 1 best and most significant & Williams 2 3 4 5 6 7 8 work, Paradise Lost is an Whit Spurgeon: 9 10 11 12 13 14 15 intense family drama set Gus Michaels 16 17 18 19 2 0 21 2 2 amid the vast landscape of Clayton Smerican: Felix & 2 3 24 2 5 2 6 2 7 2 8 2 9 the Great Depression. How Mr. May & Paul 3 0 will financial misfortune October 20 07 affect the values, relation- The Production Team ships and aspirations of the Karen Hoffman: Su M T W T h F Sa well-educated, middle-class Scenic Designer 1 2 3 4 5 6 7 8 9 10 11 12 13 Gordons and their circle of Alex Wren Meadows: friends? Odets’ passionate Costume Designer 14 15 16 17 18 19 2 0 21 characters speak with a Keith Parham: fast-talking language that Lighting Designer Regular Performance sings with big dreams and Andrew Hansen: Preview Performance optimism for the future, Sound Designer Opening #1 featuring post- despite daunting odds. show reception Sold Out Julia Eberhardt: Opening #2 featuring post- Props Designer show reception Sold Out The Cast Post-Show Discussion with (in alphabetical order) Maren Robinson: cast & production crew Free Dramaturg Scott Aiello: Lucas Pike Sunday Scholars a one-hour Jennifer Martin: post-show panel discussion Angela Bullard: Bertha Katz with experts on the themes and Stage Manager issues of the play Tickets $10; Janet Ulrich Brooks: Seth Vermilyea: $5 for subscribers Clara Gordon Production Manager Craig Degel: Phil Foley Show times Lara Goetsch: previews 8 pm & Mr. Rogo Director of Marketing thursdays 7:30 pm Tien Doman: Libby Michaels and Communications fridays 8 pm Jeremy Glickstein: Kewpie saturdays 4 pm & 8 pm PJ Powers: Artistic Director sundays 2 pm Aaron Golden: Ben Gordon John Bierbusse: Interim select wednesdays 7:30 pm Jürgen Hooper: Julie Gordon Managing Director RESERVE YOUR Michael Kingston: TICKETS NOW: Leo Gordon (773) 281-8463 x24