TimeLine Theatre announces 2010-11 season

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“Our 14th season builds on the success and excitement of TimeLine’s past year,” says TimeLine Artistic Director PJ Powers. “As we did with The History Boys and The Farnsworth Invention, we’ll feature the local premiere of a widely renowned play. We’ll present the first production of a brand-new script that we commissioned. And we will dig into Chicago’s past for a revival of one of our town’s most fun and beloved tales. Plus we will soon be announcing a fourth production. It’s a big, ambitious season that will tell the stories of big, ambitious people, and we can’t wait to get started.”

 

The 2010-11 TimeLine Theatre Season

 

 

Frost/Nixon
by Peter Moran
directed by Louis Contey
Chicago Premiere
August 21 – October 10, 2010
 
Frost/Nixon
takes audiences inside the real-life 1977 television interviews between journalist David Frost and former president Richard Nixon. It has been three years since Nixon resigned from office in disgrace. The Watergate scandal is still on the minds of many, but the former commander-in-chief has yet to break his silence about his role in those events. Now Nixon has agreed to be interviewed by the up-and-coming British broadcaster David Frost. Behind-the-scenes it’s a battle of egos for the upper hand in controlling history, but as the cameras roll, the world is riveted by a remarkably honest exchange between one man who has lost everything and another with everything to gain.

 

Mastering the Art
by William Brown and Doug Frew
directed by
William Brown
World Premiere
October 30 – December 19, 2010
   
  Commissioned by TimeLine Theatre Company in 2008 and developed here in 2010, Mastering The Art is a look at the lives of Julia and Paul Child as they meet, fall in love and embark on a transatlantic journey of discovery together. Visiting pivotal moments in their lives — from the table in France where Julia fell in love with food, wine and Paul, to the table in their home where Julia recreated everything she learned in cooking class, to an interrogation room where Paul was grilled by U.S. agents about alleged Communist contacts — this play unfolds the true story of a larger-than-life culinary icon as she and her husband struggle to find themselves as Americans abroad. Mastering the Art marks the first production commissioned by TimeLine to be produced on the company’s stage. The development of Mastering the Art has been partially supported by The Dramatists Guild Fund.

 

Play #3 – TBA (Jan 22 – March 20, 2011)

 

The Front Page
by Ben Hecht and Charles MacArthur
directed by Nick Bowling
April 16 – June 12, 2011
   
  The Front Page is a 1920’s classic Chicago comedy often considered responsible for defining the newspaper business. Drawn from Ben Hecht and Charles MacArthur’s careers as journalists in Chicago, the play takes you inside the press room at Chicago’s Criminal Courts Building as a group of reporters cover a controversial execution and uncover the rampant corruption, scandal and hi-jinx associated with Chicago politics and journalism. TimeLine is thrilled to revive a quintessential Chicago classic and to highlight for audiences the wealth of local history embedded in this script.

Casting for all productions in TimeLine’s 2010-11 season is still to be determined.

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Adventure Stage Chicago forms new artistic ensemble

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Adventure Stage Chicago announces new Artistic Ensemble

As Adventure Stage Chicago (ASC) prepares to end their sixth season with the Midwest premiere of the pirate musical The Ghosts of Treasure Island, ASC announces the formation of a new artistic ensemble.

The eleven-member ensemble is comprised of actors, designers, directors, stage managers, teaching artists and writers committed to achieving artistic excellence through long-term collaboration and the creation of original work. The ensemble will be directly involved in the proposal of new projects, script development, season selection and the production process. A number of ensemble members also work in classrooms as teaching artists, implementing the company’s Neighborhood Bridges program in Chicago Public Schools. Additionally, ensemble members will serve as ambassadors for the company within the community, playing their part during outreach events at libraries, park districts, neighborhood street festivals and celebrations.

The creation of the ensemble re-focuses the development of new and original work to come from within the company, creating dynamic and transformative theatre experiences by Chicagoans for youth and families of Chicago.

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ASC Ensemble Members:

 

Tom Arvetis
  Tom Arvetis is the founding Producing Artistic Director of Adventure Stage Chicago, where he has directed world premieres of Katrina: The Girl Who Wanted Her Name Back by Jason Tremblay, The Blue House by Jose Cruz Gonzalez, and I Dream in Blues, which he co-wrote with Chicago blues singer Katharine Davis. Additionally, he recently helmed a workshop reading of Dragon/Sky by Elizabeth Wong (Silk Road Theatre Project). Tom is an Emeritus Company Member with Barrel of Monkeys, has acted in award-winning productions with the Neo-Futurists, Bailiwick Repertory Company (now Bailiwick Chicago) and Pyewacket Theatre, among others, and is a veteran sound designer. He is a graduate of Northwestern University.

 

Brian Bell
  Brian Bell recently directed Gossamer for ASC (where he also serves as a teaching artist) and will appear in their upcoming production The Ghosts of Treasure Island. Previously he completed a directing internship with the Carrousel Theater an der Parkaue in Germany and went on to direct The Retreating World by Naomi Wallace at Berlin’s Acud Theater. Brian graduated with a B.A. in Theatre Performance from the University of North Texas, where he directed and adapted Woyzeck by Georg Buechner as a final thesis. Brian is the artistic director of Chicago’s Cabaret Vagabond and has worked with Lincoln Square Theatre, Darknight Productions, Piccolo Theatre, Apple Tree Theatre and Collaboraction. He is an alumnus of the Chicago Directors Lab.

 

Brandon Campbell
  Brandon Campbell has worked for Adventure Stage Chicago as a teaching artist, stage manager and production manager since moving to Chicago in 2001. He is also an Associate of Collaboraction, serving as production manager for Sketchbook 5, 6, 7, 8 and Carnaval. Other production credits include the world premiere of Jose Rivera‘s Massacre at Goodman Theatre (with Teatro Vista), Chicago Sketchfest and several shows with the Neo-Futurists. In his creative time he has worked as a writer/performer (Dark Eyed Strangers), a puppeteer and designer (Laika’s Coffin, The Cay, Joe’s Garage, Beowulf Vs. Grendel), and a sax player (Seeking Wonderland, 2nd Story, Jenn Rhoads Project).

 

Sarah Rose Graber
  Sarah Rose Graber graduated from Northwestern University’s theatre program and received her Acting Certificate from the Royal Academy of Dramatic Art in London. She was the Circumnavigator Foundation’s Travel Around the World Study Grant Scholar, which enabled her to travel the globe while researching the way theatre is used as a tool for communication and education to encourage social change. She chronicled her journey in a play called Time For Take-Off! She adapted The Chronicles of Narnia: The Lion, the Witch and the Wardrobe into a bilingual play for English and Spanish viewers and Edmund Spenser‘s epic poem “The Faerie Queene” into a mask play she directed called IMAGO, for which she received the Center for Interdisciplinary Research in the Arts Grant (CIRA) and the Program in the Study of the Imagination Grant (PSI). Chicago credits include Northlight Theatre, Metropolis Performing Arts Center, Strawdog Theatre, Chemically Imbalanced Comedy, Village Players Theatre, and Factory Theatre, where she is also a company member.  As a teaching artist, Sarah has taught and directed for Northlight Theatre, Arts Berwyn, Chicago Children’s Humanities Festival, the National High School Institute at Northwestern, Neighborhood Bridges, and many residencies at Chicago area schools.

 

Laura Kollar
  Laura Kollar attended Loyola University Chicago, where she earned degrees in Theater and Psychology. Costume design credits at Adventure Stage Chicago include Gossamer, Holes, The Blue House, The Cay and Shakespeare Stealer. She co-designed Still Life With Iris with fellow ASC ensemble member Jessica Kuehnau and helped create costumes for Katrina: The Girl Who Wanted Her Name Back and I Dream in Blues.  Laura’s work has also been seen with Actor’s Theatre Company, Theatre Mir, Lookingglass Theatre, Collaboraction, Chicago Shakespeare Theater, Serendipity Theatre, North Park University and Pegasus Players, among others.

 

Jessica Kuehnau
  Jessica Kuehnau‘s previous designs for ASC have included sets for Eye of the Storm, The Shakespeare Stealer, and The Blue House, and costumes for Still Life with Iris, Search for Odysseus and Katrina: The Girl Who Wanted Her Name Back. Since completing her MFA in Scenic and Costume Design at Northwestern University, Chicago design credits include Rivendell Theatre, Pegasus Players, Lifeline Theatre, Griffin Theatre, Backstage Theatre Company, MPAACT, The Building Stage, Metropolis Performing Arts Center, and Light Opera Works. She is also full time faculty and resident scenic designer at Northeastern Illinois University, as well as the resident set designer and design professor at North Park University.

 

Allison Latta
  Allison Latta is a graduate of the theatre program at Virginia Tech. She has also studied Commedia dell ‘Arte with Anotonio Fava in Reggio Emelia, Italy. Chicago performance credits include Buffalo Theatre Ensemble, Strawdog Theatre and Redmoon Theatre. She was a founding member of TriArts, Inc. and created four original Commedia shows with that company, including Hfob-N-Ffos, which was named a Best of Fringe show at the Winnipeg Fringe Festival. She has appeared in ASC’s productions of Sideways Stories from the Wayside School, And Then They Came for Me: Remembering the World of Anne Frank, Still Life With Iris, The Ash Girl, Holes and Gossamer. She can also be seen in a number of national commercials and independent films. She has worked as a teaching artist with ASC, Gallery 37 and Metropolis Performing Arts Center

 

Scott Letscher
  Scott Letscher is currently the Managing Director of Adventure Stage Chicago. He was a company member of the late, lamented Terrapin Theatre for over ten years, where he served for two years as their Artistic Director. At Terrapin, he directed the After Dark Award-winning production of Aunt Dan and Lemon, the world premiere of Requiem in a Light Aqua Room by Sean Graney, The Rimers of Eldritch, The Sneeze and Public/Privacy. He appeared in the Terrapin productions Nina Variations, Blue Remembered Hills, The Pooka and Daniel O’Rourke, The Kramer and Laurel and Hardy Sleep Together. He also spent four years with the Children’s Theatre Fantasy Orchard as an actor and adaptor. He received a Theatre Arts degree from Marquette University.

 

Jana Liles
  Jana Liles came to Chicago after receiving her B.F.A. in Theatre from Emporia State University in her home state of Kansas. She completed her M.F.A. in Theatre from The Chicago College of Performing Arts at Roosevelt University. She has performed with such theatre companies as Chicago Shakespeare Theatre, Light Opera Works, Quest Theatre Ensemble, The GreyZelda Theatre Group, Chemically Imbalanced Comedy and Adventure Stage Chicago, while also appearing in numerous films, local television programs and commercials. An accomplished singer and dancer, she has also been fortunate enough to perform in front of thousands of people at the Lollapalooza music festival in Grant Park. In addition to serving as ASC’s Marketing Coordinator, she is the Casting Director at BackStage Theatre Company.

 

Merissa Shunk
  Merissa Shunk has been with Adventure Stage Chicago since 2007 as the Director of Education. Before moving to Chicago she lived in Chiang Mai, Thailand as a Peace Corps Volunteer. She is originally from sunny California where she studied theatre, taught theatre, and studied how to teach theatre at UCLA and Santa Clara University. She has freelanced as a curriculum writer and teaching artist for the Silk Road Theater Project, is the Fine Arts Curriculum Advisor at Rowe Elementary School, and has been a mentor (Drama Mama) in Redmoon Theater‘s Mentoring program, Drama Girls.  In fall of 2008 she co-founded the Chicago Arts Educator Forum and also serves on the board of the Illinois Theatre Association.

 

Brandon Wardell
  Brandon Wardell is a freelance Lighting and Scenic Designer in Chicago. He holds an MFA from Northwestern University and teaches at several universities, including Northwestern University, Columbia College Chicago, The University of Chicago, and Illinois Wesleyan. Recent lighting credits include The Hollow Lands (Steep Theatre), On An Average Day (Backstage Theatre Company), The Arab-Israeli Cookbook (Theatre Mir), John & Jen (Apple Tree Theatre), The Robber Bridegroom (Griffin Theatre) and The Blue House (ASC).  Scenic Designs include Maria’s Field (TUTA), In Arabia We’d All Be Kings (Steep Theatre), Holes (ASC), Dracula (The Building Stage) and Be More Chill (Griffin Theatre). 

REVIEW: Mary’s Wedding (Rivendell Theatre)

Even Rivendell can’t save this wedding from mediocrity

 picture by Mark Campbell

Rivendell Theatre presents:

Mary’s Wedding

 

by Stephen Massicotte
directed by
Mark Ulrich 
thru February 20th (ticket info)

review by Paige Listerud

What can be said about a simple and elegant production of a mediocre play? It is like trying to praise the beauty of an exquisitely hand-carved chair that, nevertheless, shows one leg significantly shorter than all the rest. A clunky, fundamental flaw overrides whatever other virtues one could acknowledge about graceful line or sleek finish. So it is with Rivendell’s production of Mary’s Wedding, a one-act dream play about two young Canadians striving to maintain their love affair during the First World War.

photographer: Mark Campbell Stephen Massicotte received Canadian playwriting and literary awards for Mary’s Wedding, recognition that, no doubt, has won its career of productions throughout Canada, the US, and the UK. However, in spite of a sure-handed facility with dramatic structure that blends one character’s storyline with the other—no small talent, to be sure—the play is encumbered by basic shallowness.

First and foremost, the romance between Mary (Cassandra Bissell) and Charles (Shane Kenyon) is the most generic sort. She has recently arrived from England, upper-crustiness intact, and he is a common, horseback-riding, farm boy “colonist”—these stereotypes in the play are as entrenched as anything along the Western Front. What draws these two together remains one of its most underdeveloped features. Sadly, while Bissell and Kenyon’s interactions show freshness and innocence, there is not enough chemistry between them to make up for the text’s deficiencies. Be prepared for tepid barn scenes, “startling” horseback rides, boring tea parties, and a disapproving, upper-crusty mother.

The audience must slog through 30 minutes of that before finally getting on to the war. Once there, creaky exposition comes across more like cliff notes to Canada’s participation in the Great War than any young man’s authentic first person experience. Trenches, lice, poison gas—even “my first kill”—gets ticked off like a laundry list. Throw in Gordan Muriel Flowerdew and the Battle of Moreuil Wood and you’ve got something that will easily serve as a Canadian after-school-special.

Photographer: Mark Campbell Photographer: Mark Campbell
Photographer: Mark Campbell Photographer: Mark Campbell

These are terrible things to say in the face of a cast and crew striving for a balanced, lean, heartfelt, and poetic production. By that, I mean true poetry—not the faux poeticism of repetitions in the text that lose their power to resonate and can, in fact, become as irritating as nails on a blackboard. Mark Ulrich’s directorial choices are, for the most part, clean, spare, and agile, eliciting the play’s dreamlike structure. Shane Kenyon is adeptly profound at portraying Charles’ encroaching war-weariness, while Cassandra Bissell brings the play’s emotional impact home during its final moments. The trouble is in waiting for the play to get there, enduring all its speed bumps along the way.

As a theater company, Rivendell Theatre has moved far beyond works like these. It shows a cohesion and professionalism that has lifted it to a higher level of excellence for small theaters in this city. It can take pride in its achievements and elevate its vision of what it can accomplish in future productions. And it can leave less fulfilling works behind—perhaps even in the dustbin of history.

Rating: ★★½

Scene from Mary’s Wedding on YouTube

Timeline Theatre Announces 2009-2010 Season

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TIMELINE THEATRE COMPANY
ANNOUNCES 2009-10 SEASON

ALL MY SONS
by
Arthur Miller
directed by
Kimberly Senior
August 31 – October 4, 2009 (previews 8/27 – 8/30)
Praised along with Death of a Salesman and The Crucible as Miller’s masterpieces, this 1947 Tony Award winner for Best Play returns to the Chicago stage for the first time since an acclaimed Broadway revival last season. A middle-class American family struggles to deal with the loss of one son during World War II and the desire of another son to now marry his brother’s fiancé. As family members and those closest to them try to move forward, an explosive secret from the father’s past threatens to unravel everyone’s hopes for happiness. This powerful drama is a haunting exploration of business ethics and one’s moral responsibility to the larger community.

WHEN SHE DANCED
by Martin Sherman
directed by Nick Bowling

Travel to the Paris of 1923 for this gorgeous and incredibly funny portrait of legendary dancer Isadora Duncan. The so-called mother of modern dance is desperate to keep herself financially solvent and to realize her dream for retirement: a school in Italy to teach young dancers her art. Through a multi-lingual script of great heart and appeal, Sherman mixes the high comedy of a colorful cast of characters with a poignant view of the importance of the arts to move and inspire us. Through the eyes of those in Duncan’s life we glimpse her greatness and how she touched so many lives when she danced.

‘MASTER HAROLD’ … AND THE BOYS
by Athol Fugard
directed by Jonathan Wilson

Recipient of a Drama Desk Award and a Tony Award nomination for Best Play in 1982, ’Master Harold’ … and the Boys is considered Athol Fugard’s masterpiece, valued for both its universal themes of humanity and its skilled theater craft. Set in South Africa during the 1950s era of apartheid, it depicts how institutionalized racism can become absorbed by those who live under it. A white 17-year-old spends time with two African workers he has known all his life, and through their conversations on one rainy day we see what unites and divides them. The play’s beautiful and haunting dialogue and message of hope also inspire the recognition that there is much work to be done to bring people of different races together.

THE FARNSWORTH INVENTION
Chicago premiere
by Aaron Sorkin
directed by Nick Bowling

From the creator of A Few Good Men and The West Wing comes this fascinating new play direct from Broadway. It’s the story of two ambitious visionaries — Philo T. Farnsworth, an Idaho farmboy, and David Sarnoff, head of RCA — battling each other for the rights to one of the greatest inventions of all time: the television. Through corporate espionage, family tragedy, financial disaster and the thrill of discovery, these two larger-than-life men compete for fame and credit and become part of a decision that would change America, and eventually the world.

A fourth play and the season’s schedule are still to be announced.

Says TimeLine Artistic Director PJ Powers:

“We have put together a season filled with bold ideas and tremendous heart and hope and guts.  Through a steadfast commitment to our mission, TimeLine aspires to be a place for people to come together, to feel a sense of community and to engage in a dialogue about our place in history. The work on our stage allows audiences to lose themselves in a story from the past in order to perhaps better understand where we are today and where we might go tomorrow. During our 2009-10 season, we look forward to exploring some defining moments of the 20th Century together — moments of art and beauty, of friendship and understanding, and of innovation and exploration.”

Creative team biographies after the fold.

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Chicago Theater Openings this week

 Chicago Buckingham Fountain

 

ADULTS Chemically Imbalanced Theater

BURIED CHILD Shattered Globe Theatre

EIFMAN BALLET OF ST. PETERSBURGAuditorium Theatre

LEGALLY BLONDE THE MUSICAL Ford Center for the Performing Arts/Oriental Theatre

MEASURE FOR MEASUREPromethean Theatre Ensemble

ON AN AVERAGE DAY BackStage Theatre Company

OWEN WINGRAVEChicago Opera Theater

THE PIANO LESSON Court Theatre

TOMMYCircle Theatre

THE WALLS Rivendell Theatre Ensemble

 

For special ticket offers, click on “Read more”

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