Sophocles’ Tragedy, Antigone is Given a Modern Adaptation at Redtwist Theatre JUNE 23 – JULY 31

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Sophocles’ Tragedy 

Antigone 

at Redtwist Theatre 

JUNE 23 – JULY 31

Sophocles’ Tragedy is Given a Modern Adaptation by Anne Carson, Directed by Christine Freije and Starring Retwist Company Members Brian Parry and Sarah Sapperstein 

Redtwist Theatre announces the cast and creative team for its next production, Antigone, adapted by Anne Carson and directed by Christine Freije, June 23 – July 31, at Redtwist Theatre, 1044 W. Bryn Mawr Ave. The current running time is 2 hours including the intermission. Previews are Thursday, June 23 – Saturday, June 25 at 7:30 p.m. The performance schedule is Thursdays – Saturdays at 7:30 p.m. and Sundays at 3 p.m. Ticket prices are $15, previews; $35, Thursday performances and $40, Friday – Sunday performances. Student and senior discounts are available. All tickets are now on sale at RedtiwstTheatre.org or by calling 773.728.7529. 

Antigone is a woman suddenly pitted against the world. She simply wants to give her brother a fair burial and isn’t afraid to fight the patriarchy to do it. In this colloquial, light-fingered and cutting translation of one of Sophocles’ great tragedies, Antigone places personal allegiance before an unjust city law, a tenacious act that ultimately triggers others into a cycle of destruction.

The cast of Antigone includes Isabel Alamin, (Antigone); Natalie Welber, (Ismene); Brian Parry*, (Kreon); Nick Shank, (Haimon); Joan Nahid, (Eurydike/Chorus); Javier Carmona, (Teiresias/chorus); Peter Ferneding, (guard/boy/chorus); Sarah Sapperstein*, (messenger/chorus); and Andrew Bosworth, (chorus leader). The understudies include Samie Jo Johnson, (Antigone); Amanda Hays, (Ismene); Nathan Reilly, (Haimon); Jessica GoForth, (Eurydike/chorus); Peter Ferneding, (Teiresias/chorus); Maddy Hoderhack, (messenger/chorus); and Evin McQuinstion, (chorus leader).

The creative team of Antigone includes Christine Freije, (director); Anne Carson, (adapter); Solomon Weisbard, (lighting + sound designer); Eric Luchen, (scenic designer); Anna Bodell, (costume designer); Jeff Brain, (props designer); Dusty Brown, (production manager); La’Tia Owens, (assistant stage manager); Mike McShane, (assistant lighting designer); Moises Diaz, (assistant props director); Chas Mathieu, (technical director); Anna Petersen, (scenic charge); Hannah Blau, (assistant director); Shariba Rivers*, (casting director); Jose Jimenez*, (graphic designer); Lauren Grace Thompson*, (resident production manager); E. Malcom Martinez*, (box office manager); Karen Epton, Annette Galeas, Johnny Garcia* and Amanda Grissom, (box office associates) and Brian Parry*, (interim artistic director).

*Indicates Redtwist staff or company members.

ABOUT ANNE CARSON, playwright

Anne Carson is a MacArthur Fellow; she has received the Lannan Prize, the T.S Eliot Prize, the Pushcart Prize, the Griffin Poetry Prize (twice awarded) and a Guggenheim fellowship. She was also the Anna-Maria Kellen Fellow at the American Academy in Berlin, Germany. 

ABOUT CHRISTINE FREIJE, director

Christine Freije is a director and deviser based in Chicago and Portland, Oregon. Recent credits include Tartuffe, Everybody, The Gap (The Theatre School at DePaul University),Dream-Rushes (A Wonderful Trip) (Theatre Contra),Song of My Self-Care (Jimmy Grzelak) and Shrew (Reject Theatre Project). She is a current MFA candidate at The Theatre School at DePaul University and has worked at the Arden Theatre, Interact Theatre Company, Philadelphia Artists’ Collective, Commonwealth Classic Theatre Company and Berkshire Theatre Group. 

ABOUT REDTWIST THEATRE

Redtwist is an award-winning theatre company that stages five, up close and personal contemporary dramas annually in its intimate black box theatre housed proudly within the heart of Edgewater’s Bryn Mawr Historic District. 

Intimate performances at Redtwist are designed to place the theatre patron in the midst of the stories being told, making them accessible and riveting. Redtwist strives for excellence with every project and proactively endeavors to take risks while offering opportunities for up-and-coming actors, designers and directors to work with established talent. Redtwist provides the very best Chicago storefront theatre experience from excellence on stage, to warm hospitality in a clean, friendly environment.

August Wilson’s Fences Via American Blues Theater at Theater Wit July 1 Through August 6

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  American Blues Theater announces casting for

August Wilson’s Fences 

directed by Monty Cole

Cast includes Kamal Bolden, Manny Buckley, Shanésia Davis, Ajax Dontavius,

Martel Manning, William Anthony Sebastian Rose II, and Riley Wells

 July 1-August 6, 2022

 

American Blues Theater, under the continued leadership of Artistic Director Gwendolyn Whiteside, announces the cast of August Wilson’s Fences, directed by Monty Cole. The intimate and up-close production of the Pulitzer Prize-winning drama will play to a capacity of 60 people per performance

from July 1-August 6, 2022, at Theater Wit,1229 W. Belmont Ave. Tickets will be available beginning May 31 at (773) 975-8150 and www.americanbluestheater.com. I'll be out for opening night Thursday, July 7th, so check back shortly for my full review. 

This is the sensational drama about Troy Maxson, a former star of the Negro Baseball League, who now works as a garbage man in 1957 Pittsburgh. Excluded as a black man from major leagues during his prime, Troy’s bitterness takes its toll on his relationships with his wife and family.

The cast is: Kamal Bolden (Troy Maxson), Manny Buckley* (Gabriel), Shanésia Davis (Rose), Ajax Dontavius, (Cory), Martel Manning (Jim Bono), William Anthony Sebastian Rose (Lyons), and Riley Wells (Raynell).

The creative team includes Yeaji Kim (scenic design), Jared Gooding* (lighting design), Stephanie Cluggish (costume design), Rick Sims* (sound design), Verity Neely (properties design), Rachel Flesher (fight & intimacy design), Cara Parrish* (stage manager) and Shandee Vaughan* (production manager).

 *Denotes Ensemble Member or Artistic Affiliate of American Blues Theater

 

About the Artists

MONTY COLE he/him (director) is an award-winning theater and film writer-director from Oak Park, IL. He has directed for the Goodman Theatre, Steppenwolf, Center Theatre Group, The Playwrights Center, Oregon Shakespeare Festival, The Repertory Theatre of St. Louis, Victory Gardens Theater, the Center for New Performance, Cape Cod Theatre Project, Alley Theatre, and others. Recent projects include directing the workshop of world premiere Adrienne Kennedy play, Etta and Ella on the Upper West Side for the Center for New Performance in California. His re-interpretations of classics from Eugene O'Neill's The Hairy Ape to Hamlet have received awards and critical praise in Chicago. As a writer, his plays include American Teenager (a commission from the Goodman Theatre) and Black Like Me, an adaptation of the 1961 novel currently in development with The Repertory Theatre of St. Louis. Cole was one of four writers in the Goodman Theatre's Playwrights Unit and is currently an Artist in Residence at the Center for New Performance, a fellow at Hermitage Artist Retreat, and a Research Scholar of the Bridge to Faculty at UIC. In 2021, Cole directed three short films: SIX FEET APART by Isaac Gomez, SONS OF TOLEDO, written by Cole and Matt Foss, and his own short, WHOLE. SONS OF TOLEDO has appeared in film festivals around the world including winning Best African American Short at the Phoenix Film Festival, while the other two shorts are in post-production. Monty has a BA in Theatre Studies from Emerson College and an MFA Directing degree from the California Institute of the Arts. 

KAMAL BOLDEN he/him (Troy Maxson) A native of Peoria, IL, Kamal graduated from Bradley University with a degree in Business Administration-Entrepreneurship. Theatre: the lead role of Hero in Father Comes Home From The Wars Parts 1,2, & 3 (Goodman Theatre), Immediate Family directed by Phylicia Rashad (Mark Taper Forum), the title role of Chad Deity in the world premiere of The Elaborate Entrance of Chad Deity (Victory Gardens Theater), Jitney, The Misanthrope, and Home (Court Theatre), Coriolanus (Nashville Shakespeare), SS: Romeo & Juliet (Chicago Shakespeare). Off-Broadway: AUDELCO Award for Best Actor in Reparations at the historic Billie Holiday Theatre and a nomination for The Opponent at 59E59St Theatre. Film: Vacation Friends, The Night Before, Ravers, Keys to the City, Elvis & Nixon. Television: Series Regular on The Endgame (NBC), 61st Street, Chicago Fire, Insecure, The Resident, Law & Order SVU, Rosewood, NCIS, Major Crimes, Betrayal, Low Winter Sun, Boss, Lights Out.

MANNY BUCKLEY he/him (Gabriel) is a proud Ensemble member of American Blues Theater. He is a Chicago-based director, actor, playwright and teaching artist. Blues credits include It’s a Wonderful Life: Live in Chicago!, Six Corners, Looking Over the President’s Shoulder (Jeff Award Nomination-Best Solo Performance), and Dutchman/TRANSit (Black Theatre Alliance Award Nomination). Manny toured nationally as “Satchel Paige” in the original production of The Satchel Paige Story, and appeared in The Father (Helen Hayes Award Nomination) at Studio Theatre in Washington, D.C. He originated the role of “Carson” in Hit the Wall, which sold out extensions in Steppenwolf’s Garage Rep. Select Chicago credits include The Brothers Size, 1984, and Of Mice and Men (Steppenwolf); Dorian (House Theater); and Love’s Labor’s Lost (Chicago Shakespeare Theatre). Mr. Buckley is the recipient of a Black Theatre Alliance, and Black Excellence Award. He most recently directed Kingdom, an audio drama, with Broken Nose Theatre.

SHANÉSIA DAVIS she/her (Rose) returns to American Blues Theater where she was last seen in their co-production of Native Son with Court Theatre. As an actress, some of her credits include works at Steppenwolf, Northlight, Porchlight Music Theatre, Goodman, Congo Square, Mark Taper Forum, Cleveland Playhouse, CenterStage Baltimore, The Gift Theatre, Kansas City Rep, and Court Theatre, to name a few. She has been Jeff Award nominated several times and is a Black Theatre Alliance Award recipient, as well as Excellence in the Arts recipient. Film credits include Chicago Stories: Ida B. Wells, The Thing about Harry, Working Man, BLUEPRINT, External Rivals, Consumed, Damaged Goods, Cleveland Abduction, Morning Due, The Weatherman, Uncle Nino, Life Sentence, and Chicago Cab, among others. Television credits includes Emmy nominated Lovecraft Country (HBO), Proven Innocent (FOX), Empire (FOX), Chicago Fire (NBC), CRISIS (ABC), Detroit 187 (ABC), and series regular on Early Edition (CBS). She is a proud member of Equity and SAG/AFTRA unions as well as Artistic Associate of Congo Square Theater and Assistant Teaching Professor at Roosevelt University, CCPA. 

AJAX DONTAVIUS he/him (Cory) is a Chicago-based actor who is so excited to join this amazing production of Fences. Previously, Ajax has co-starred on NBC’s Chicago P.D. and will appear on the second season of AMC’s 61st Street. He was last seen on stage in Lifeline Theatre’s stage adaptation of Middle Passage as Rutherford Calhoun.

MARTEL MANNING he/him (Jim Bono) has appeared in Chicago in: Photograph 51 (Court Theatre), Her Majesty's Will (Lifeline Theatre), as well as Pillowman, Kentucky, and Hamlet (The Gift Theatre). Regional credits include: Romeo & Juliet - Juliet's Journey (Oregon Shakespeare Festival), Still Dance the Stars (New Light Theatre), Two Gentlemen of Verona (Michigan Shakespeare Festival). Martel received an MFA in Acting from the University of Houston Professional Actor Training Program and is represented by Shirley Hamilton Talent.

WILLIAM ANTHONY SEBASTIAN ROSE II he/him (Lyons) is a Chicago based actor most recently featured as King Henri Christophe in The House Theatre’s The Tragedy of King Christophe. He was last seen in an on-stage, in-person production with Broken Nose Theatre’s Labyrinth as a still wet behind the ears loan officer. He has also had the privilege of working with Kunoichi Productions virtual presentation of The True Tale of Princess Kaguya as the psychotic Emperor and power hungry but moronically pathetic Prince; a man searching for his truth in Victory Gardens Theater’s The First Deep Breath; a dilettante English lord fancying himself an amateur sleuth in Whose Body, Lifeline Theatre; a forgotten political prisoner fighting for change in We Are Pussy Riot, Red Tape Theatre. You can also see him on display now in the Chicago Maritime Museum exhibit as the founder of Chicago, Jean Baptiste Point du Sable. TV credits include Lovecraft County. Represented by Big Mouth Talent Agency.

RILEY WELLS she/her (Raynell) recently worked on a short film They Say Time Heals as Anisah as well as the CW’s television show 4400. Riley studies dance and acting at FieldCrest School of Performing Arts. She also studies voice and piano at the MuzicNet. For fun, Riley enjoys engineering, space, gymnastics.

Dates: Previews July 1-July 6, 2022

Opens July 7, 2022

Runs through August 6, 2022

Schedule:       

Thursdays: 7:30pm

Fridays: 7:30pm

Saturdays: 2:30pm (except, no 2:30pm show on July 9)

and 7:30pm (except, no 7:30pm show on August 6)

Sundays: 2:30pm

 

Location: Theater Wit, 1229 W Belmont Ave in Chicago

Ticket prices:  $25-$45, plus $2.75 Theater Wit venue fees

Box Office: Buy online at www.americanbluestheater.com or (773) 975-8150

Group Sales discounts and Blue Card Memberships available now by calling (773) 654-3103 or visiting www.americanbluestheater.com

 

About American Blues

Winner of the American Theatre Wing’s prestigious National Theatre Company Award, American Blues Theater is a premier arts organization with an intimate environment that patrons, artists, and all Chicagoans call home. American Blues Theater explores the American identity through the plays it produces and communities it serves.

The diverse and multi-generational artists have established the second-oldest professional Equity Ensemble theater in Chicago. As of 2022, the theater and artists received 221 Joseph Jefferson Awards and nominations that celebrate excellence in Chicago theater and 40 Black Theatre Alliance Awards. The artists are honored with Tony Award and Pulitzer Prize nominations, Academy Awards, Golden Globe Awards, Emmy Awards and numerous other accolades.

EXTENDED: Trap Door Theatre's Medea Material Extended by Popular Demand June 23-July 2, 2022

Get excited for 2 more weeks of Medea Material! 

Join us June 23-July 2 for our extension!

Medea Material

Written by: Heiner Müller Translated and Adapted by: Sarah Tolan-Mee Directed by: Max Truax

Music Composed by: Jonathan Guillen

Heiner Müller (Playwright) was one of the most important playwrights of the twentieth century European theater; he was also one of the most controversial and outspoken artists of his time. He was born in 1929 in Saxony, a state in eastern Germany and, apart from writing plays and directing shows, he was a journalist, critic, poet, and philosopher. He received many literary prizes including the Lessing Prize, Germany’s highest literary honor. Müller’s work emerged from the rubble of postwar Europe and its political and economic decay. The division of Germany, the Cold War, and the building of the Berlin Wall in 1961 were important events that contributed to his literary oeuvre. His theatrical models include the ancient Greek tragedians, Shakespeare, and Brecht, but he will be best remembered as the creator of the post-dramatic, non-linear, image-driven synthetic fragment intended to disintegrate the “fourth wall.” Müller’s themes concern human beings in a state of flux due to sociopolitical displacement and, like Brecht, he wanted his audience to ponder and, if necessary, to choose. His best-known plays are Cement (1972), The Hamletmachine (1977), The Mission (1979), Quartet (1981), Medea Material (1982) and Death Destruction Detroit II (1987). Müller died in 1995.

Medea Ensemble. Photo by J. Michael Griggs

Max Truax (he/him/his) has been a Resident Director at Trap Door since 2008. For Trap Door, he has directed many critically acclaimed productions, including No Matter How Hard We Try, The Balcony, They Are Dying Out, A Couple of Poor Polish-Speaking Romanians, and No Darkness Round My Stone. His production of A Couple of Poor Polish-Speaking Romanians went on to perform in both Poland and Romania. He also directed Trap Door's 2011 production of Heiner Muller's Hamletmachine, which he conceived as an opera in collaboration with composer Jonathan Guillen. Max served as Artistic Director for Oracle Productions from 2011 to 2016, where he directed No Beast So Fierce, The President, The Mother, Woyzeck, Ghost Sonata, and Termen Vox Machina. His production of The Mother received 7 Jeff Awards, including awards for “Best Production”, “Best Adaptation”, and “Best Ensemble”. In addition to Chicago, Max has directed for multiple stages in Los Angeles and at the Krannert Center at the University of Illinois Urbana-Champaign. He studied visual art, performance art, and choreography at Oberlin College and he received his MFA in theater directing from California Institute of the Arts. Max currently serves as Artistic Director for Red Tape Theatre.

Assistant Director and Choreography: Claire Bauman / Set Designer: J. Michael Griggs / Lighting Designer: Hannah Wein / Music Composer: Jonathan Guillen / Costume Designer: Rachel Sypniewski / Sound Designer: Danny Rockett / Make-up Designer: Zsofia Otvos / Graphic Designer: Michal Janicki / Stage Manager: Audrey Ney / Assistant Stage Manager: Shannon Rourke

Steven Schaeffer, Miguel Long, Keith Surney, and Emily Nichelson. Photo by J. Michael Griggs

Runs: Thursdays, Fridays, and Saturdays at 8PM, and Sundays at 7PM beginning May 15

Admission: $25, with 2 for 1 admission on Thursdays. https://trapdoor.ticketleap.com/medea-material/

Where: Trap Door Theatre is located at 1655 W. Cortland St.

What: Resident Director Max Truax returns to Trap Door to direct another Heiner Müller piece, after his triumphant production of Hamletmachine, which “calculated chaos and mastered madness with purpose, conviction, theatrical artistry, and artistic integrity.”

Medea Material explores the story of Euripedes’ Medea and its surrounding mythology, and will engage Müller’s poetry and complex intersectionality in a dance theatre spectacle.

Alexis DawTyne and Miguel Long. Photo by J. Michael Griggs

“Under Max Truax’s able direction, this group of actors makes often complicated feelings utterly palpable. I don’t know how they did that and don’t want to ask, but I’m grateful to them for working their dark magic.” -Dmitry Samarov, Chicago Reader  

Featuring: Venice Averyheart, Alexis DawTyne, Catrina Evans, Miguel Long, Emily Lotspeich, Laura Nelson, Emily Nichelson, Steven Schaeffer, and Keith Surney.

Chicago and Trap Door COVID-19 Protocol:

To view the current Trap Door COVID-19 protocol, please visit:

https://trapdoortheatre.com/chicago-and-trap-door-covid-19-protocol/

This protocol is subject to change as the League of Chicago Theaters updates their recommendations for indoor theater performances.

Chicago Premiere Of LIFE AFTER At Goodman Theatre on stage now through July 17

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LIFE AFTER 

BY PLAYWRIGHT/COMPOSER BRITTA JOHNSON

ON STAGE NOW IN ITS CHICAGO PREMIERE AT GOODMAN THEATRE

DIRECTED BY ANNIE TIPPE

***SUMMER’S MUST-SEE NEW MUSICAL APPEARS THROUGH JULY 17***

This production marks the third for Life After in five years—following its American debut at San Diego’s The Old Globe (2019) on the heels of an extended, multiple Dora Award-winning world-premiere with Toronto’s Musical Stage Company and Canadian Stage (2017). Samantha Williams (Broadway’s Caroline, Or Change and Dear Evan Hansen) leads the cast as teenaged Alice—a young woman who, in search of facts, uncovers a more complicated truth as she pieces together events of the fateful night that changed her family forever. Life After is on stage now through July 17. I'll be out for opening night, Wednesday, June 22, so check back soon for my full review. Tickets ($25 - $80, subject to change) are available at GoodmanTheatre.org/LifeAfter or by phone at 312.443.3800. The Goodman is grateful for the support of JP Morgan Chase & Co. (Lead Corporate Sponsor) and Winston & Strawn LLP (Corporate Sponsor Partner).

A Toronto-based playwright/composer/lyricist, Johnson began writing Life After as a teenager, informed by her own experiences as a young person grappling with grief. With big humor and bittersweet wit, this “luminous new musical…lush, poetic and surprisingly funny” (The San Diego Union-Tribune) explores how we move through and live with loss. In addition to Samantha Williams (Alice), the cast of nine includes Ashley Pérez Flanagan (Fury), Lauryn Hobbs (Fury), Paul Alexander Nolan (Frank), Lucy Panush (Hannah), Bryonha Marie Parham (Beth), Jen Sese (Mrs. Hopkins), Skyler Volpe (Kate) and Chelsea Williams. The production features Choreography by Ann Yee and Music Supervision, Arrangements and Orchestrations by Lynne Shankel.

THE COMPANY OF Life After

Fury……………………Ashley Pérez Flanagan
Fury……………………Lauryn Hobbs
Frank…………………..Paul Alexander Nolan
Hannah………………..Lucy Panush
Beth…………………….Bryonha Marie Parham
Ms. Hopkins……….Jen Sese
Kate…………………….Skyler Volpe
Fury……………………Chelsea Williams
Alice………...............Samantha Williams

Understudies for this production include Ariana Burks (Alice/Kate); Alanna Chavez (Furies/Ms. Hopkins); Antoinette Comer (Beth); Ashley Pérez Flanagan (Second Ms. Hopkins); Lauryn Hobbs (Second Kate); Claire Kwon (Furies/Hannah); Stef Tovar (Frank); and Chelsea Williams (Second Hannah).

ENHANCED AND ACCESSIBLE PERFORMANCES

Visit Goodmantheatre.org/Access for more information about Goodman Theatre’s accessibility efforts.

Touch Tour and Audio-Described Performance: Saturday, July 9, 12:30pm Touch Tour; 2pm performance – The action/text is audibly enhanced for patrons via headset. NOTE: Touch Tours for the 2021/2022 Season will not have access to the stage due to current health and safety protocols, but will feature alternate pre-show sensory introductions.

Sensory-Friendly/Relaxed Performance: Tuesday, July 12 at 7:30pm

ASL-Interpreted: Friday, July 15 at 8pm – An American Sign Language interpreter signs the action/text as played.

Spanish Subtitles: Saturday July 16 at 8pm.

Open-Captioned: Sunday, July 17 at 2pm – An LED sign presents dialogue in sync with the performance.

ABOUT GOODMAN THEATRE

Chicago’s theater since 1925, Goodman Theatre is a not-for-profit arts and community organization in the heart of the Loop, distinguished by the excellence and scope of its artistic programming and community engagement.

Led by Artistic Director Robert Falls and Executive Director Roche Schulfer, the theater’s artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics. Artists and productions have earner two Pulitzer Prizes, 22 Tony Awards and more than 160 Jeff Awards, among other accolades. The Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle.” Its longtime annual holiday tradition A Christmas Carol, now in its fifth decade, has created a new generation of theatergoers in Chicago. The Goodman also frequently serves as a production and program partner with national and international companies and Chicago’s Off-Loop theaters.

Using the tools of the theatrical profession, the Goodman’s Education and Engagement programs aim to develop generations of citizens who understand the cultures and stories of diverse voices. The Goodman’s Alice Rapoport Center for Education and Engagement is the home of these programs, which are offered free of charge for Chicago youth—85% of whom come from underserved communities—schools and life-long learners.

As a cultural and community organization invested in quality, diversity and community, Goodman Theatre is committed to using the art of theater for a better Chicago. Goodman Theatre’s Action Plan for Inclusion, Diversity, Equity, Anti-Racism and Access (IDEAA) was born out of the belief that progress means action, which includes building on the decades-long commitment to using art, assets and resources to contribute to a more just, equitable and anti-racist society.

Goodman Theatre was founded by William O. Goodman and his family in honor of their son Kenneth, an important figure in Chicago’s cultural renaissance in the early 1900s. The Goodman family’s legacy lives on through the continued work and dedication of Kenneth’s family, including Albert Ivar Goodman, who with his late mother, Edith-Marie Appleton, contributed the necessary funds for the creation on the new Goodman center in 2000.

Today, Goodman Theatre leadership also includes the distinguished members of the Artistic Collective: Rebecca Gilman, Dael Orlandersmith, Henry Godinez, Steve Scott, Kimberly Senior, Chuck Smith, Regina Taylor and Mary Zimmerman. Jeff Hesse is Chairman of Goodman Theatre’s Board of Trustees, Fran Del Boca is Women’s Board President and Craig McCaw is President of the Scenemakers Board for young professionals.

FREE STAGED READINGS OF THE FLOWER AND THE FURY VIA ARTEMISIA THEATRE, JULY 14-17 AT FILAMENT THEATRE

 ARTEMISIA THEATRE SWITCHES TO THE FLOWER AND THE FURY FOR FREE STAGED READINGS, JULY 14-17 AT FILAMENT THEATRE

The fight for women’s rights is ON, and Chicago’s Artemisia Theatre is going on offense. 



The Flower and The Fury by Alexa Juanita Jordan, directed by Artemisia founder and artistic director Julie Proudfoot, has been substituted for the previously announced Roe v US.

Jordan is an award-winning New York playwright making her Artemisia debut with The Flower and The Fury. She is a fiercely feminist writer with a provocative new work that follows three pregnant women as they contemplate abortion.

While Jessica swiftly and resolutely comes to the decision to terminate her pregnancy alone, Kennedy and Rachel both wrestle with their choices in individual yet similar circumstances. Throughout the play, the women’s interactions with each other, their partners, and the nurse at the abortion clinic, greatly impact their decisions and futures. The main action takes place during a brief stretch of time, at most a few weeks, before jumping 10 years ahead in the last three scenes, showing where the women end up. 

Reading times are 7:30 p.m., Thursday, Friday and Saturday, July 14-16, and 3 p.m. on Sunday, July 17. Each reading will be followed by a dedicated talkback to inspire compassion and social justice for women. Jordan, the playwright, will be in Chicago to lead the talkbacks on Thursday, July 14, and Sunday, July 17. Admission is free (excluding a $1.50 processing fee.) Reserve now at artemisiatheatre.org. 

Filament Theatre is located at 4041 N. Milwaukee Ave. in Chicago’s Portage Park neighborhood, on the first floor of the Portage Arts Lofts building.

Filament is accessible via the Irving Park exit on 90/94. Turn west on Irving Park Ave. and at the six corners turn slight right onto Milwaukee Ave. Filament is on the right across from the Portage Theatre.

Metered street parking is available in front of the theater. Street parking is free on Sundays. Additional parking is available at the Laporte Ave. Public Parking Lot one block west of the theater via West Cuyler Ave.

Public transit: Take the Blue Line to Irving Park and transfer to the Irving Park Bus (#80) headed west. Get off at Cicero and Milwaukee. A Divvy station is also located across the street from Filament on West Cuyler Ave. For more information, including local dining options, go to filamenttheatre.org/plan-your-visit.

For more information, visit artemisiatheatre.org or follow the company on Facebook, Twitter, Instagram and YouTube.

The Flower and The Fury: Meet the playwright

Alexa Juanita Jordan is a playwright and actor based in New York City. She received her B.A. in Drama at Vassar College, and a Classical Acting Diploma at the London Academy of Performing Arts (LAMDA.) Her newest work, The Flower and The Fury, was recently named a semifinalist (35 out of 655 submissions) in the Premiere Stages Play Festival this past spring. A monologue from the play will also appear in Smith and Kraus’ “Best Women’s Monologues 2022” later this year.

Jordan has written multiple full length and one-act plays about mental health, the grey area of the #metoo movement, reproductive justice, and the COVID-19 pandemic. She was awarded the Marilyn Swartz Six Playwriting Award in 2017 for her first play, Fine, at Vassar College. She then went on to receive her first New York Times review in 2018 for her performance in There’s Blood at the Wedding at La MaMa Experimental Theater Club.

In addition to writing and acting, Jordan serves as the executive director of the Juanita James Memorial Scholarship Foundation (JJMSF), in memory of her late grandmother. JJMSF provides mentoring and financial support to college-bound students from the Bronx housing projects. She is also on the board at CultureHub, a global art and technology community born out of decades of collaborating between La MaMa and The Seoul Institute of the Arts. For more, visit alexajuanitajordan.com.

The fight for women’s rights continues this fall with Julie Proudfoot’s Title X

 

In the fall, Artemisia follows up The Flower and The Fury with the world premiere docudrama Title X by Artemisia’s founder, Julie Proudfoot.

Title X documents the fight for abortion rights in America from 1978 to now. The play is told through the lens of eight radically different female characters: A 17-year-old wrestles with her choices under Title X. The director of a women’s clinic defends her patient’s right to reproductive justice. A member of Operation Rescue protests in front of an abortion clinic. An asylum officer interviews detainees, victims of the refugee crisis, at the Texas-Mexico border. A woman in her twenties confronts haunting memories of sexual harassment by her professor during a visit to her former college campus. A conservative congresswoman urges her pro-life supporters to fight the battle for the unborn with Christian love. A survivor of sexual assault reclaims her life after taking her boss to trial for rape. A lesbian exposes her complicated but loving relationship with her partner, who died of AIDS. In the end, the 17-year-old, now a mature woman, discovers the empowering life lessons she has learned.

“I wrote Title X over the course of a year while sheltering at home, while Trump was succeeding in reverse funding under Title 10 via coercion tactics," said Proudfoot, who will also direct. "It exposes the way the system works against women and keeps women from having autonomy and agency.”

Title X debuts November 25-December 18, 2022 at Theater Wit, 1229 W. Belmont Ave. in Chicago’s Lakeview neighborhood. First preview and press opening is Friday, November 25 at 7:30 p.m. Performances continue through December 18: Thursday through Saturday at 7:30 p.m., Sunday at 2:30 p.m. Tickets go on sale September 9 via Theater Wit’s box office, TheaterWit.org or (773) 975-8150. 

About Artemisia Theatre

Artemisia Gentileschi was a great feminist painter, forgotten by history. Now, she’s celebrated as the greatest female artist prior to the modern period. It shows why women’s stories are important. They change our perspective, on the past, the present and the future.

That’s why Chicago’s Artemisia Theatre was founded, to share women’s untold stories. Since 2011, Artemisia has enriched Chicago’s culture by taking creative risks, achieving artistic excellence, and engaging the audience directly to inspire compassion and social justice for women. Through its celebrated productions of classic and all-new feminist plays, its past Fall Fest of staged readings, and its current virtual works, and upcoming world premieres, Artemisia creates career-altering opportunities for African American, Latinx, Asian, Arab and Native American (ALAANA), Caucasian and LGBTQ theater artists.

Artemisia’s leadership team is 100 percent women, because “women still struggle to find a place where they can share their stories and be their true selves as artists,” said board president E. Faye Butler. “That’s what I love about Artemisia. It’s a sisterhood of leaders, who empower women as writers, directors, performers. A place where women can bring their fire, passion and lived experience and share true stories from their perspective.”



 Artemisia Board President E. Faye Butler



Artemisia Theatre is a recent recipient of a Chi Biz Strong Grant and is also supported by the Arts for Illinois Relief Fund, Arts Work Fund, DDT Law Group, Echo Limousine, Fox Pest Control, Gaylord and Dorothy Donnelley Foundation, HKM Employment Attorneys LLP, Illinois Arts Council Agency, Illinois Humanities, The MacArthur Fund for Culture, Equity and the Arts at the Richard H. Driehaus Foundation, National Endowment for the Arts, Paul M. Angell Family Foundation, Rebellious Magazine for Women and Salvi Schostok & Pritchard Trial Lawyers.

For more, visit artemisiatheatre.org.

Chicago Premiere of MARIE ANTOINETTE AND THE MAGICAL NEGROES Via The Story Theatre June 30 – July 17, 2022 at Raven Theatre

 ChiIL Live Shows On Our Radar

Chicago Premiere!

The Story Theatre Presents

MARIE ANTOINETTE 

AND THE MAGICAL NEGROES

Written & Directed by Governing Ensemble Member Terry Guest

June 30 – July 17, 2022 at Raven Theatre

 

The Story Theatre is pleased to welcome back audiences with the Chicago premiere of Marie Antoinette and the Magical Negroes, written and directed by Chicago playwright and Governing Ensemble Member Terry Guest*. This new play, which explores rebellion and Black liberation through the lens of the French Revolution, will play June 30 – July 17, 2022 on Raven Theatre’s Schwartz Stage, 6157 N. Clark St. (at Granville) in Chicago. Tickets are currently available at thestorytheatre.org or by calling (773) 338-2177. I'll be out for the press opening July 2nd, so check back shortly after for my full review. 

The production will feature Nathaniel Andrew, Brenna DiStasio*, Keith Illidge, Danyelle Monson, Maya Vinice Prentiss, David Stobbe and Amber Washington. Understudies include Cat Christmas, Caitlin Dobbins, Jourdan Lewanda, Dylan Rogers and Marlene Slaughter.

 *Denotes a member of The Story Theatre Governing Ensemble

This is a play about rage. Revolt. Revolution. Revenge. It is about what happens when Black people grow tired of sitting down and turning the other cheek. What are we left to do? Do we scream? Pray? Should we be peaceful? Should we riot? Can the tools we have used in the past possibly work for the future or do we need to write a new script? Using trap music, fashion shows and the backdrop of the French Revolution, Governing Ensemble member Terry Guest’s Marie Antoinette & The Magical Negroes reimagines the myth of the lost monarchy and puts it into the hands and mouths of Black people.

The production team includes Jordan Dell Harris (Scenic Designer), Isaac-Jay Pineda (Costume Designer), Levi Wilkins (Lighting Design), Andrew Littleton (Sound Designer), Willow James(Composer), Ayanna Bria Bakari* (Choreographer), Thomas Russell (Violence Designer), Elijah Miller (Associate Sound Designer), Kenny-Finch Collymore-Williams (Dramaturg), Paul Michael Thomson*(COVID Safety Manager), Lucy Whipp* (Production Manager), Stina Taylor (Technical Director), Liz Gomez (Master Electrician), Brittney Brown (Associate Director), Sydney Ha (Community & Outreach Coordinator), Ariel Beller (Assistant Stage Manager), Lucy Whipp* (Stage Manager) and Meagan Dilworth and Paul Michael Thomson* (Producers).

COVID Protocols: The Story Theatre is proudly in residence at Raven Theatre and follows all COVID safety protocols accordingly. The Story and Raven currently require proof of vaccination and masking at all performances. Protocols subject to change closer to date of event. For all of Raven’s current COVID- 19 and vaccination information, visit raventheatre.com/covid-19.

 

PRODUCTION DETAILS:

Cast: (in alphabetical order): Nathaniel Andrew (Savage), Brenna DiStasio* (Marie Antoinette), Keith Illidge (Jim Crow), Danyelle Monson (Sapphire), Maya Vinice Prentiss (Sambo), David Stobbe (King Louis XVI) and Amber Washington (Mammy).

Understudies: Cat Christmas, Caitlin Dobbins, Jourdan Lewanda, Dylan Rogers and Marlene Slaughter.

 

Location: Raven Theatre’s Schwartz Stage, 6157 N. Clark St. (at Granville), Chicago

Dates: Previews: Thursday, June 30 at 7:30 pm and Friday July 1 at 7:30 pm

Press opening: Saturday July 2 at 7:30 pm

Regular run: Sunday, July 3 – Sunday July 17, 2022

Curtain Times: Thursdays, Fridays and Saturdays at 7:30 pm; Sundays at 3 pm

Tickets: Previews $15. Regular run $20. Students/active military and veterans $10. Tickets are currently available at thestorytheatre.org or by calling (773) 338-2177.

Group tickets: Special group rates are available. For information, call (773) 338-2177 or e-mail paulmichael@thestorytheatre.org.

 

Plan Your Visit:

Free parking is provided in a lot adjacent to the theatre – additional street parking is available.

Nearest El station: Granville Red Line. Buses: #22 (Clark), #36 (Broadway), #151 (Sheridan), #155

(Devon), #84 (Peterson).

 

About the Playwright/Director

Terry Guest is an award-winning playwright, actor, producer, poet and teaching artist based in Chicago. His play At The Wake of a Dead Drag Queen has been workshopped, read and performed all over the country and was the 2018 recipient of Out Front Theatre's Spectrum Series Grant. He is currently a member of the 2020/21 Goodman Theatre Playwrights Unit and is commissioned to write new plays by several other Chicagoland companies. As an actor Terry has worked at regional theaters around the country including Steppenwolf, Goodman Theatre, Alliance Theatre, Actors Express, and others. Terry is a Governing Ensemble Member at The Story Theatre and is signed by DDO Chicago. Inspired by: Whitney Houston, Stephen Sondheim, My grandma in the kitchen, Spike Lee, Tennessee Williams, Black Queer people, Black Women, Bob Mackie costumes, Kerry James Marshall, Liza Minelli and the creativity and resilience of Black people around the world.

 

About The Story Theatre

Founded in 2018, The Story Theatre will pose questions rather than provide answers. We develop and produce new work that is whimsical, melancholic, mythic in vision, and intimate in scale. We are run by a Governing Artistic Ensemble, who ensures our work is actively dismantling racism and inequity, while cultivating community through activism and catharsis.

The Story Theatre is funded in part by The Michael and Mona Heath Fund, Chicago Bulls Charities, Illinois Arts Council Agency, Chicago Department of Cultural Affairs & Special Events, and The Cliff Dwellers.

16th Street Theater Presents World Premiere of The Billboard Now Playing Through July 17, 2022

ChiIL Live Shows On Our Radar

16th Street Theater Presents Natalie Y. Moore’s 

The Billboard

A World Premiere Play About Reproductive Justice Set in

Chicago’s Englewood Neighborhood,

Runs June 23-July 17

- Also Free Virtual Reading of Interrobang-Roberto+Julia 

on June 3, 7 p.m. -16th St.

16th Street Theater and GLP Productions announces the world premiere of Natalie Y. Moore’s The Billboard, the first production of the “You Made It,” 15th anniversary season. The Vagina Monologues creator V, formerly Eve Ensler, said “The Billboard is a provocative and timely play ripe with the political complexities and nuances of our times.” 

Single tickets and $50 season subscriptions are available at 16thStreetTheater.org and 708-795-6704. Season subscribers receive two live, in-person plays with priority seating during 2022, plus 10% off local restaurants and links to The Write Collectives online staged readings. Vaccination proof and masks are required for all live events. Copies of The Billboard are available from Haymarket Books.

Congo Square ensemble member and African American Museum of Performing Arts Executive Director TaRon Patton directs and co-produces The Billboard, an in-depth look at reproductive rights set at a fictional women’s clinic in Chicago’s Englewood neighborhood, where politicians weaponize women’s bodily autonomy to forward their careers. 

When City Council candidate Demetrius Drew unveils a billboard saying “Abortion is genocide – the most dangerous place for a Black child is his mother’s womb,” Tanya Gray’s Black Women’s Health Initiative responds with its own sign to underscore that abortion is more than merely pro-life or pro-choice. Her billboard says “Black women have the right to make decisions for their families and their bodies. Abortion is self-care. #TrustBlackWomen.” 

The Billboard runs June 23-July 17, 2022, in Abbott Hall at Northwestern University, 710 N. Lake Shore Drive in Chicago (run time is 90 minutes without intermission). The Billboard press opening is Thursday, June 23 at 8 p.m., with the second press opening on Friday, June 24 at 8 p.m., public opening on Saturday, June 25, 8 p.m., and the first regular performance on Sunday, June 26 at 2 p.m. The show runs on two Thursdays (June 30 and July 14), Fridays and Saturdays at 8 p.m., with matinees on Saturdays at 4 p.m. and Sundays at 2 p.m., through July 17. Post-show events include Moore and Simons on June 26; Tonika Johnson, Englewood Arts Collective, and Michelle Rashad on July 8; and Scheherazade Tillet, A Long Walk Home, on July 15.  

“If ever there was a play that speaks to present day events, this is it,” said interim Artistic Director Jean Gottlieb. “We were determined to get The Billboard to the stage. Despite the loss of our 14-year artistic home in Berwyn, as well as the proposed new space in the Berwyn VFW building, our artistic team knew that the time for this play was NOW. Natalie’s play holds up a crucial mirror to American society, helping us to face all sides of this topical issue.”   

Natalie Y. Moore

Natalie Y. Moore (she/her) is WBEZ’s South Side bureau reporter, where she’s known as the South Side Lois Lane. She is a 2021 USA Fellow and a 2020 Longworth Media Fellow for international reporting at the Pulitzer Center. Her last book, The South Side: A Portrait of Chicago and American Segregation won the 2016 Chicago Review of Books nonfiction award. The Chicago-based journalist has been published in Essence, Black Enterprise, Chicago Reporter, Bitch, In These Times, Chicago Sun-Times and Chicago Tribune. 

TaRon Patton

TaRon Patton is the Executive Director of The African American Museum of the Performing Arts. For four years, she served as Congo Square Theatre's Executive Director, and has performed at many professional venues including Goodman Theatre and Steppenwolf Theatre. She is also the CEO of GLP Productions, Inc. Producer credits include N (Greenhouse), and Misty Tanner (Q&A Productions). Directing credits include N (Greenhouse) Saturday Night, Sunday Morning (Steppenwolf Garage Rep), Bulrusher (Congo Square), and Nativity Tribute (Congo Square).

The cast for The Billboard includes LaQuis Harkins as Tanya Gray (pictured top center), Margo Gadsden-Harper as Dawn Williamson (top left), Milan Falls as Kayla Brown (top right), Veronda Carey as Cheryl Lewis (bottom left), and Frederick Williams, AEA, (bottom right) as Demetrius Drew. Understudies include Runako Robinson, Tiffany Curtis and Yiidum Wiwa.

The crew includes Rose Johnson (set design), Richard Norwood (light design), Shawn Wallace (sound design), Nicole Clocket (costume design), Rachelle “Rocky” Kolecke (prop design), Abboye Lawrence (media specialist), Razor Wintercastle (production manager), Hayley Procacci, AEA (stage manager), Kamesha Khan (dramaturg), Ashley Coney (production assistant), Edward Richardson (assistant sound design and sound engineer), and Zach Kelchen (COVID officer). The post-show facilitator is Sasha-Ann Simons, the host of WBEZ’s Reset. 

Sasha-Ann Simons

The next Write Collective free staged reading runs online Friday, June 3 at 7 p.m. Playwright Arlene Malinowski presents Interrobang-Roberto+Julia, a twist on Shakespeare’s familiar tragedy: “Two households, both alike in dignity / In fair Ivy at the Glen retirement home, / where we lay our scene, a pair of star-crossed lovers / hurl their fates to destiny when their feuding families forbid their union.” In this tale of love, power and the secrets about aging, Roberto and Julia explore: When you have no past or no future, who are you?

Arlene Malinowski

The Write Collective’s resident playwrights present free virtual staged readings of their latest works, including talkbacks, throughout 2022, on Fridays at 7 p.m. CT:

August 12, TBA by Reginald Edmund

October 7, The Queen of Ithaca by Aline Lathrop

December 2, The Lost Girl by Kathryn Feeney

Date and title TBA, new play by Marsha Estell

The second production of 16th Street Theater’s 15th season will be San Diego-based Siena Marilyn Ledger’s National New Play Network rolling world premiere Man and Moon, which runs October 21-November 13, 2022, at Madison Street Theater, 1010 Madison Street in Oak Park (run time 90 minutes). In the waiting room of a hospital oncology unit, transitioning man Aaron meets 12-year-old middle-schooler Luna, who loves outer space. Together, they learn how to wait and navigate their own changing bodies.

16th Street Theater’s mission is to produce theater that encourages debate, discussion and compassion through intimate, timely, and thought-provoking works with the playwright as our central focus.

16th Street Theater promotes playwrights whose voices have long been underrepresented on stage, and strives to be a theater of inclusivity, to give voice to those stories that might otherwise not be told and to create a space for all voices to be heard.

16th Street Theater is supported in part by American Theatre Wing, The Arts Work Fund, The Berwyn Development Corp, Chicago Community Trust, Elizabeth F. Cheney Foundation, Gaylord & Dorothy Donnelley Foundation, The MacArthur Funds for Arts and Culture at the Richard H. Driehaus Foundation, Illinois Arts Council Agency, The National New Play Network, The Oak Park Area Arts Council, The Oak Park River Forest Future Philanthropists Program, as well as by season subscribers and the annual support of individuals and businesses. 

EXTENDED: Chicago Premiere! Raven Theatre Presents THE LUCKIEST Now Extended Through June 26, 2022

ChiIL Live Shows on our radar  

Chicago Premiere!

Raven Theatre Presents

THE LUCKIEST

By Melissa Ross

Directed by Artistic Director Cody Estle

May 5 – June 26, 2022

Raven Theatre, Chicago’s newest Equity-affiliated theatre, is pleased to conclude its 2021-22 Season with the Chicago premiere of Melissa Ross’ The Luckiest, a heartfelt and honest look at the journey of life, directed by Artistic Director Cody Estle. The production will play May 5 – June 19, 2022 on Raven’s 85-seat East Stage, 6157 N. Clark St. (at Granville) in Chicago. Tickets are currently available at raventheatre.com or by calling (773) 338-2177. I'll be out for the press opening May 9th so check back soon for my full review.

The production will feature Tara Mallen, Cassidy Slaughter-Mason and Christopher Wayland.

Lissette and Peter are best friends living their best lives. But when an out-of-nowhere diagnosis shatters Lissette's world, Peter is left trying to pick up the pieces. Suddenly finding herself at odds with both her best friend and her mom – who each come bearing strong opinions wrapped in good intentions – Lissette is forced to navigate between the two while unflinchingly forging her own path for her future. This tender, funny and keenly-observed play explores the uncertain and sometimes heartbreaking territory of how we choose to take ownership of our lives.

Raven Artistic Director Cody Estle comments, “The Luckiest is a humorously moving portrait of an independent young woman diagnosed with a serious illness. Having lived life on her own terms, she continues to do so after her diagnosis as she navigates the constraints of her new life. The writing is a gift to actors – the characters are well defined, the language specific and nuanced. We are excited to welcome playwright Melissa Ross back to Raven Theatre after having produced a successful run of her play Nice Girl in 2018. We are pleased she will be joining us during the creative process for this production and we look forward to sharing this engaging story with our audience.”

The production team includes Jeffrey D. Kmiec (scenic design), Izumi Inaba (costume design), Becca Jeffords (lighting design), Eric Backus (sound design), Caitlin McCarthy (props design), Sam Hubbard (movement coach), Eva Breneman (text coach and dialect designer), Sarah Slight (dramaturg), Catherine Miller (casting director), Morgan Wrigley (COVID safety manager), Lorenzo Blackett (production manager), Alan Weusthoff (technical director), Eileen Rozycki (scenic artist),  Sebastian Chrzanowski, (master electrician), Ashley Keys (assistant director) and Rita Vreeland (stage manager).

 

Covid protocols: Raven Theatre currently requires proof of vaccination and masking at all performances. Protocols subject to change closer to date of event. For all of Raven’s current COVID-19 and vaccination information, visit raventheatre.com/covid-19.

 

Location: Raven Theatre East Stage, 6157 N. Clark St. (at Granville), Chicago

Dates: Previews: Thursday, May 5 at 7:30 pm, Friday, May 6 at 7:30 pm, Saturday, May 7 at 7:30 pm and Sunday, May 8 at 3 pm

Press performance: Monday, May 9 at 7:30 pm

Regular run: Thursday, May 12 – Sunday, June 19

Curtain Times: Thursdays, Fridays and Saturdays at 7:30 pm; Sundays at 3 pm.

Tickets: Previews $30. Regular run $40. Students/active military and veterans $15. Tickets are currently available at raventheatre.com or by calling (773) 338-2177.

Open Captioned performance: Sunday, June 5 at 3 pm.

Group tickets: Special group rates are available. For information, call (773) 338-2177 or e-mail info@raventheatre.com.

 

Plan Your Visit:

Free parking is provided in a lot adjacent to the theatre – additional street parking is available. Nearest El station: Granville Red Line. Buses: #22 (Clark), #36 (Broadway), #151 (Sheridan), #155 (Devon), #84 (Peterson).

 

About the Artists

Melissa Ross’ (Playwright) plays include Thinner Than Water (LAByrinth Theater Company), A Life Extra Ordinary (The Gift Theatre), Nice Girl (LAByrinth Theater Company), An Entomologist’s Love Story (San Francisco Playhouse), Of Good Stock (South Coast Repertory and Manhattan Theater Club), and The Luckiest (La Jolla Playhouse). Her work has been developed and produced around the country at theaters including Dorset Theater Festival, Iama Theatre Company, Kitchen Dog Theater, Montana Rep, New York Stage and Film, The New Group, Raven Theatre, Rattlestick Playwrights Theater, Summer Shorts, and TheatreWorks Palo Alto. She is twice commissioned by both South Coast Repertory and Manhattan Theater Club and is currently commissioned by Atlantic Theater Company, Raven Theatre, and San Francisco Playhouse. Melissa is a graduate of Bennington College and the Lila Acheson Wallace Playwriting Program at The Juilliard School, and is a proud member of LAByrinth Theater Company.

Cody Estle (Director) became the Artistic Director at Raven Theatre in November 2017 where he had previously served as the Associate Artistic Director. His directing credits include Sundown, Yellow Moon, How I Learned To Drive (named by Windy City Times as the best of Chicago theatre in 2019), The Gentleman Caller (2019 Jeff Award-winning new play by Philip Dawkins), The Assembled Parties, A Loss of Roses (named by Chicago Tribune honorable mention as one of the year’s best in 2016), Dividing the Estate, Vieux Carré (named by Chicago Tribune as one of the year’s best in 2014), Good Boys and True, Brighton Beach Memoirs, Boy Gets Girl and Dating Walter Dante at Raven Theatre; Damascus at Strawdog Theatre; Five Mile Lake at Shattered Globe Theatre; By The Water (named by Chicago Sun-Times honorable mention as one of the top theatre productions of 2017) at Northlight Theatre; American Hero at First Floor Theater; Scarcity at Redtwist Theatre; The Seagull and Watch on the Rhine at The Artistic Home; Don’t Go Gentle at Haven Theatre; Uncle Bob at Mary-Arrchie Theatre, and Hospitality Suite at Citadel Theatre. He is a member of SDC, serves on the board of directors of the League of Chicago Theatres, and is an alumnus of Columbia College Chicago.

About Raven Theatre

Raven Theatre tells stories of today and the past that connect us to our cultural landscape. Through its plays, as well as its educational programming, Raven is committed to serving our communities’ needs through the arts.

Raven Theatre Company is funded in part by the The MacArthur Fund for Culture, Equity, and the Arts at Prince, Elizabeth F. Cheney Foundation, Polk Bros Foundation, The Shubert Foundation, S&C Electric Company Fund, Paul M. Angell Foundation, The Gaylord and Dorothy Donnelley Foundation and the Illinois Arts Council, a state agency.