Review: Bury the Dead (Promethean Theatre Ensemble)

  
  

Promethean Ensemble misfires in play about war

  
  

Quinn White, Carl Lindberg, Jared Fernley, Joel Kim Booster, Brian Pastor, Dylan Stuckey - Promethean Ensemble's 'Bury the Dead'

  
Promethean Theatre Ensemble presents
  
Bury the Dead
  
Wirtten by Irwin Shaw
Directed by Beth Wolf
at The Artistic Home, 3914 N. Clark (map)
thru May 21  |  tickets: $20  |  more info

Reviewed by Keith Ecker

When Irwin Shaw penned Bury the Dead in 1936, World War I was still lodged like an artillery shell in the American psyche. An astounding nine million combatants lost their lives fighting in the trenches of Europe in what would be the last war largely fought on foot. At the time, no one could conceive that greater methods of mass destruction were on the horizon and that more death lie in waiting.

Brit Cooper Robinson and Joel Kim Booster. Photo by Tom McGrath of TCMcG Photography.Although the play is not specifically about any war (according to the script, it is about a fictitious war that has not yet been fought), it is about the massive human toll that war takes and the desire for a society to forget the dead in an effort to pacify the psychic pain. This phenomenon that certainly existed post-World War I remains today. But today’s wars are oranges compared to yesterday’s apple battles. As societies have bled over borders and become global communities and mass communication is a "Like" button away, the dynamics of war that Shaw highlights do not stand the test of time. Vastly enhanced mobility and weapons technology have drastically reduced the number of causalities. Although military deaths are still a topic for discussion, personal freedoms, religious zealotry, resource acquisition, financial costs and nation building are the predominant concerns of today.

This is unfortunate considering the Promethean Theatre Ensemble decided to take the script, virtually untouched, and plop it into the present world (or more accurately 2013). What results is one of the most hilariously ill-conceived updated period pieces I have ever seen. Just take the opening scene. Two soldiers, presumably in either Iraq or Afghanistan, are shoveling sand graves for their fallen comrades as their sergeant stands watch. They begin smart-talking to each other, commenting on the smell of the bodies and the exhaustion felt from physical labor. But instead of speaking in the contemporary vernacular, the two soldiers sport hilariously anachronistic Brooklyn accents and use such words as "gyped" and "stiff." This would be fine if we were observing a couple of wise guys hanging out at the Black and Tan in 1930, but it’s just blatantly bizarre for 21st-century soldiers.

Besides the dialogue, which is only made more cringe-worthy by the scenery-chewing cast, the artistry of the story is non-existent. David Mamet has written that any play that serves to grandstand is not a play worth producing. Shaw’s play is one giant anti-war polemic. There is no devil’s advocate, no counter view that is meant to challenge our own preconceived notions of war. It is just a long diatribe that preaches to the choir. And today’s choir is too intelligent for this kind of preachy pandering. Challenge us. Make us question our views. The last thing an audience wants to do is wallow in the sense that we were right all along. When a soldier ruminates that "Kids shouldn’t be dead," you can just feel the audience collectively shouting "Duh!"

     
Shawna Tucker and Quinn White in Promethean Theatre Ensemble's 'Bury the Dead' by Irwin Shaw. Photo by Tom McGrath of TCMcG Photography. "Bury the Dead" Cast in Promethean Theatre Ensemble's Irwin Shaw play. Photo by Tom McGrath of TCMcG Photography.

The play is about seven dead soldiers who choose to stand in defiance and refuse to be buried and forgotten. In the second act, the military—in a remarkably chauvinistic move—contacts the soldier’s wives, mothers and sisters to coax them into the grave. What follows is a series of two-person scenes with more wistful gazing and maudlin emoting than a Lifetime movie. If you’re a fan of repetitious dialogue (e.g., "Let me see your face. Just let me see your face!"), be prepared to get your fill.

With Bury the Dead, Promethean Theatre has produced the equivalent of taking “Gone with the Wind” and setting it in China. This confusing and poorly thought out concept is further harmed by uneven performances and heavy-handed direction. Yes, the script certainly has its flaws, but with some clever updates, it could still have made for an entertaining watch. But save for a Katy Perry reference, the script seems strangely naive, turning what should be a tense drama into a bizarre farce.

  
  
Rating: ★½
  
  

Marco Minichiello and David Fink in Promethean Theatre Ensemble's 'Bury the Dead' by Irwin Shaw. Photo by Tom McGrath of TCMcG Photography.

Promethean Theatre Ensemble’s Bury the Dead, by Irwin Shaw, continues through May 21st at The Artistic Home, with performances Thursdays-Saturdays at 8pm and Sundays at 3pm.  Tickets are $20, and can be purchased by phone (800-838-3006) or online. For more information, visit prometheantheatre.org.

All photos by Tom McGrath of TCMcG Photography, © 2011.

     

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REVIEW: Lakeboat (Steep Theatre)

     
     

Steep adeptly navigates Mamet’s austere boatmen’s tale

     
     

Jim Poole and Eric Roach in scene from 'Lakeboat' at Steep Theatre in Chicago

  
Steep Theatre presents
  
Lakeboat
  
Written by David Mamet
Directed by G.J. Cederquist
at Steep Theatre, 1115 W. Berwyn (map)
thru Feb 26  |  tickets: $22  |  more info

Reviewed by Katy Walsh

‘I knew a guy who ate a chair because no one stopped him.’ Life on the lake is tedious. To drift through the monotony, a crew focuses on booze, sex and sandwiches. Steep Theatre presents Lakeboat, Playwright David Mamet’s semi-biographical account of life on a freight ship. Dale is the new night cook. A Lakeboat summer job is a romantic notion for a literature major. Dale learns quickly this isn’t a “Huck Finn” adventure. From anchors up, the jocular familiarity of the guys breeds testosterone-infused competition. Boozing escapades, sexual conquests and egg sandwiches – every raunchy story is an industrial strength, usurped, big sail of wind. Lakeboat navigates through the humorous inner-workings of a bunch of bull ship!

In Mamet style, the unsophisticated dialogue is viscerally organic. Under the direction of C.J. Cederquist, the eight-man crew delivers strong and distinctive portrayals. Perfect as the fish-out-of-water, Nick Horst (Dale) bumbles with an endearing puppy dog likeability. Eric Roach (Fred) is hilarious describing his zingo approach to getting laid. Roach climaxes with vulgar orgasmic satisfaction. Peter Moore (Stan) and Sean Bolger (Joe) capture perfectly that familiar unexplainable friendship synergy. They don’t appear to even like or listen to each other in a twosome banter. Add a third man and the claws come out in ferocious loyalty. Oddly charming! Carrying himself with dignity, Alex Gillmor (Collins) floats between ambitious second-in-charge and acknowledged sandwich gopher. Barking nonsensical orders, Norm Woodel (Skippy) is a hoot as a captain that is a few oars short. Jim Poole (fireman) is marvelously passionate explaining the importance of his mundane existence. Although hard to hear over the lakefront audio, Jason Michael Linder (pierman) checks in as an arrogant gatekeeper.

David Mamet penned a series of personality snippets to depict working life on the river. It’s a glimpse of the crude and bleak life of boatmen from the perspective of a college student’s seasonal stint. Set designer Dan Stratton stretches the boat across the middle of the theatre with seating on the port and starboard sides. The stage works nicely for the crew’s entrances on the gangplank. Then with steel poles and chains, it transforms to the boat. The visual is interesting but challenges the pacing. The galley is in the bow. The captain drives from the stern. The engine room is in the stem. The action from one end to the other end provides waves of lulling instead of rocking intensity for the perfect storm. The Steep production actualizes Mamet’s characters with tanker-like distinction. With a little more speed from the tugboat, this Lakeboat will cruise full-steam ahead.

  
  
Rating: ★★★
   
  

Running time: Ninety minutes with no intermission.

Jim Poole and Eric Roach in scene from 'Lakeboat' at Steep Theatre in Chicago

  
  

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REVIEW: The Water Engine: An American Fable (Theatre 7)

  
  

Suspenseful Mamet play recalls 1930s Chicago

 
 

Cassy Sanders, Brian Stojak and Dan McArdle in Water Engine - Theatre Seven

   
Theatre Seven presents
 
The Water Engine: An American Fable
   
By David Mamet
Directed by Brian Golden
Greenhouse Theater Center, 2257 N. Lincoln (map)
Through Dec. 19  | 
Tickets: $12–25  |  more info

Reviewed by Leah A. Zeldes

Set in Chicago in 1934, David Mamet’s rarely mounted 1977 drama, The Water Engine: An American Fable, currently in a beautifully nuanced production by Theatre Seven, takes us back in time to the Century of Progress World’s Fair. Charles Lang, a punch-press operator in a factory by day, dreamy inventor by night, has created an engine that runs on pure water. He dreams it will put an end to factories and bring him a peaceful life in the country with his unworldly sister.

Brett Lee in Water Engine - Theatre SevenChicago history buffs, alternate-history fans and anyone who enjoys great, intimate theater should take this show in. While it’s set too late to be steampunk, this arguably science-fictional play has a similar feel. Brenda Windstead’s 1930s costumes and John Wilson’s sound-stage set transport us to another time, one that almost-but-not-quite existed.

But "autres temps, autres moeurs" does not apply here. In fact, it’s business very much as usual. In his effort to patent his invention, Lang runs afoul of a scheming shyster who tries to sell him and his creation into nefarious corporate hands. I don’t doubt that many would-be world-shaking discoveries meet similar fates today.

Although the plot is stridently black and white, it’s also edge-of-the-seat suspenseful, and Mamet brings in all sorts of fascinating sidelines, such as a recurring theme about a chain letter, period-style advertising and the world’s fair itself. The action cris-crosses Chicago, from the fairgrounds to still-extant spots such as the Aragon Ballroom and Bughouse Square.

Mamet originally wrote this short script, which runs about 80 minutes without intermission, as a radio play, and Director Brian Golden’s exciting staging effectively blends radio-style performance with more animated action in imaginative ways. His cast includes Theatre Seven company members Dan McArdle, Cassy Sanders, Brian Stojak and George Zerante, as well as Brett Lee, Lindsey Pearlman, Cody Proctor, Alina Tabor, Jessica Thigpen and Travis Williams.

Charles Lang in Water Engine - Theatre SevenEach cast member plays multiple roles in this play within a radio play. In fact, the 10 cast members portray over 40 parts, skillfully depicting radio actors, principals in the radio play and random Chicagoans in wonderful character sketches.

In the longest role, Proctor plays Lang with well-executed, nervous nerdiness. Zerante smarms as the crooked lawyer, and Williams menaces as the corporation muscle. Pearlman delightfully segues from refined actress to ranging street-corner orator to gruff storekeeper. Newcomer Tabor adds wide-eyed youthful charm.

The whole ensemble works together like a well-oiled machine.

 
   
Rating: ★★★★   
   
   

Cassy Sanders, Travis Williams, Jessica Thigpen, Brian Stojak, Lindsey Pearlman

All photos by Heather Stumpf

 

 

   
   

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REVIEW: To Kill a Mockingbird (Steppenwolf Theatre)

 

Talented cast tells a timeless story

 

 

   
Steppenwolf Theatre presents
   
To Kill A Mockingbird
   
Dramatized by Christopher Sergel
Based on the novel by Harper Lee
Directed by
Hallie Gordon
at
Steppenwolf Upstairs Theatre, 1650 N. Halsted (map)
through November 14  |  tickets: $15-$20   |  more info

Reviewed by Keith Ecker

In David Mamet’s “Three Uses of the Knife, his non-fiction book on the art of playwriting, he describes his detest for plays that set out to soapbox. In his view, works that preach a message selfishly leave the audience out of the discussion. For if the spectator isn’t given the opportunity to provide his own interpretation of the work, isn’t it propaganda and not art?

But David Mamet’s word isn’t scripture. And there’s no question that To Kill a Mockingbird has artistic merit, especially in its current staged incarnation produced by Steppenwolf for Young Adults.

Yes, the story is pretty straightforward and provides little moral conflict for today’s audiences. We know from the beginning we are supposed to side with the stately Samaritan Atticus Finch (Philip R. Smith), and root against the slackjawed, pitchfork-toting townsfolk. We know that Tom Robinson (Abu Ansari) is innocent beyond a reasonable doubt and that Scout (Caroline Heffernan) is going to be as feisty as she is precocious.

So ethical dilemmas and non-archetypical characters aren’t To Kill a Mockingbird’s strong points. But the piece stands as an important historical drama, a reminder that although we live in a nation where everyone is created equal, some are more equal than others.

Of equal importance is the fact that the play offers up some really outstanding roles for young actors. And Steppenwolf’s stellar cast does not disappoint. Heffernan brings to the role of Scout a Punky Brewster tomboy quality that is tough without sacrificing cuteness. Zachary Keller nails Dill’s Alabama droll. Claire Wellin (who I last saw in Profile Theatre’s amazing production of Killer Joe) delivers an emotionally charged performance as Mayella Ewell, the young woman alleging rape. She is certainly an actress to watch.

Director Hallie Gordon conveys the smallness of Maycomb, Ala. by relying on a compact set that stays stationary throughout the production. The Finch’s home is steps from the Radley’s, which is only steps from Mrs. Dubose’s. This helps intensify the rising action of the play, as we can better sense the proximity of the danger that threatens Atticus and his family.

If you want to introduce your children to drama, Steppenwolf’s To Kill a Mockingbird is a good start. Most seventh and eighth grade children have already read the book, so it’s safe to say the content is age appropriate for young teenagers. However, younger children may find the themes of murder and rape to be too adult.

For top-notch child talent and a timeless story, go see the Steppenwolf’s To Kill a Mockingbird.

   
   
Rating: ★★★½
   
   

Performances run October 12 – November 14, 2010 in Steppenwolf Upstairs Theatre, 1650 N. Halsted Street.  Weekday matinees (Tuesdays – Fridays at 10 am) are reserved for school groups only, with weekend (Friday evening, Saturday and Sunday) performances available to the public.

 

 

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REVIEW: Oleanna (American Theater Company)

 

ATC Takes Mamet to School

 

 

Oleanna - American Theater Company 1 Oleanna - American Theater Company 3
   
American Theater Company presents
  
Oleanna
  
Written by David Mamet
Directed by Rick Snyder
at ATC, 1909 W. Byron (map)
through October 24  | 
tickets: $35  |  more info

Reviewed by Barry Eitel

Watching the American Theater Company’s production of Oleanna, you get the sense that the young David Mamet must have been really pissed off by one of his professors. The two-person academic melee screams with anger towards the ivory tower. I bet Mamet must have known and hated someone like John, the pedantic teacher on the brink of tenure. Helmed by director Rick Snyder, ATC’s Oleanna sears and fumes, leaving the audience awe-struck after the chilling finale.

The incendiary play races along for three acts. Each one depicts Jon (the towering Darrell W. Cox) and Carol (the contrastingly petite Nicole Lowrance) clamor for control, the fight escalating exponentially with time. Carol, a meek student well aware of the price of college admission, seeks academic freedom and understanding, while Jon fights for his right to dispense knowledge as he sees fit. His entire livelihood is at stake; he is in the final throes of achieving tenure and purchasing a house, and complaining Carol could ruin everything. And as much as Oleanna is about a teacher and student, it is about a man and a woman.

Oleanna - American Theater Company 2Seen by some as misogynistic, the play taps into the lingering sexism that survived third-wave feminism. When read or played wrong, Carol can come off as a nagging, soul-sucking imp. But Lowrance nails it; her Carol isn’t bright, but she wants to learn and becomes demoralized and angry when her arrogant professor tears into her high opinion of secondary education. I always find myself siding with her—yeah, she becomes vicious and cocky by the end, but Jon’s like that from the beginning, and has probably been that way for his entire teaching career. At times, Carol feels like a character who doesn’t want to be in a Mamet play. She sputters and gropes for words, unlike most of his creations with razor-sharp vocabularies, Jon included. Her inarticulateness actually grounds the character, who is probably one of the best concoctions Mamet’s typewriter has conceived.

Cox creates a fascinating portrayal of Jon, a man who paints himself as a social revolutionary but actually plays strictly by the rules, however elitist or sexist they may be. Cox’s Jon is surprisingly unassuming, speaking in crackly, tenor tones. He’s pompous and long-winded, but it comes out of a place of insecurity. Worn down by the stress of the real estate deal, he seems at the end of his rope, especially as Carol tosses wrenches into his plans. Cox also adds a stitch of creepy social awkwardness. When he consoles Carol by caressing her back at the end of Act One, everyone in the house was squirming in their seats.

Together, Lowrance and Cox are dynamite. They squawk rhetoric at each other, grabbing for the reins of the relationship. Snyder’s staging navigates the text wonderfully and sculpts the tension. For example, the famous brutal assault in Act Three springs like a trap and knocks the audience’s wind out. As it turns out, John is actually a terrific teacher because Carol becomes just as power-hungry as him.

Although usually well-forged, a few aspects of the production were muddy. One major issue is that we never really know why Carol continues to visit Jon. We’re left wondering if she’s just wrathful or driven by something more powerful than mere revenge.

ATC placed Oleanna alongside Speed-the-Plow (our review ★★★) to form a combo platter entitled “The Mamet Repertory.” Placing both plays next to each oddly pulls out similar themes in each. However, I preferred the claws-out combat of Oleanna to Plow’s Hollywood cynicism. The ending of Oleanna is superb. The characters are shattered, but there is no resolution, no catharsis. When the lights go down, we’re left gasping for air.

   
   
Rating: ★★★½
   
   

 

    

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REVIEW: Speed-the-Plow (American Theater Company)

Strong “Plow” ends in the slow-lane

 

Speed-the-Plow Mamet - American Theater Company 3

   
American Theater Company presents
   
Speed-the-Plow
  
Written by David Mamet
Directed by
Rick Snyder
at
ATC, 1909 W. Byron (map)
through October 24  |  tickets: $35  |  more info

Reviewed by Barry Eitel

Although I’ve never actually seen someone’s eyeballs turn into dollar signs, Lance Baker’s portrayal of Charlie Fox in ATC’s Speed-the-Plow comes pretty close. There’s plenty of greed in David Mamet’s 1988 play, which tears into the artist’s antithesis, the Hollywood producer. Rick Snyder’s production of this usually hilarious, occasionally stomach-churning look behind-the-scenes fires on all cylinders. While the weaker of the two parts that make up their Mamet Repertory, this Speed-the-Plow will definitely make you feel slimy by the end.

Bertolt Brecht once claimed that he wanted to write plays about everyday, yet crucial, aspects of society, such as grain prices. Although his style is pretty far from Brechtian, Mamet’s choice of subject matter is pretty similar to Bertolt. Pulitzer prize winning Glengarry Glen Ross isn’t about such oft-mined topics like love, death, or family – it’s about business. Speed-the-Plow stays in the same vein, pitting profits against artistic merit with several souls hanging in the balance.

The play centers on producer Bobby Gould (Darrell W. Cox), who wields the power to greenlight one project a year and needs to make his decision count. His friend and subordinate Charlie brings him a buddy flick with a big star attached, if they make the call within 24 hours. But then Karen (Nicole Lowrance, in a role originated by Madonna, no joke), a temp worker covering for Bobby’s secretary, catches his attention. In an attempt to impress her, he throws her a novel to read, something which he knows can’t translate into a blockbuster. However, the book changes her outlook on life, and she does what she can to change his mind.

Speed-the-Plow Mamet - American Theater Company 2Compared to Oleanna, the other talk-a-thon in American Theater’s David Mamet repertory (our review ★★★½), I find Speed-the-Plow hard to crack. For me, the cataclysmic last moments between John and Carol resonate so much deeper than the scheming of Bobby and Charlie. Speed-the-Plow is part cynical comedy, part morality tale, and part artist’s manifesto; there’s a lot to take in, especially when the dialogue moves faster than NASCAR. Also, the play may also be predicting the Apocalypse, but I’m never sure.

Maybe the best part of the whole “repertory” concept is watching Cox switch from John’s loose sweaters and glasses to Bobby’s slicked-back hair and gold chains. The man obviously has a lot of fun with Gould’s skeeziness. Sitting at the top, Gould has no friends, only people who want to get stuff from him. Cox makes this clear throughout the play, through both jokes and breakdowns. He’s helped by Baker, who is great at conniving. Baker bounces around like he’s had far too much coffee, or maybe not enough. Cox keeps right up with him. Lowrance’s Karen is strikingly different than Carol—she’s way more flirtatious and paints her fingernails, although both women have a mousey timidity about them. The text calls for Lowrance to slow down the pace after the lightning rounds between Gould and Fox, but here it’s a bit too much. The second act, which features mostly monologues from Karen as she tries to communicate the effect the novel has on her, drags considerably. There’re a lot of big words, very little movement, and it just gets hard to follow after awhile. The pacing would probably be perfect for most other plays, but for Mamet it feels like a piggyback ride on a sloth.

The production regains it’s ferocity in the last act, and one leaves the theatre feeling hollow inside. Yes, everyone is sad that art gets the shaft, but I felt more pity for Bobby, whom everyone has a fork stuck in. You can find out more about his fate in the one-act semi-sequel Mamet wrote, Bobby Gould in Hell.

   
   
Rating: ★★★
 

 

Speed-the-Plow Mamet - American Theater Company

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Designers get their due at 17th Annual Merritt Awards

Designers celebrate theatre accomplishments

 

2010 Merritt Awards 

By Katy Walsh

Scenery, lights, sounds, costumes; theatre design is devising storytelling beyond the dialogue. On Monday, May 3, 2010, Chicago gathered at the Goodman Theatre to celebrate the role that designers play in the theatre community. The festivities brought together veteran and rookies in the theatre design world for networking and fellowship. The focal point of the evening was the 17th Annual Merritt Award for Excellence in Design and Collaboration. The award honors the memory of Michael Merritt. Best known for collaborative work with David Mamet, Merritt was a Chicago theatre designer who died at the age of 47 in 1992. The Michael Merritt Endowment Fund preserves Merritt’s legacy with awards acknowledging established designers, nurturing emerging designers and encouraging design students.

The evening started with the 4th Annual Theatre Design Expo. Design students from across the country, along with a handful of Chicago designers, set up displays in the Goodman foyer to showcase their theatre portfolio and aspirations. After viewing the colorful and imaginative exhibits, guests trooped into the Owen Theatre for the Dialogue with the Designers panel discussion. Moderated by the Goodman’s Artistic Director Robert Falls, the group discussed the challenges and accomplishments of collaborative efforts in theatre. The panelists were Michael Bodeen (composer, sound design), 1997 Merritt Award winner John Boesche (projection designer), 2007 Maggio Award and 2004 Merritt Award winner Ana Kuzmanic (costume designer), The House’s Artistic Director Nathan Allen, and tonight’s Merritt honoree Collette Pollard (scenic designer). Following the panel discussion, the awards ceremony commenced.

First, the Michael Merritt Student Scholarships were bestowed on students from Chicago theatre programs:

Costume Design

Jeremy W. Floyd, Northwestern University

Lighting Design

Wade Holliday, Columbia College
The John Murbach Scholarship for Collaborative Design

Scenic Design

Williams G. Wever, The Theatre School at DePaul University 

 


2010 Merritt Awards

Next, the 2010 Michael Maggio Emerging Designer Award was awarded. The award honors the memory of Goodman’s Artistic Director Michael Maggio. This year’s recipient:

Scenic Designer

Collette Pollard, 2010 Michael Maggio Emerging Designer Award

Pollard’s recent design credits include The Illusion (review ★★★) at Court Theatre, Stoop Stories (review ★★★½) at Goodman Theatre and The House on Mango Street at Steppenwolf Theatre. Her next production opens next week at Writers’ Theatre, Streetcar Named Desire. Pollard has also worked with many Chicago companies, including; The House Theatre of Chicago, Timeline Theatre, Northlight Theatre, and About Face Theatre. Pollard earned her Bachelor’s Degree in Fine Arts with honors in scenic design from The Theatre School at DePaul University and her Master’s Degree in Fine Arts from Northwestern University. Currently, she teaches at Columbia College Chicago.


The evening climaxed with the Merritt Award for Excellence in Design and Collaboration presented posthumously in honor of the lighting and scenic design work of Michael Philippi.

Lighting and Scenic Designer

Michael Philippi (1951-2009)

2010 Merritt Award for Excellence in Design and Collaboration

Philippi passed away suddenly on his way to a technical rehearsal for High Holidays at Goodman Theatre on October 27, 2009. His most recent work was enjoyed at Goodman Theatre in productions of Desire Under the Elms, King Lear, Finishing the Picture, A Life in Theatre, Moonlight and Magnolias, and The Goat or, Who is Sylvia? Philippe also worked with many Chicago, national and international companies including: Northlight Theatre, Court Theatre, Chicago Shakespeare Theatre, Guthrie Theatre, Berkley Repertory Theatre, Milwaukee Repertory Theatre, Manhattan Theatre Club, and the Abbey Theatre in Dublin. He was a recipient of Jefferson Awards for Terra Nova and In the Belly of the Beast, both at Wisdom Bridge Theatre, and Hollywood Drama-Logue Awards for Kabuki Medea at Berkley Repertory Theatre and Changes of Heart at Mark Taper Forum.

The 2010 awards program and fundraising event was co-hosted by the Michael Merritt Endowment Fund Steering Committee at Columbia College Chicago and Goodman Theatre. Sponsors included Electronic Theatre Controls, Inc., J.R. Clancy Inc., Schuler Shook, Rent Com, Rose Brand and Steppenwolf Theatre.

2010 Merritt Awards