Cool beans – a great Chicago theater is reborn!

organicphotosmall_1 From Organic Theater’s homepage:

In the 1970s, when Chicago’s vibrant theater scene was earning the city a national reputation as the place to be for exciting new theater, few companies shone brighter than the Organic.  It was quintessential Chicago theater, a mirror for its time.  Today’s Organic Theater is still a mirror for its time, with a bold new vision and audacious new mission. At the Organic, you’ll experience sparkling new adaptations and world classics rarely seen in Chicago, performed in rotating repertory by a permanent company of artists. The new Organic is an adventure –  artists and audience together exploring great stories, well told.  (emphasis mine)


The 2009 Repertory Season



Sexual Perversity in Chicago


Bobby Gould in Hell
both by David Mamet


The $30,000 Bequest
by Mark Twain

Synopsis and creative/performing teams after the fold.

Performed in Rotating Repertory
May 28 – June 28, 2009
Greenhouse Theatre Center (map below)

Tickets:  773-404-7336, or buy online.

Map of the Victory Gardens Greenhouse Theatre Center, home of Organic Theatre’s 2009 Repertory Season


    Organic Theater’s MISSION STATEMENT

Organic Theater Company is committed to a vision of creating productions with a permanent group of artists over a sustained period of time and presenting them a rotating repertory.

This approach, while relatively unusual in the United States, is widely accepted in much of the Western world as the ideal way to make a body of theatrical work.

Rotating repertory creates the opportunity for a unique relationship between the company and its audience, one in which the same actor can be seen in a variety of roles over a short period of time. It also allows the actors to work as a single instrument, much like the world’s great orchestras and dance companies.




Upcoming Show


The $30,000 Bequest

By Mark Twain

First Performance took place on June 30, 2005 at the Moscow Art Theatre School, Moscow, Russia

The notion of adapting a work of narrative prose for the stage always raises questions. The one that forever concerned me as I embarked on this endeavor was: “Are there not plenty of good plays around without going after works that were meant for a different purpose?” The answer is that, of course there are plenty of wonderful, powerful, entertaining plays around. It is not their death that spurred me on. What fascinated me was the need to hear the whole of a Master’s voice, and Mark Twain is certainly a master’s Master. In writing dialogue, a writer is in a position to hide behind characters and allow himself to create the illusion of being invisible. In creating a story, replete with descriptions, asides, observations, and opinions, as well as dialogue, the author is more likely to reveal himself, reveal his mind and soul. If this is true, how could we not want to experience a revealed Mark Twain?

In approaching this project, we decided to keep every word of Twain’s narrative without rearranging their order even in the slightest. The hope was that as a result, the great writer’s true voice would emerge. It is not for us to judge whether we succeeded or not, but there is no doubt that during rehearsals we felt his presence, felt warmed by his wit, stung by his sarcasm, moved by his generosity, and embraced by his brilliance.

Creative Team

Adapted and Directed by Alexander Gelman
Scenic Designer Terrence McClellan
Costume Designer Melanie Parks
Lighting Designer Ryan Breneisen
Stage Manager Jason Shivers
Properties Designer Caitlin R. Hutchison
Dramaturg Dorian Hadley



Joshua Anderson
Joel Stanley Huff
Jessica Webb
Meghan Shea

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