Guarneri Hall Celebrates Schoenberg’s Seminal Composition Pierrot Lunaire in Concert Series Pierrot Unmasked December 9-10, 2024

 ChiIL Live Shows On Our Radar

Guarneri Hall celebrates Schoenberg’s seminal composition 

Pierrot lunaire in concert series 

Pierrot Unmasked

With Different Experiences on December 9th and 10th at 6:30 p.m.

The 2-day event enlivens the melodrama on the tragic-comic character Pierrot via poetry reading and theatrical performance, followed by Q&A and intimate reception with the artists

The nonprofit Guarneri Hall, a state-of-the-art, custom-built classical music venue in the heart of downtown Chicago at 11 E. Adams St., presents Pierrot Unmasked, a concert series exploring the poetic and theatrical context of Arnold Schoenberg’s seminal melodrama, Pierrot lunaire. On December 9th and 10th, 2024, at 6:30 p.m. Pierrot Unmasked presents two different performances around the tragic-comic character Pierrot from Commedia dell'Arte, one with a reading of Albert Giraud’s poems on which Pierrot lunaire is based, and the other featuring a lively theatrical performance. Tickets can be purchased at guarnerihall.org, with general admission priced at $40 and student discounts available.

The stock character Pierrot originated in the Commedia dell’Arte of 17th-century Italy. This sad clown has been a source of artistic inspiration since, reflected in the work of many French painters and Symbolist poets. Giraud’s 50-poem set, Pierrot lunaire: rondels bergamasques, formed the basis of the commission that resulted in Schoenberg’s Pierrot lunaire. The extended tonality of Schoenberg’s musical language super-charges the haunting, other-worldly quality of Giraud’s poems, making both performances of Pierrot lunaire uniquely evocative and modernistic experiences.

Guarneri Hall’s unique pair of evenings will provide context for Pierrot lunaire with in-depth perspectives on the literary and theatrical histories of the Pierrot character. Each evening will culminate in a performance of Pierrot lunaire by soprano Kristina Bachrach with pianist Daniel Pesca, flutist Stefán Ragnar Höskuldsson, clarinetist Graham Steele Johnson, and Guarneri Hall’s resident ensemble, NEXUS Chamber Music, and include a post-performance Q&A session with the performers and event organizers. While the music is the same both nights—taking a cue from Schoenberg himself, who with his circle frequently staged performances where works were played twice in their entirety—the two evenings promise to offer uniquely different experiences, as outlined below.

Pierrot Unmasked: Pierrot the Poet

Monday, December 9th, 2024, at 6:30 p.m.

Renowned poet David Yezzi of Johns Hopkins University will discuss the interpretive implications of existing translations of the Giraud poems followed by a performance of the Schoenberg by Bachrach and NEXUS Chamber Music. Yezzi is an American poet, editor, actor, and professor, who currently teaches poetry in the Writing Seminars at Johns Hopkins University. He last appeared in Guarneri Hall in 2021, reading poems of Emily Dickinson and Gustav Mahler.

Pierrot Unmasked: Pierrot the Actor

Tuesday, December 10th, 2024, at 6:30 p.m.

Pierrot the Actor will feature a semi-staged theatrical performance of Pierrot lunaire directed by actor-director Jim Iorio, Associate Professor of Theatre at Roosevelt University. The evening begins with Iorio providing the historical background of the character Pierrot, and completes with a semi-staged theatrical performance of the Schoenberg by Bachrach and NEXUS Chamber Music, directed by Iorio.

Performing artists include Kristina Bachrach, soprano; Daniel Pesca, piano; Brian Hong, violin and viola; Alexander Hersh, cello; Stefán Ragnar Höskuldsson, piccolo and flute; Graeme Steele Johnson, clarinet and bass clarinet.

About Guarneri Hall

Guarneri Hall NFP delivers extraordinary classical music to a broad and diverse audience through a curated mix of live performances and original music videos. The hall is a uniquely intimate, custom-built, 60-seat venue in the heart of downtown Chicago with optimal acoustics designed by Threshold Acoustics. In addition to presenting live performances that connect audiences to the dynamism of live performance with unparalleled intimacy, Guarneri Hall also produces high-quality video content designed to advance classical music in the digital age. Named after the famous Italian family of luthiers whose prominence in violin making is equaled only by that of Stradivari, Guarneri Hall (pronounced gwar-NAIR-ee) was founded in 2018 by esteemed violinist and violin dealer Stefan Hersh. For more information on Guarneri Hall visit guarnerihall.org.

Photos left to right, top to bottom: David Yezzi, Jim Iorio, Kristina Bachrach, Daniel Pesca, Brian Hong, Alexander Hersh, Stefán Ragnar Höskuldsson, Graeme Steele Johnson.

REVIEW: Neo-Commedia VIVA LA MORT Via The Conspirators Well Worth The Visit at Otherworld Theatre

ChiIL Live Shows On Our Radar 

THE CONSPIRATORS PRESENT

VIVA LA MORT

MAY 16 - JUNE 9, 

AT OTHERWORLD THEATRE

It’s the Conspirators, but With Music! 

A Pop-Icon Returns to Her Hometown to Wreak Havoc on Her Aging Ex

A happy eighth marriage

Photo by Candice Conner, Oomphotography

(left to right) Liam Ouweleen, Libby Conkle

Directed by Wm. Bullion, Lighting by Mike McShane, Costumes by Kit Medic

Guest Review

by Dugan Kenaz-Mara

Viva la Mort was one of the most unique plays I have had the pleasure of reviewing. The show takes up a ton of space, despite being in such a small room. With a high-stakes story, a mood that changes from comedy to tragedy on a dime, and crazy features like killer wolverines and dancing lobsters, it’s a performance that’s sure to delight. 

The first thing that needs mentioning is the style. And not just any style, “The Style”. The Conspirators are known for their neo-commedia techniques: Punctuating every beat with a live percussionist, staring down the audience, and turning emotion up to 11. Most striking is their intense face makeup, which is used to evoke a heightened character in the way a Commedia dell’Arte mask does. I would describe this style as “how it would feel if mimes were allowed to scream”. With the heavy stylizing, it can be a bit tricky to wrap your head around the story at the beginning. On stage, there is always a lot going on, but once you recognize ‘The Style’, it fades into the piece and does a lot to heighten the experience, heightening both the chaos and the order in the characters’ predestination.

Mort sees Viva for the first time in decades

Photo by Candice Conner, Oomphotography

(front left to right) Andrew Bosworth, Libby Conkle, Justin Ly

(back left to right) Dakota Norman, Mitchell Jackson, Corin Wiggins, Eva Andrews, 

Lex Mann Turner, and Madison Rivers

I would recommend looking over the plot of Friedrich Dürrenmatt’s “The Visit” if you don’t know that play already. Since this show is adapted from it, I found that knowing the basic plot was fairly helpful in following the story through its many stylistic layers. 

One thing that caught me by surprise was the quality of the music in the play. Viva la Mort is presented as a play with music, and my preconception was that it would be worse quality than a musical where actors would be chosen specifically for their singing abilities. I was pleasantly surprised when the first solo song occurred. Then, at the top of act 2 when everyone jumped in for a jaunty tune (The Barbecue Song) I was sold. The audience was bopping along and the energy was soaring, easily transporting the viewers back to the world of the show. 

The show had quite a few sneaky pop-culture references in it, but didn’t try too hard to point them out, and the comedy in it was strange and intriguing. The performance struck a balance of being self-contained and consistent within the world of the story and going off the rails with the chaos. It never took itself too seriously and broke the 4th wall multiple times, including having a character talk to the percussionist. I loved how even these moments of being ‘out of the play’ were still impactful by highlighting how much work went into the play’s style. When everyone breaks character for a moment it emphasizes how heavily the actors are invested. 

The technical elements were similarly great for the space provided. I loved how drastically the set, costumes, and lights changed alongside the characters as their situation evolves throughout the performance. Viva’s costumes were definitely a highlight, constantly showcasing her personality and extravagance despite changing over and over again. 

VIVA!

Photo by Candice Conner, Oomphotography

Libby Conkle as Viva

Viva la Mort was a high-energy experience, sure to bring you laughter, excitement, and a healthy dose of questioning your morality, all at the same time. 

Dugan Kenaz-Mara is a designer, photographer, educator, and recent graduate of 

Northwestern University.

 Is there still love between us, after all these years?

Photo by Candice Conner, Oomphotography

(left to right) Libby Conkle as Viva, Andrew Bosworth as Mort

The Conspirators are proud to present Viva la Mort, written by Sid Feldman and directed by Wm. Bullion, at the Otherworld Theatre, 3914 N. Clark St., May 16 - June 9. Press opening is Friday, May 17 at 7 p.m. and the regular performance schedule is Thursdays - Sundays at 7 p.m. Tickets are $30 and may be purchased online with student and senior discounts available. Information and tickets can also be found at www.otherworldtheatre.org. 

Viva, a superstar singer, Michigander and pop-icon (whose career spans four decades), returns to her hometown and to her just-as-aging ex, Mortenson Miller. Is the return out of generosity or revenge? Content Warning: songs, style, and possibly killer wolverines. Performed—with songs!—in The Conspirators’ inimitable style. 

“Viva la Mort is a bit of a departure for us,” said director Wm. Bullion. “I mean, you WILL laugh, but you may also cry or be terrified!” “While most of our recent work has been clearly political and satirical in nature,” added writer Sid Feldman, “this piece appears on the surface to be more of a traditional narrative. It does have political implications—but they are more disguised.”

The cast of Viva la Mort includes Eva Andrews (she/her, Police Chief Finkle); Andrew Bosworth (he/him, Mortenson “Sonny” Miller); Libby Conkle (she/her, Viva); Amy Delgado (she/they, ensemble/swing); Mitchell Jackson (he/him, Mayor Finkle); Justin Ly (they/them, Fritz); Dakota Norman (he/him, Bishop Miller); Liam Ouweleen (he/him, Johnny/Konnie/Lonnie/Mort US); Madison Rivers (they/she, Howard); Mary Spencer (she/her, Ellen Howard Miller/Eleanor Miller); Madeline Torem (Beatrix/ensemble); Lex Mann Turner (he/they, Howard); Tess Vincent (she/her, ensemble/swing); Christine Watt (she/her, Viva US); and Corin Wiggins (they/he/she, High School Dean Finkle)

The production crew includes: Wm. Bullion (he/him, director); Sid Feldman (he/him, playwright, producer and style coach); Amee Binder (she/her, choreographer); Mary Spencer (she/her, music director); Tommi Zender (he/him, arranger); Duke Mushroom (he/him, arranger); Christine Watt (she/her, dramaturg); Eric Luchen (he/him, scenic designer); Jonathan Berg-Einhorn (he/him, assoc. scenic designer); Mike McShane (he/him, lighting designer); Kit Medic (they/them, costume designer); Sebby Woldt (they/them, sound designer), Leo Bassow (he/him, props designer); Libby Beyreis (she/her, Violence Consultant) and Matthew Bonaccorso (he/him, stage manager).

ABOUT WM. BULLION (Director, Artistic Director)

Wm. Bullion is a veteran tragicomedian, director and actor on the fringe of the Chicago theater fringe and beyond. Bullion is an emeritus member of The Factory Theater, for whom he directed Prophet$ and Born Ready. He started Sliced Bread Productions in 1988 and put up some solid work before it folded in 2008. He co-founded the Conspirators in 2016 and has proudly directed their oeuvre, including The Ineptidemic; Accidental Death of a Black Motorist; The Deckchairs, or Make the Titanic Great Again and The Resistible Rise of Herr Helmut Drumpf—but he was a fool to think starting another theater group in Chicago is a viable, sustainable idea. Yet, here we are, getting grants and making stuff for YOU.

ABOUT SID FELDMAN (Playwright/Style Coach, Producing Director)

Sid Feldman co-founded The Conspirators and has written plays, adaptations, screenplays, reviews and essays. He has produced plays, concerts and events for numerous organizations including New Crime and Sliced Bread Productions (also with Wm. Bullion).

ABOUT THE CONSPIRATORS

The Conspirators are a (still relatively new) theater and performance collective in Chicago dedicated to provoking thought and action through dynamic, immediate theater art. The Conspirators work exclusively in a style of neo-Commedia called “The Style”—a highly theatrical performance mode developed by movie stars Tim Robbins and John Cusack from the techniques of Ariane Mnouchkine, Commedia dell’Arte, Bugs Bunny cartoons and punk rock, as historically performed by New Crime Prod. (R.I.P.) and The Actors’ Gang. The company also offers Style workshops to interested performers of all calibers.

The Conspirators present the world premiere of Viva la Mort, written by Sid Feldman and directed by Wm. Bullion, at the Otherworld Theatre, 3914 N. Clark St., May 16 - June 9. The press opening is Friday, May 17 at 7 p.m. and the regular performance schedule is Thursdays - Sundays at 7 p.m. Tickets are $30 and may be purchased online with student and senior discounts available. Information and tickets can also be found at www.otherworldtheatre.org. 

For more show info, go to www.ConspireWithUs.org and follow The Conspirators on Facebook and Instagram.

 

(Conspirators_Viva_4) Viva’s newest video drop

Photo by Candice Conner, Oomphotography

Libby Conkle as Viva

Directed by Wm. Bullion, Choreography by Amee Binder, Lighting by Mike McShane, 

Costumes by Kit Medic

JACK OFF THE BEANSTALK Via PrideArts November 28 Through December 18, 2022

 PrideArts’ JACK OFF THE BEANSTALK 

to bring British holiday panto tradition to adult audiences

RECOMMENDED FOR AGES 18+

To borrow the catchphrase from the Monty Python TV series, PrideArts will next present “something completely different” for the holidays by bringing the British theatrical genre of panto to Chicago. Panto (short for pantomime, but not to be confused with mime), is a tradition with roots going back to Commedia Dell’Arte, and is a loud, fun, enjoyable musical comedy theatre production that takes well-loved children’s tales and turns them into a show full of giggles for kids along with subtle adult-minded jokes. PrideArts’ holiday show, though, will be the US Premiere of a very adult holiday panto that premiered in London in 2013 and has enjoyed multiple productions around the UK since then. 

Top row L-R: Eustace Allen, Tyler Callahan, Hannah Eisendrath, Lisa Fiori.

Middle row L-R: Neill Kelly, Joe Lewis, Sam Martin, Peter Moeller.

Lower row L-R: Anna Seibert, Sara Torre.

JACK OFF THE BEANSTALK was written by Tom Whalley, arguably the leading panto artist of Great Britain. While Whalley has written for general, all-family audiences, he has additionally created several pantos, like this one, that are strictly for adults. PrideArts’ production will be a full-scale musical, with popular songs performed live by the cast, a four-piece band, and lively choreography. The show is recommended for ages 18 +. Press opening is Thursday, December 1 at 7:30 pm, following previews November 28-30. The production will play through December 18, 2022, at the Pride Arts Center, 4139 N. Broadway, Chicago.

Whalley’s take on the traditional fairy tale of the boy who steals magic beans from a giant atop a huge beanstalk adds several characters - Princess Jill, who is a love interest for Jack and is kidnapped by the giant and his evil henchman Fleshlight. An ally for Jack Clapp and his mother Dame Clapp is Fairy Flick Bean. Though British in origin, JACK OFF THE BEANSTALK will include many local references and inside jokes, as is also part of the panto tradition. Songs, performed live by the cast and backed up by a four-piece band, will include favorites by such American artists as Kelly Clarkson and Whitney Houston. With audience participation involving call and response reactions, and with alcoholic drinks (available in the lobby for a donation) allowed inside the theater, the audience experience will be as much a party as attending a live performance.

Anna Seibert (Left) and Joe Lewis (right). Photo by Bryan McCaffrey Click on image to download high-res file.

JACK OFF THE BEANSTALK will be directed by Bryan McCaffrey, whose credits include stage and musical direction for PARADE, GUYS AND DOLLS, and SOMETHING ROTTEN for Theatre Nebula; PASSING STRANGE for Porchlight Music Theatre, and A CHRISTMAS KAROL: A HOLIDAY INTERVENTION for PrideArts in 2021. Music direction is by Anna Wegener, whose recent credits include PARADE and GUYS AND DOLLS (Theatre Nebula), QUEER EYE: THE MUSICAL PARODY (The Second City), and NOTES AND LETTERS (Underscore Theater). The choreographer is Ariana Cappuccitti, who recently choreographed SPONGEBOB: THE MUSICAL, CHICAGO, CATCH ME IF YOU CAN, and BIG FISH in the Chicago suburbs and has performed in WONDERFUL TOWN (Goodman Theatre), FUNNY THING… FORUM (Porchlight Music Theatre), MAMMA MIA (Music Theatre Works) and SOMETHING ROTTEN (Theatre Nebula).

The cast who will deliver the outrageous humor, raunchy puns, and sexual innuendo of Whalley’s creation includes Joe Lewis, seen in PrideArts’ GIRLFRIEND and in 2021’s CHRISTMAS KAROL: A HOLIDAY INTERVENTION CABARET, as Jack. His love interest, the Princess Jill, will be played by Anna Seibert (of SHOUT! at Metropolis Art Center). Eustace Allen, whose credits include MODIGLIANI, and NIGHT OF THE IGUANA for The Artistic Home; and INTIMATE APPAREL and AFTER THE FALL for Eclipse Theatre, will be Jack’s mother, Dame Clapp. Neill Kelly (of Theatre Nebula’s PARADE) is Fleshlight and will also understudy Dame Clapp. Hannah Eisendrath will be Fairy Flick Bean, and Tyler Callahan is Fist the Cow. Additional understudies are Sam Martin (Jack), Lisa Fiori (Jill), Peter Moeller (Fleshlight, Fist), and Sara Torre (Fairy Flick Bean).

The production team, in addition to McCaffrey, Wegener and Cappuccitti, includes Victoria Jablonski (Costume Designer), Brett Baleskie (Scenic Designer), Amelia Simonoff (Lighting Designer), Valerio Toretta Gardner (Sound Designer), Carlos Concetta (Sound Engineer) AlJoya Hall (Master Electrician),  Emma Ferguson (Props Designer, Assistant Stage Manager), and Christa Retka (Stage Manager).

Performances will begin with previews November 28, 29 and 30 at 7:30 pm each night. Opening night is Thursday, December 1 at 7:30 pm. Regular performance schedule is Wednesdays through Saturdays at 7:30 pm and Sundays at 3:00 pm. Tickets $35 for regular performances, $25 for previews. Seniors and students receive a $5 discount off regular performance prices. Tickets are on sale now online at www.pridearts.org.

Previews Monday, November 28, Tuesday, November 29, and Wednesday, November 30 at 7:30 pm

Press Opening Thursday, December 1 at 7:30 pm

Regular run December 1–December 18, 2022

Curtain times Wednesdays–Saturdays at 7:30 pm, Sundays at 3 pm

Pride Arts Center, 4139 N. Broadway, Chicago

Tickets $35 for regular performances, $25 for previews. Seniors and students receive a $5 discount off regular performance prices. Tickets and more information at www.pridearts.org.

773-857-0222

BIOS

Bryan McCaffrey (Director) in 2022 has directed productions of PARADE and GUYS AND DOLLS for Theatre Nebula. He has also served as Music Director for Theatre Nebula’s production of SOMETHING ROTTEN, for Porchlight Music Theatre’s PASSING STRANGE and for PrideArts’ A CHRISTMAS KAROL: A HOLIDAY INTERVENTION.

Tom Whalley (Writer) trained at Associated Studios, London graduating with a Diploma in Musical Theatre and studied Drama & Scriptwriting at Northumbria University, Newcastle, United Kingdom. Tom has made a name for himself as a performer and writer working with a number of theatre companies, directors and creatives in London and elsewhere in the UK. Following an appearance on BBC Three’s reality series Shoplife, Tom has since starred in a number of off West End productions and UK Tours (Dick Whittington eat your heart out!). Passionate about Pantomime, Tom starred in his first panto as an ‘Ugly Stepsister’ while still at school and has gone on to start his own business writing and licensing pantomime scripts for theatre companies across the globe: www.tomwhalleypantomimes.com 

Jay Españo (PrideArts Artistic Director). Born in Manila, The Philippines, he joined the prestigious Tanghalang Pilipino’s Actors Company in 1998, where he trained with acclaimed Filipino director Nonon Padilla. He acted in several commercials, television series and films. Notably, he was a regular cast member of Koko KwikKwak - a spin-off of Batibot (Philippine SESAME STREET). He toured The Philippines with that show’s mascots, performing for kids throughout the country. In 2000, Jay was one of many Filipino actors who were cast in the Action Theater Singapore’s hit musical CHANG AND ENG, which toured Asia for several years.

Since joining PrideArts as Artistic Director in 2021, Jay has directed THE THINGS I NEVER COULD TELL STEVEN, 4000 DAYS, CHRISTMAS KAROL: A HOLIDAY INTERVENTION, TOMMY ON TOP, and GIRLFRIEND.  Elsewhere in the Chicago area, Jay has worked with storefront theater companies such as Silk Road Rising, Prologue, Ghostlight, Halcyon, and PrideArts. He has played the role of the King in Rodgers and Hammerstein’s THE KING AND I with various theater companies in the US and in Canada.

 

ABOUT PRIDEARTS

PrideArts tells queer stories on a variety of platforms, including both live and virtual performances. Since its founding in 2010, PrideArts has had several chapters, including operating as an itinerant theater for their first six seasons, and as the developer and primary tenant in the Pride Arts Center since 2016.

The company produces full seasons of plays and musicals, as well as events including cabaret, and more. The company has earned 39 Jeff Awards and nominations, and six nominations in the most recent (2019) ALTA Awards from the Alliance of Latinx Theater Artists of Chicago. Programming has reflected the diversity of queer communities by including work made by and illuminating the experiences of women, gay men, transgender people, and BIPOC.

PrideArts is supported by The MacArthur Fund for Arts & Culture at The Richard Driehaus Foundation, The Illinois Arts Council, City of Chicago’s City Arts Fund, the Elliott Fredland Charitable Trust, The Pauls Foundation, The Heath Fund, The Service Club of Chicago, the AmazonSmile Foundation, Arts and Business Foundation, Tap Root Foundation, Arts and Business Council, and Alphawood Foundation.

PrideArts is a member of the Smart Growth Program of the Chicago Community Trust. PrideArts is a member of the LGBT Chamber of Commerce of Illinois, Northalsted Business Association, Lakeview East, Uptown United, and The League of Chicago Theatre.

For more information and to donate, visit www.pridearts.org or call 1.773 857 0222.

OPENING: Commedia dell’arte Comedy One Man, Two Guvnors at Court Theatre

Chi, IL LIVE Shows On Our Radar:

Court Theatre presents the Midwest Premiere of

One Man, Two Guvnors

by Richard Bean

based on The Servant of Two Masters by Carlo Goldoni

with songs by Grant Olding

directed by Artistic Director Charles Newell

Here at ChiIL Live Shows we adore the commedia dell’arte style and are eagerly anticipating this show. We'll be there tonight for the press opening. Check back soon for our full review.

May 12 – June 12, 2016

Court Theatre, under the leadership of Artistic Director Charles Newell and Executive Director Stephen J. Albert, presents the Midwest Premiere of Richard Bean’s One Man, Two Guvnors, based on Carlo Goldoni’s The Servant of Two Masters, with songs by Grant Olding and directed by Artistic Director Charles Newell. One Man, Two Guvnors runs May 12 – June 12, 2016 at Court Theatre, 5535 S. Ellis Avenue in Chicago. 

Regular Run: May 22 – June 12, 2016

Schedule: Wed & Thurs: 7:30 p.m.

Fridays: 8:00 p.m.

Saturdays: 3:00 p.m. & 8:00 p.m.

Sundays: 2:30 p.m. & 7:30 p.m.

Location: Court Theatre, 5535 S. Ellis Ave.

Tickets: $35-$45 previews

$45-$65 regular run

Box Office: Located at 5535 S. Ellis Avenue, Chicago; (773) 753-4472 or www.CourtTheatre.org.

“This production continues Court’s exploration into works that enable our artists to revive, re-examine, and reconsider previous texts that are enduring,” comments Artistic Director Charles Newell. “Richard Bean’s play is an adaption of The Servant of Two Masters, Carlo Goldoni’s 18th century classic. The original is that rare thing: a wonderfully amusing piece of commedia dell’arte. This adaptation is a glorious comedy with an original mix of satire, songs, and physical comedy.”

Set in 1963 on the coast of Brighton, Francis Henshall is separately employed by two men: local gangster Roscoe Crabbe, and upper-class criminal Stanley Stubbers. Francis tries to keep the two from meeting and discovering his secret, but Roscoe is really Rachel Crabbe in disguise—her twin brother Roscoe was killed by her lover, who happens to be Stanley Stubbers! One man, two jobs. How hard could it be?

An incredible cast of Chicago actors come together for a rollicking jaunt through crooked schemes, cross-dressing twins, and general buffoonery in this riotous summer delight.

One Man, Two Guvnors features Elisa Carlson (Ensemble/Musician), Chaon Cross (Pauline Clench), Allen Gilmore (Lloyd Boateng), Alex Goodrich (Alan Dangle), Francis Guinan (Charlie Clench), Derek Hasenstab (Ensemble/Musician), Erik Hellman (Stanley Stubbers), Timothy Edward Kane (Francis Henshall), Elizabeth Ledo (Rachael Crabbe), Ross Lehman (Harry Dangle) and Hollis Resnik (Dolly).

About the Artists

CHARLES NEWELL (Director/Artistic Director) was awarded the SDCF Zelda Fichandler Award, “which recognizes an outstanding director or choreographer who is transforming the regional arts landscape through singular creativity and artistry in theatre.” Charlie has been Artistic Director of Court Theatre since 1994, where he has directed over 50 productions. He made his Chicago directorial debut in 1993 with The Triumph of Love, which won the Joseph Jefferson Award for Best Production. Charlie’s productions of Man of La Mancha and Caroline, or Change have also won Best Production Jeffs. Other directorial highlights at Court include Satchmo at the Waldorf, Agamemnon, The Secret Garden, Iphigenia in Aulis, The Misanthrope, Tartuffe, Proof, Angels in America, An Iliad, Porgy and Bess, Three Tall Women, Titus Andronicus, Arcadia, Uncle Vanya, Raisin, The Glass Menagerie, Travesties, Who’s Afraid of Virginia Woolf?, The Invention of Love, and Hamlet. Charlie has also directed at Goodman Theatre (Rock ‘n’ Roll), Guthrie Theater (The History Cycle, Cymbeline), Arena Stage, John Houseman’s The Acting Company (Staff Repertory Director), the California and Alabama Shakespeare Festivals, Juilliard, and New York University. He has served on the Board of TCG, as well as on several panels for the NEA. Opera directing credits include Marc Blitzstein’s Regina (Lyric Opera of Chicago), Rigoletto (Opera Theatre of St. Louis), Don Giovanni and The Jewel Box (Chicago Opera Theater), and Carousel (Glimmerglass Festival). Charlie was the recipient of the 1992 TCG Alan Schneider Director Award, and has been nominated for 16 Joseph Jefferson Director Awards, winning four times. In 2012, Charlie was honored by the League of Chicago Theatres with its Artistic Achievement Award.

ELISA CARLSON (Actor/Musician/US) holds a Bachelor’s degree in piano performance and theater from Indiana University. Elisa is currently a singer and multi-instrumentalist at Howl at the Moon Chicago, entertaining audiences nightly on the piano, violin, drums, and bass. In addition, she is an ensemble member of Barrel of Monkeys, a company member of Innervation Dance Cooperative, and a member of the Chicago-based band, Mechanical Animals. Elisa is also proud to be choreographing Seussical for the Dream Big Performing Arts Workshop this summer, and she is thrilled to be appearing alongside such incredible talent in this production of One Man, Two Guvnors. 

CHAON CROSS (Pauline Clench) Chicago credits include: The Wheel, The Cherry Orchard (Steppenwolf Theatre Company), Proof (Joseph Jefferson Award Nomination), Uncle Vanya, The Glass Menagerie, Scapin, The Romance Cycle, Phèdre (Court Theatre), Cyrano (Court Theatre and Redmoon Theater), As You Like It, Private Lives, Cymbeline, Troilus and Cressida, The Two Noble Kinsmen, The Taming of the Shrew (Chicago Shakespeare Theater), Macbeth (Lyric Opera of Chicago), Brothers Karamazov (Lookingglass Theatre Company) and Grace (Northlight Theatre). Regional credits include: Lady Windermere's Fan (Milwaukee Repertory Theater) and Pride & Prejudice (Cleveland Play House). TV credits: Chicago Fire (NBC), Boss (Starz) and Detroit 187 (ABC). Film credits: My Dog Skip (Warner Bros).

ALLEN GILMORE (Lloyd Boateng) returns to Court Theatre. He has previously been seen here in Scapin (M. Geronte; BTA nom), Cyrano (Cyrano De Bergerac), Endgame (Hamm), Sizwe Banzi  Is Dead (Sizwe Banzi; Jeff, BTA, Black Excellence noms), Jitney (Turnbo), The Misanthrope (Mlle Arsinoe), Tartuffe (Mme Pernelle), Seven Guitars (King Hedley), Waiting for Godot (Vladimir; Jeff, BTA, Black Excellence noms), and The Good Book (St. Paul and others). In 2014, he became the first black actor to perform the role of Scrooge in Goodman Theatre’s annual production of A Christmas Carol. Other favorite Chicago performances include Joe Turner’s Come and Gone (Bynum; Jeff, BTA noms) and The African Company Presents Richard the Third (Papa Shakespeare), both with Congo Square Theatre Company; Argonautika (Typhius) and Arabian Nights (Ishaak of Mosul), both with Lookingglass Theatre; and Rosencrantz and Guildenstern Are Dead (The Player; BroadwayWorld nom) with Writers Theatre. He is a 2015 3Arts prize awardee, a 2015 Lunt-Fontanne fellow, and a proud ensemble member of Congo Square.

ALEX GOODRICH (Alan Dangle) returns to Court Theatre where his credits include The Comedy of Errors. Other Chicago credits include Elf The Musical, On The Town, I Love You, You're Perfect, Now Change, HERO (Jeff Award), For the Boys, How Can You Run With A Shell On Your Back? (Marriott Theatre); Seussical, The Emperor’s New Clothes, Taming of the Shrew, Aladdin, A Midsummer Night's Dream, and How Can You Run..? (Chicago Shakespeare); The Explorers Club (Windy City Playhouse); Shining Lives, A Civil War Christmas, She Stoops to Conquer (Northlight); as well as shows at Next Theater, Timeline, Chicago Children’s Theater, and Provision Theater. 

FRANCIS GUINAN (Charlie Clench) is a member of the Steppenwolf Theatre Ensemble. With Steppenwolf he has appeared in over 30 productions, including East of Eden, The Night Alive, The Seafarer, The Birthday Party, Time Stands Still, American Buffalo, August: Osage County, Balm in Gilead, and Say Goodnight, Gracie. He has also appeared in productions at Northlight Theatre (White Guy on the Bus, Stella and Lou, Season’s Greetings, and Inherit the Wind), Victory Gardens Theatre (A Guide for the Perplexed), Goodman Theatre (Seagull, Pullman Porter Blues) and American Blues Theatre (Rantoul and Die), Route 66 Theatre (Goldfish). Television appearances include Boss in the role of Gov. Cullen; Eerie, Indiana; ER; Frasier; and several Star Trek franchise episodes. Film roles include appearances in Abundant Acreage Available, The Last Airbender, Typing, Low Tide, and Constantine. 

DEREK HASENSTAB (Actor/Musician) National Tour: Zazu in The Lion King. Regional: Doc in Come Back, Little Sheba (Huntington Theatre), Hermes in Metamorphoses (Arena Stage and Mark Taper Forum), and Tom in The Glass Menagerie (Kansas City Repertory). Chicago: Never The Sinner (Victory Gardens); October Sky (Marriott Lincolnshire); Road Show, Sunday In The Park With George (Chicago Shakespeare); Animals Out of Paper, Disappeared (Steppenwolf); Eastland (Lookingglass); The Game’s Afoot, The Foreigner (Drury Lane Oakbrook); Cloud Nine (After Dark Award), and A Home At The End Of The World (About Face Theatre).

ERIK HELLMAN (Stanley Stubbers) returns to Court Theatre after appearing in The Good Book, Tartuffe, The Misanthrope, Proof (Jeff Award Nomination - Supporting Actor), The Comedy of Errors, The Mystery of Irma Vep (Jeff Award Nomination - Lead Actor), Titus Andronicus, and Arcadia. Chicago credits include Luna Gale (Goodman); Marjorie Prime, Hesperia, and The Frog Prince (Writers’ Theatre); Shining Lives, The Commons of Pensacola, and Lost in Yonkers (Northlight); The Madness of  King George III, The Taming of the Shrew, Macbeth, and Edward II (Chicago Shakespeare); Honest, The Elephant Man, and Huck Finn (Steppenwolf);  Eastland (Lookingglass);  All My Sons (TimeLine); as well as shows at Next, Chicago Dramatists, Remy Bumppo, The House Theatre of Chicago, and as a company member of Strawdog. Outside of Chicago, Erik has appeared at Milwaukee Repertory, Geva, Syracuse Stage, Indianapolis Repertory, Shakespeare Santa Cruz, Houston’s Stages Repertory, and Off-Broadway at The Mirror Repertory.  Film/TV work includes The Dark Knight, The Chicago Code, Boss, Betrayal, Chicago Fire, and Chicago PD.

TIMOTHY EDWARD KANE (Francis Henshall) returns to Court Theatre having previously appeared in An Iliad (2013 & 2011), The Illusion, Wild Duck, Titus Andronicus, Uncle Vanya, The Romance Cycle, and Hamlet. Chicago credits include: Blood and Gifts (Timeline Theatre Company); Hamlet, Rosencrantz and Guildenstern Are Dead, Arms and the Man (Writers Theatre); The North Plan (Steppenwolf Garage); Lost in Yonkers, The Miser, She Stoops to Conquer (Northlight Theatre); and fourteen productions at Chicago Shakespeare Theatre including: The Comedy Of Errors, A Flea In Her Ear, Henry IV Parts 1 & 2 (CST and at the Royal Shakespeare Company, Stratford-Upon-Avon), and the upcomingTug of War: Civil Strife. Regional credits: The Mark Taper Forum, Notre Dame Shakespeare, Peninsula Players, and the Illinois Shakespeare Festival. TV: Chicago Fire. Education: BS, Ball State University; MFA, Northern Illinois University. He is the recipient of a Joseph Jefferson Awards and an After Dark Award. Kane is married to actress Kate Fry with whom he has two sons.

ELIZABETH LEDO (Rachel Crabbe) returns to Court Theatre where she previously appeared in The Secret Garden, Tartuffe (Jeff award), The Misanthrope, The Illusion, The Comedy of Errors, Titus Andronicus, Uncle Vanya, and The Real Thing. Chicago credits include: The Matchmaker, Boleros for the Disenchanted, and three seasons of A Christmas Carol (Goodman Theatre); Charm, and The Chalk Garden (Norhtlight Theatre); Le Switch, The Homosexuals, and Say you Love Satan (About Face Theatre); Issac’s Eye and Arms and the Man (Writers Theatre); A Midsummer Night’s Dream, As You Like It, Amadeus, and Funk it Up About Nothin’ (Chicago Shakespeare Theatre); The How and The Why (Timeline Theatre); Barefoot in the Park and The Odd Couple (Drury Lane Oakbrook); The Old Curiosity Shop (Lookingglass Theatre); Homebody/Kabul and Morningstar (Steppenwolf Theatre). Regional credits include: Richard III, Hamlet, The Merchant of Venice, The Comedy of Errors, and Romeo and Juliet (Shakespeare at Notre Dame); Arcadia (Indiana Repertory Theatre); and over 25 productions with Milwaukee Repertory Theatre, including Almost Maine, Anna Karenina, Wit, The Lonesome West, and The Clean House. Ms. Ledo is a graduate of Loyola University of Chicago.

ROSS LEHMAN (Harry Dangle) makes his Court Theatre debut. Ross Lehman’s Broadway credits include A Funny Thing Happened on the Way to the Forum, The Tempest, and One Flew Over the Cuckoo's Nest. Most recently, Ross was seen as Vanya in Vanya and Sonia and Masha and Spike at the Goodman Theatre, where he also appeared in Waiting for Godot, A Funny Thing Happened on the Way to the Forum (Jeff Award), The Rover, A Christmas Carol, and Stage Kiss. Ross last appeared at the The Marriott Theatre in Lincolnshire as Moonface Martin in Anything Goes. Earlier at the Marriott, he appeared in Hot Mikado, Hairspray, The Producers, and Fiddler on the Roof. At Chicago Shakespeare Theatre, he has been seen most recently as The Fool in King Lear. Among his other CST roles have been Jacques/As You Like It, Feste/Twelfth Night, Dudley Marsh and Dromio of Syracuse/The Comedy of Errors, Thersites/Troilus and Cressida, and Peto, Rumour, and Lord Hastings/Henry IV (at CST and on tour to the Royal Shakespeare Company, Stratford-upon-Avon). Steppenwolf Theatre Company credits: The Man Who Came to Dinner and One Flew Over the Cuckoo's Nest. At Apple Tree Theatre: A Man of No Importance (Jeff Award), The Dresser (After Dark Award), and Where's Charlie (Jeff Award). Writer’s Theatre credits: As You Like It and Bach at Leipzig. His reprise of his role as Koko in Hot Mikado in London’s West End production earned him a Laurence Olivier Award nomination. Ross just completed a year as an Artist in Residence at Loyola University.

HOLLIS RESNIK (Dolly) Court theatre productions include: Angels in America, Man of La Mancha, The Good Book, Little Foxes, Learned Ladies, The Cherry Orchard, The Chairs, Carousel, Travesties, An Ideal Husband, and many more. Hollis has also been seen at Goodman Theatre, The Marriott Theatre in Lincolnshire, Chicago Shakespeare Theatre, Northlight Theatre, Apollo Theater, Arena Stage, Indiana Repertory Theatre, Milwaukee Repertory Theater, Philadelphia Theatre Company, Alliance Theatre in Atlanta, Shakespeare Theatre Company, and Long Wharf Theatre. National tours include: Sister Act, Les Miserables, Dirty Rotten Scoundrels, and Thoroughly Modern Millie. Awards include the Helen Hayes Award, several Jeff Awards, and two Sarah Siddon Awards. Hollis is the recipient of the 2012 Lunt/Fontaine fellowship and a proud member of Actors Equity.

Now in its 61^st season, Court Theatre is guided by its mission to discover the power of classic theatre. Court endeavors to make a lasting contribution to American theatre by expanding the canon of translations, adaptations, and classic texts. Court revives lost masterpieces, illuminates familiar texts, and distinguishes fresh, modern classics. Court engages and inspires its audience by providing artistically distinguished productions, audience enrichment activities, and student educational experiences.