Final Eclipse Theatre interview: A Memory of Two Mondays

a memory of two mondays - eclipse theatre - banner

Arthur Miller and the Meaning of Work

 

by Paige Listerud

Our last video interview with Eclipse Theatre cast members examines their critically acclaimed production of Arthur Miller’s A Memory of Two Mondays (our review ★★★). Eclipse has had a superlative season with each successive showing of rarely produced Arthur Miller works. Completing their season, A Memory of Two Mondays won the hearts of many in the Chicago theater community, opening in time for Labor Day. Set in an auto parts warehouse, Miller’s impressionistic one-act cuts to the heart of our dull dissatisfaction with the day-to-day grind, critically exacerbated by worse economic times. How we think about work and our own personal worth strikes to the very core of daily experience of American life.

Joining us is Brandon Ruiter, playing Bert, the young and hopeful lead of the play and Kevin Scott, playing the beleaguered warehouse manager, Raymond. Kevin Scott doubles as Managing Director for Eclipse and intimately knows how the economic stresses of our Great Recession correspond with Miller’s themes. There’s no getting away from our current hard times. But there’s also no getting away from the American Dream, the idea of America against which we measure our individual worth and our hopes for the employment that will help us to reach our dreams.

A Memory of Two Mondays closes October 17 and the last event in their Playwright Scholar series on Arthur Miller happens this Saturday, October 2 (open to the public for a small donation). Enjoy the video and go see the show. Few American playwrights look as plainly and unflinchingly at American life as Miller does. Without adornment or exaggeration, it is enough for him just to go to the heart of the country. A Memory of Two Mondays is his statue in the park for the ordinary working Joe.

After the Fall – a YouTube interview with Eclipse Theatre

Hurry! Only 4 more chances to see “After the Fall”!!

 

Cutting Close to the Bone:

 

A conversation about Arthur Miller’s After the Fall

 

with Director Steve Scott and lead actor Nathaniel Swift

Elicpse Theatre - After the Fall

by Paige Listerud

After the Fall is Arthur Miller’s most personal play. He exposes the implosion of his marriage to Marilyn Monroe, set off by addiction, driven by the demons of childhood sexual abuse and Hollywood exploitation. It’s a play in which Miller acknowledges his own failed attempts to save her from any of it. In the play, Miller’s persona, Quentin (Nat Swift), marvels at and abhors the sexual fascination that Maggie (Nora Fiffer), Monroe’s persona, casts over men—a power that makes her vulnerable to all sorts of exploitation. But even as he attempts to protect her, he acknowledges his own culpability and morally compromised state in succumbing to her bombshell beauty and erotic, childlike nature.

After the first production of After the Fall, taking place one year after Monroe’s death, Arthur Miller was savaged in the press for exploiting his wife. But the play really is a purge and cathartic release of all sorts for Miller. Of all his works, After the Fall cuts closest to the bone. Furthermore it’s a play that covers other purges and other morally compromised states—such as America’s purge of communists, fellow travelers, and other leftist thinkers during the McCarthy Era. It was an era in which the outrageous accusations of the House Un-American Activities Committee (HUAC) met with collusion by some fearful Americans, ready to surrender names in order to save their careers, while other fearful Americans maintained their silence about McCarthy’s witch hunt under the peer pressure of Loyalty Oaths.

It was an era for all sorts of moral compromise—not something that Miller’s intelligent and incredibly moral protagonist Quentin can live with very well. If you want to know how Eclipse Theatre has done one of Miller’s most cinematic and impressionistic works, you can now read an array of critical acclaim from the Chicago theater press. (You can also see our in-depth review here ★★★½).  As for diving even deeper into the challenges of rendering this difficult play so well, enjoy our video interview below. Then get thee to Eclipse Theatre before the production closes.

 

 

        
        

Arthur Miller Project: an interview with Eclipse Theatre gang

Talking about Arthur M. with the gang at Eclipse

It’s dangerous to getting together with Eclipse Theatre’s crew of artists. They love talking about theatre as much as I do, so the interview format quickly turns into casual and fun conversation that could have gone on and on if we let it. Artistic Director Nat Swift, who directs Eclipse’s current production Resurrection Blues (our review 3.5stars), JP Pierson, who plays Stanley, and Nora Fiffer, who will perform in their summer production After the Fall, easily demonstrate their company’s dramaturgical drive and intelligent grasp of recurring themes in Arthur Miller’s work. They appreciate Resurrection Blues for its focus on media and I appreciate its prophetic power to show us the dire straits we could be heading for—a perspective that make me the “wonderfully cynical” one in the group. Enjoy.

 

 

 


 

Previous Arthur Miller Project interviews:

    
     

Into the Heart of Arthur Miller

millerproject

Into the Heart of Arthur Miller

by Paige Listerud

It seems like only yesterday we started The Arthur Miller Project. Back in November, TimeLine Theatre was finishing up with All My Sons and Raven Theatre had extended its hit production of Death of a Salesman. I still marveled at the line-up of Arthur Miller works being produced through the 2009-2010 season. To the best of my knowledge, an opportunity like this–to grasp the breadth of Miller’s drama, live, in a single season–is unprecedented, even for a world-class theater city like Chicago. You don’t have to be a theater geek to appreciate what a break it is to see an American master like Miller done comprehensively, and done well, in the course of a year.

Plus, it happened this way without anyone planning it. No theater company coordinated with any other to produce seven Miller plays across the city. They are still not coordinating with each other, not even for advertising purposes–unlike TimeLine, Remy Bumppo, and Court Theatre’s promotional collaboration, Fugard Chicago 2010. In fact, Infamous Commonwealth, TimeLine, and Raven Theatre bid against each other for the rights to produce All My Sons–much to the bewilderment of Miller’s estate, according to Eclipse Theatre’s Artistic Director Nathaniel Swift.

Well, for some reason Arthur Miller is in the Chicago theater community’s headlights this year. Companies needed and wanted to dig into Miller’s canon. When they couldn’t get All My Sons they moved on, not to another playwright but to another Miller play.

So April is here, Easter is upon us; the spring Chicago theater season is about to burst into full glory. Infamous Commonwealth Theatre opened The Crucible last week (see our review) and Eclipse Theatre started its previews of Resurrection Blues on March 25. You can see our interview with Infamous Commonwealth’s Chris Maher and Craig Thompson below. Video of Eclipse Theatre’s theater artists and events are to come.

We hope you’ve warmed up nicely from seeing TimeLine and Raven Theatre’s productions last fall—find our interviews with their directors below.

Covering everything Eclipse Theatre has planned for its Arthur Miller season could be a project in and of itself. But then its mission, unique in the Midwest, is to concentrate upon one playwright per season, supplementing fully mounted plays with further explorations of the playwright’s work in a series of intimate readings and discussions. Eclipse selected Miller’s lesser-done plays Resurrection Blues, After the Fall and A Memory of Two Mondays for full-scale production. As in previous seasons, Eclipse will also employ directors, actors, scholars and dramaturges to enhance their subscribers’ introduction to other Arthur Miller works. It’s all part of the subscription–although, for a suggested donation, non-subscribers can also join in the journey to the heart of Arthur Miller.

If sneak peaks are any indication, that journey will be substantial.

arthur-miller2 First up in Eclipse’s Playwright Scholar Series is a staged reading of Miller’s first full-length play written in 1944, The Man Who Had All The Luck. Held Saturday, April 10, at 2 pm at the Greenhouse Theater Center, the play has the kind of protagonist who reads like the photographic negative of Willy Loman. David Beeves acquires success in every area of his personal and professional life, regardless of the obstacles. “But his good fortune merely serves to reveal the tragedies of those around him in greater relief, offering evidence of a capricious god or, worse, a godless, arbitrary universe.” I guess there are two kinds of tragedies in life: one is never getting what you want and the other is getting it. While we are familiar with the former in Arthur Miller’s Death of a Salesman, a work like The Man Who Had All the Luck explicitly shows the playwright delving into the latter.

Swift, who also directs Resurrection Blues this season, particularly looks forward to discussing the theme of “being liked”—the proverbial American need to be liked—running through both plays.

Other Arthur Miller treats:

The Homely Girl, A Life—Eclipse has been contemplating a workshop on a stage adaptation of this Miller novella. At last notice, acquiring rights from the estate were still a little sticky. Stay tuned.

Enemy of the People—discussion will compare Miller’s adaptation to Ibsen’s original work. Hopefully, discussion will resonate with Eclipse’s upcoming production of After the Fall in July and Infamous Commonwealth’s The Crucible going on right now. All three have to do with Miller going before the House Un-American Activities Committee (HUAC).

A View from the Bridge—readings from the original one-act version and songs from the opera version. Just this January, Gregory Mosher, once head of the Goodman Theatre, revived this little Miller classic on Broadway with Liev Schreiber and Scarlett Johansson. In a thousand ways, this tense tale of incest and domestic violence just keeps turning up. Its blue-collar atmosphere may enhance Eclipse’s last play of the season, A Memory of Two Mondays.

arthur-miller-marilyn-monroe The Misfits—a reading of the screenplay and discussion of Miller’s life and writing. Marilyn Monroe was with Miller all through HUAC and starred in this, her last completed film, screenplay written by Miller. The shooting of the film was the site of their marriage’s demise. Miller’s last play, Finishing the Picture, depicts the making of The Misfits.

Swift doesn’t mind not getting All My Sons for Eclipse’s season. While a famous Miller blockbuster definitely would bring in more revenue, focusing on lesser-known Arthur Miller works better fits their mission to cover the full arc of a playwright’s career. “Our focus is largely dramaturgical,” says Swift, “to ask how these works resonate–especially now. Not to compete with other companies.” Other companies covering Arthur Miller simply give more context to what Eclipse is doing.

Chuck Spencer blew me away,” says Swift, regarding Raven Theatre’s Death of a Salesman. “I’m looking forward to seeing Incident At Vichy at Redtwist Theatre. A bunch of people are thrown into the same room and it builds terrifyingly with the realization of how bad it’s going to get.”

I’m anticipating how good it’s all going to get, show by show, event by event. Please join us, here and at the theater.


For all YouTube interviews, click on “Read more”


Continue reading

Arthur Miller YouTube Project: Crucible interview

A fast-paced, minimalist Crucible emphasizes the currency and timelessness of Arthur Miller

We met up with Chris Maher, director of Infamous Commonwealth Theatre’s latest production of The Crucible, and Craig Thompson who plays the of role of John Proctor. Ian Epstein, whose review marveled that their production’s fast pace “makes the piece a borderline thriller,” conducts the interview at Raven Theatre. The themes of timelessness and timeliness dominate the discussion, together with a genuine love for Miller’s actability.

 

Part 1

 

Part 2

 

Read our review for The Crucible here. (★★★)

Continue reading

REVIEW: The Crucible (Infamous Commonwealth Theatre)

Minimalist “Crucible” finds hope amid darkened righteousness.

 

Crucible1

 
Infamous Commonwealth Theatre presents:
 
The Crucible
 
by Arthur Miller
directed by
Chris Maher
at
Raven Theatre, 6157 N. Clark (map)
through April 25th (more info)

reviewed by Ian Epstein 

The intriguing thing about a good production of Arthur Miller‘s The Crucible – and Infamous Commonwealth‘s definitely falls in this category –  is how distant it feels from the House Un-American Activities Committee (HUAC) that was so infamously intertwined and on Miller’s mind as impetus for this composition.

The Crucible tells the tale of the Salem witch trials, an historical event that took place in Massachusetts back in the days of Puritan Theocracy (circa 1690).  Tituba (Adrian Snow), a slave from Barbados, and a bunch of goodly Puritan girls are caught dancing in the woods – at the time, some are even allegedly naked. And since Puritan foulplay of any sort is rewritten as Satanic rite, the whispers reverberating through Salem are about much more than a little naked dancing in the woods.

Abbigal Williams (Elaine Ivy Harris) and John Procter (Craig C. Thompson) -Infamous Commonwealth TheatreNumerous accusations begin to fly that girls have even been consorting with the Devil himself.  There are some murmurs that say Abigail Williams (Elaine Ivy Harris) did it.  Or was it the Reverend Parris’s daughter Betty (Glynis Gilio), as others say?  No, they insist, contradicting and indicting one another in a back and forth game of guilt and blame:  it was this girl and not that one, or it was Goodie Proctor (Jennifer Matthews) leading them all to the Devil! 

The accusations babble as sourceless and incoherent as a Massachusetts brook.  Townspersons accuse each other of increasingly sinful behavior, eventually metastasizing from the realm of the accused adolescent girls to grown women and eventually to the men as well.  Before long the small New England town appeals to an out-of-town minister to bring some order and some God to the whole mess – but it only gets muddier, further from the event and any sensible resolution.

As the play’s four Acts (though there’s only one intermission) unfold, the audience watches this small New England town shred itself, its children, its ministers, even the rule of law in hot pursuit of the Devil’s involvement, if any, in civic affairs.  The action moves from a villager’s home to the courtroom and then the prison at dawn on a day scheduled thick with hangings for witchcraft. Nick Rastenis‘ spare, white, post-and-beam, wood-colored set makes movement from one setting to another an effortless rearrangement of bodies on stage, and perhaps a table or a chair.  Rachel M. Sypniewski‘s costumes match the barren quality of Rastenis’ set, making it clear that Crucible-Prepress-Cropped-sThe Crucible is a kind of minimal costume drama; it’s a period piece where bare white walls and exposed wood beams do wonders. 

The minimal quality of the set and the dire consequences of being accused of witchcraft render Stephen Dunn‘s flamboyant gesticulations as Reverend Parris a little too sticky on stage – they tangle up the audience’s attention, making them question his character, and not listen to Reverend Parris’s doublespeak.  Perhaps this is the one instance where Director Chris Maher has pushed too hard – as otherwise the actors successfully achieve and maintain a nearly manic pace and pitch that keeps all four acts clipping along at a pace that makes the piece a borderline thriller – no small accomplishment for a piece where the characters are all too busy attempting to outdo each other’s rhetoric with brimstone polemics on the floor of a courtroom.

 
Rating: ★★★
 

Extra Credit

Continue reading

Arthur Miller Project

 millerproject

 

The Arthur Miller Project – An Exploration

by Paige Listerud

In fall, at the start of the 2009-2010 Season, it became quite apparent that the Chicago theater community was responding to the economic crisis and the shifting political tone of Washington with works that depicted hardship, deprivation, and introspection over the meaning of American identity.

Profiles Theatre produced Neil LaBute’s response to 9/11, The Mercy Seat; Eclipse Theatre brought back the political corruption of the Grant Administration with Romulus Linney’s Democracy; Brain Surgeon Theatre reconstructed a cramped Depression Era tenement with their world premiere 1512 West Studebaker Place; Northlight Theatre will take their turn at the Clifford Odets’ classic Awake and Sing this January; eta Creative Arts Foundation examined the American Dream through African American eyes with Sam Kelley’s Pill Hill; while These Shining Lives, produced by Rivendell Theatre Ensemble and The Artistic Home’s production of Lillian Hellman’s Days To Come touched on the dynamics of American labor.

Into the mix, it seemed striking that not just one or two, but seven productions of Arthur Miller’s work emerged on the roster for the 2009-2010-theater season. In a world-class theater city like Chicago, one is accustomed to seeing plenty of Shakespeare, Chekhov, Shaw, and even a production of The Crucible each season. But this time, it was clear that something was in the air. True, almost half of the productions are from Eclipse Theatre’s seasonal selection; but to see so much attention by individual theaters devoted to the playwright known for his piercing examination of the American mythos signaled both a return to basics and an interrogation into who we are and where we are going.

Here at ChicagoTheaterBlog, we took this as an excellent opportunity to create dialog about Miller’s work; to ask what still remains vital and provocative about the issues his plays bring up. And, of course, to get more people out to the theater, talking about theater and participating with their theater community. To this end, we’ve embarked on our first videotaped interview, with more to come. Our goal is to interview directors, actors, and scholars regarding the Arthur Miller productions of this season and to give you a chance to respond to our findings. We hope that our coverage of Miller’s works through our “Arthur Miller Project” will prompt you to engage in the exciting exchange that live theater can bring and is so accessible to us in this great city.

Arthur Miller Plays in the Chicago 2009-2010 Theater Season

Aug 31 All My Sons at Timeline Theatre (our review)

Oct 6 Death of a Salesman at Raven Theatre (our review)

Mar 25 Resurrection Blues at Eclipse Theatre

Mar 27 The Crucible produced by Infamous Commonwealth Theatre (at Raven Theatre)

July 8 After the Fall at Eclipse Theatre

July 24 Incident At Vichy at Redtwist Theatre

Sept 2 A Memory of Two Mondays at Eclipse Theatre


 Arthur Miller’s Death of a Salesman

 

Raven Theatre’s artistic director Michael Menendian, talks with Paige Listerud regarding their critically successful production of Death of a Salesman