The Alice Is Here! Goodman Theatre's New Education Building Is Open

GOODMAN THEATRE WELCOMES ITS FIRST AUDIENCES TO “THE ALICE”  WITH FREE EVENTS, MAY 19-21 ***EXPERIENCE THE NEW ALICE RAPOPORT CENTER FOR EDUCATION AND ENGAGEMENT WITH “LORRAINE HANSBERRY DAY” ON MAY 19; YOUTH SPOKEN WORD + OPEN MIC ON MAY 20 AND A MAY 21 OPEN HOUSE OF CREATIVE FUN, INCLUDING  FAMILY-FRIENDLY AND MEET-THE-ARTIST EVENTS*** Here at ChiIL Mama and ChiIL Live Shows, we're so excited about "The Alice". As a Chicago mom, theatre critic, and huge arts advocate, I'm beyond excited that these new facilities will enable The Goodman to expand their excellent educational arts programming. The children are our future, whether you are pre/post/or non parents of the birth to 18 year old bracket, raising a new generation of creative thinkers benefits us all. Theatre loving, arts loving kids make great problem solvers and assets to society.  **Check out some of our past coverage and original photos of Goodman Education in action, right HERE.**     Build a play with your family, try your hand at stage combat, hear Chicago’s finest actors spill stage secrets—and more! Goodman Theatre proudly opens its Alice Rapoport Center for Education and Engagement (“the Alice”) with free opportunities for audiences to sample the variety of programming offered in the theater’s newly dedicated space for classes, lectures, discussions and special performance events. May 19 is “Lorraine Hansberry Day,” with events connected to the critically acclaimed current mainstage production, Hansberry’s The Sign in Sidney Brustein’s Window, directed by Anne Kauffman (on stage through June 5). A schedule of events appears below; reservations are recommended as space is limited: GoodmanTheatre.org/Engage-Learn or 312.443.3800. Thursday, May 19 – “Lorraine Hansberry Day” in Chicago 12 Noon | Mayor Rahm Emanuel has proclaimed May 19, 2016 “Lorraine Hansberry Day,” in honor of what would have been the Chicago native playwright’s  86th birthday. The company of The Sign in Sidney Brustein’s Window kicks off the special day with a reading of the mayoral proclamation—followed by birthday cake for all. 12:30pm | A conversation with artists about Hansberry’s body of work, the background and themes of the Goodman’s revival of her rarely-produced play, and her significance among American playwrights. 6pm | A screening of the 1961 film A Raisin in the Sun, starring Sidney Poitier, Ruby Dee, Claudia McNeil and Diana Sands. Jackie Taylor, founder and executive director of the Black Ensemble Theater Company, introduces the film. Friday, May 20 7pm | Listen to the Poem: Spoken Word and Open Mic The Goodman Youth Poetry Ensemble delivers an electrifying performance featuring pieces from their past season and the work of other Chicago youth poets. Audience members are invited to share their own poetry works during an open mic session. 8pm | All tickets to this performance of The Sign in Sidney Brustein’s Window are $10 for students. Saturday, May 21 9am and 10:30am | Play ’N 90 Workshop (two sessions) An interactive family program in which 5-12 year-olds and their parents/guardians fashion a theatrical creation together—in only 90 minutes. 10am | Insider Access: "How Do Actors Learn All Those Darned Lines?" Meet acclaimed actor Mary Beth Fisher (star of such Goodman productions as Vanya and Sonia and Masha and Spike and Luna Gale) and particiate in her creative process, bringing a script from page to stage. 12 Noon | PlayBuild Workshop Realize your creative potential in this intergenerational collective workshop! Participants will create performance pieces using personal history and storytelling techniques. 2pm | Storytelling Workshop Master the art of storytelling with teaching artists from the Goodman’s GeNarrations program. In this collaborative ensemble-based workshop, participants learn the basics of writing, editing and performing personal narrative stories. 3pm | Insider Access: “Slap! Kick! Punch!” Have some energy to burn? Learn the art of stage combat, the technique used to perform physical combats without causing harm to actors, from a professional fight choreographer. 4:30pm | Insider Access: "Not Acting Our Age" A lively discussion with a handful of Chicago actors age 55+ about their esteemed bodies of work and the thrill of a life in the theater. In addition to these activities, all pre- and post-performance discussions—“PlayTalks” and “PlayBacks”—for The Sign in Sidney Brustein’s Window and Soups, Stews, and Casseroles: 1976 by Rebecca Gilman will take place in the Alice May 19 – 21, one hour prior to and immediately following each performance. Moderated by a Goodman artist, discussions include cast members and are free of charge for patrons. About the Alice Rapoport Center for Education and Engagement (“the Alice”) The Goodman becomes the first Chicago theater to establish a facility dedicated to education and engagement programs when it opens the Alice—the next phase in the Goodman’s decades-long commitment to educating Chicago youth and promoting lifelong learning for audiences of all ages. Named for the late Goodman Trustee Alice Rapoport, the Alice is a 10,000 square-foot, LEED certified (upon completion), $15 million expansion effort (of which 80% supports expanded programming) that deepens the theater’s practice of using its art as education—using the process of artistic creation to empower and inspire youth and lifelong learners. The new facility includes classrooms, a hands-on STEM learning lab, rehearsal spaces and more, and will enable the Goodman to impact hundreds more Chicagoans through its myriad education and engagement programs. Patrons access the Alice though the Goodman Theatre, entering at the south end of the mezzanine lobby. The Alice is named for the late Alice Rapoport, a Goodman Trustee, chair of the theater’s Education and Community Engagement Committee and passionate advocate for the theater’s outreach efforts. Artist, educator and activist Willa J. Taylor, Walter Director of Education and Engagement, has led the Goodman’s programs since 2007. Taylor and her team of associates—Bobby Biedrzycki (Curriculum and Instruction Associate), Elizabeth Rice (School Programs Coordinator), Brandi Lee (Education and Community Engagement Associate) and Adrian Azevedo (Education and Engagement Assistant)—collaborate with the Goodman’s artistic and executive leadership to oversee programmatic efforts in the Alice. About Goodman Theatre Called America’s “Best Regional Theatre” by Time magazine, Goodman Theatre has won international recognition for its artists, productions and programs, and is a major cultural, educational and economic pillar in Chicago. Founded in 1925 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), Goodman Theatre has garnered hundreds of awards for artistic achievement and community engagement, including: two Pulitzer Prizes, 22 Tony Awards (including “Outstanding Regional Theatre” in 1992), nearly 160 Joseph Jefferson Awards and more. Under the leadership of Artistic Director Robert Falls and Executive Director Roche Schulfer, the Goodman’s artistic priorities include new plays (more than 150 world or American premieres in the past 30 years), reimagined classics (including Falls’ nationally and internationally celebrated productions of Death of a Salesman, Long’s Day’s Journey into Night, King Lear and The Iceman Cometh, many in collaboration with actor Brian Dennehy), culturally specific work, musical theater (26 major productions in 20 years, including 10 world premieres) and international collaborations. Diversity and inclusion have been primary cornerstones of the Goodman’s mission for 30 years; over the past decade, 68% of the Goodman’s 35 world premieres were authored by women and/or playwrights of color, and the Goodman was the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle.” Each year, the Goodman’s numerous education and community engagement programs—including the innovative Student Subscription Series, now in its 30th year—serve thousands of students, teachers, life-long learners and special constituencies. In addition, for nearly four decades the annual holiday tradition of A Christmas Carol has led to the creation of a new generation of theatergoers in Chicago. Goodman Theatre’s leadership includes the distinguished members of the Artistic Collective: Brian Dennehy, Rebecca Gilman, Henry Godinez, Steve Scott, Chuck Smith, Regina Taylor, Henry Wishcamper and Mary Zimmerman. Joan Clifford is Chair of Goodman Theatre’s Board of Trustees, Swati Mehta is Women’s Board President and Gordon C.C. Liao is President of the Scenemakers Board for young professionals. Visit the Goodman virtually at GoodmanTheatre.org, and on Twitter (@GoodmanTheatre), Facebook and Instagram.

OPENING: The Goodman Theatre Presents SOUPS, STEWS, AND CASSEROLES: 1976

Chi, IL LIVE Shows On Our Radar: REBECCA GILMAN’S LATEST PLAY SOUPS, STEWS, AND CASSEROLES: 1976 MAKES ITS CHICAGO PREMIERE AT GOODMAN THEATRE  MAY 21 – JUNE 19,  DIRECTED BY ROBERT FALLS, HER LONGTIME COLLABORATOR                                           Life was sweet in a small Wisconsin town…then corporate America came to the table. Goodman Theatre concludes its 2015/2016 Owen Theatre series with Soups, Stews, and Casseroles: 1976, by Artistic Associate Rebecca Gilman—a timely and thought-provoking look at workers’ rights and the effects of big business on small town lives. Directed by Artistic Director Robert Falls, Gilman’s 1970s-era work centers on the working class Durst family, and the opportunities and moral dilemmas a buy-out of the Farmstead cheese factory raises.  The previously announced cast features Cliff Chamberlain as longtime factory employee Kim Durst; Cora Vander Broek as his wife Kat; Lindsay Stock as their daughter, Kelly and Ty Olwin (Kyle), Angela Reed (Elaine) and Ann Whitney (JoAnne). Please note: the role of “JoAnne” will be portrayed by Meg Thalken on June 3 at 8pm; June 4 at 2pm and 8pm; and June 5 at 2pm and 7:30pm. Soups, Stews, and Casseroles: 1976 appears May 21 – June 19 in the Owen Theatre (opening night is Tuesday, May 31). Tickets ($10 - $40; subject to change) are on sale now at GoodmanTheatre.org/Soups, by phone at 312.443.3800 or at the box office (170 North Dearborn). Mayer Brown LLP is the Corporate Sponsor Partner. “The past four decades have seen massive changes in American commerce, with the legions of middle class workers who once formed our economic backbone downsized and globalized nearly out of existence. In our current election year, we might find Soups, Stews, and Casseroles: 1976 offers a vital perspective into our vastly transformed landscape of 2016,” said Artistic Director Robert Falls. “As always, I am bowled over by the brevity and craftsmanship of Rebecca’s work; without resorting to flashy overstatement or outsized theatrics, she finds the human truths at the center of social conflict.” A social awakening is underway for the town of Reynolds, Wisconsin, in the year of the American bicentennial, when the town’s main employer, Farmstead Cheese Factory, is bought out by a Chicago-based food conglomerate. The purchase leaves the Durst family and their friends and neighbors in a cycle of fear and uncertainty for their livelihoods. Although fictitious, the town of Reynolds resembles Green County, which lies in southwest Wisconsin. As in Green County and the world of the play, cheese is not only a delectable food, it represents the foundation of cultural traditions, socializing and finding connections to the residents’ European ancestry.   Gilman found inspiration for her latest work in an unlikely place. “I was at a garage sale for the volunteer fire department in this little town in Wisconsin, and I found a cookbook called Soups, Stews, and Casseroles:  1976. As I was reading the recipes the women of the town had submitted, I started to think about how communities really come together to help each other out in small towns in ways that remind me of how unions can have a really strong connection to community as well,” said Gilman.   Set Designer Kevin Depinet’s interpretation of a classic 1970s kitchen is the heart and sole set for Falls’ production. The creative team also includes Jenny Mannis (costumes), Richard Woodbury (sound), Jesse Klug (lights) and Kim Osgood is the production stage manager. The Chicago premiere of Soups, Stews, and Casseroles: 1976 marks the eighth collaboration (five of which were Goodman commissions) between Goodman Theatre and Gilman—“one of Chicago’s hottest playwrights” (Chicago Tribune). Falls’ and Gilman’s last collaboration, Luna Gale, most recently earned the 2016 LA Drama Critics Circle, as well as the 2015 Steinberg/ATCA Award and the 2014 Jeff Award for New Work. Falls first encountered Gilman when he read her 1998 play The Glory of Living (a 2001 Pulitzer Prize finalist that was first produced at Circle Theatre). Soon after, he commissioned Gilman to write a new play for the Goodman; she responded with Spinning Into Butter (premiered in the Goodman Studio in 1999, directed by Les Waters, subsequently produced at Lincoln Center Theater in 2000 and made into a feature film starring Sarah Jessica Parker). The show’s run was extended three times and led to Gilman’s next Goodman commission, Boy Gets Girl (premiered at the Goodman in 2000, directed by the late Michael Maggio), which transferred to New York’s Manhattan Theatre Club and was named by Time magazine as one of the “best theater productions of the decade.” Falls later directed both Blue Surge (2001) and Dollhouse (2005)—a modern interpretation of Ibsen’s A Doll’s House. The Crowd You’re In With, directed by Wendy C. Goldberg, made its Chicago debut in 2009 at the Goodman, followed by A True History of the Johnstown Flood, a Goodman commission that had its world premiere at the Goodman in 2010 under Falls’ direction. Rebecca Gilman’s plays include Luna Gale, A True History of the Johnstown Flood, Dollhouse, Boy Gets Girl, Spinning Into Butter, Blue Surge (all of which were commissioned and originally produced by the Goodman), The Glory of Living, The Sweetest Swing in Baseball, The Heart is a Lonely Hunter and The Crowd You’re in With. Gilman is the recipient of a Guggenheim Fellowship, The Harold and Mimi Steinberg/American Critics Association New Play Award, The Harper Lee Award, The Scott McPherson Award, The Prince Prize for Commissioning New Work, The Roger L. Stevens Award from the Kennedy Center Fund for New American Plays, The Evening Standard Award for Most Promising Playwright, The George Devine Award, The Theatre Masters Visionary Award, The Great Plains Playwright Award, The Roe Green Award, and an Illinois Arts Council playwriting fellowship. Boy Gets Girl received an Olivier nomination for Best New Play, and she was named a finalist for the 2001 Pulitzer Prize for The Glory of Living. She is a member of the Council of the Dramatists Guild of America and a board member of the ACLU of Illinois. She received her MFA in playwriting from the University of Iowa. Gilman is a professor of playwriting and screenwriting at Northwestern University as part of its MFA in Writing for the Screen and Stage program.  She is the recipient of a Global Connections Grant by Theatre Communications Group and an American Scandinavian Foundation Creative Writing Grant for the development of a new play in conjunction with Göteborgs Dramatiska Teater in Gothenburg, Sweden: Rödvinsvänster (Red-Wine Leftists): 1977. Robert Falls, a recent inductee into the Theater Hall of Fame, most recently co-adapted/directed the world premiere of his critically acclaimed production of 2666, based on Roberto Bolaño’s internationally celebrated novel.  Last season, he reprised his critically acclaimed production of The Iceman Cometh at the Brooklyn Academy of Music, directed Rebecca Gilman’s Luna Gale at the Kirk Douglas Theatre in Los Angeles and directed a new production of Mozart’s Don Giovanni for the Lyric Opera of Chicago. Other recent productions include Measure for Measure and the world premiere of Beth Henley’s The Jacksonian. Among his other credits are The Seagull, King Lear, Desire Under the Elms, John Logan’s Red, Jon Robin Baitz’s Three Hotels, Eric Bogosian’s Talk Radio and Conor McPherson’s Shining City; the world premieres of Richard Nelson’s Frank’s Home, Arthur Miller’s Finishing the Picture (his last play), Eric Bogosian’s Griller, Steve Tesich’s The Speed of Darkness and On the Open Road, John Logan’s Riverview: A Melodrama with Music and Rebecca Gilman’s A True History of the Johnstown Flood, Blue Surge and Dollhouse; the American premiere of Alan Ayckbourn’s House and Garden and the Broadway production of Elton John and Tim Rice’s Aida. Falls’ honors for directing include, among others, a Tony Award (Death of a Salesman), a Drama Desk Award (Long Day’s Journey Into Night), an Obie Award (subUrbia), a Helen Hayes Award (King Lear) and multiple Jeff Awards (including a 2012 Jeff Award for The Iceman Cometh). For “outstanding contributions to theater,” Mr. Falls has also been recognized with such prestigious honors as the Savva Morozov Diamond Award (Moscow Art Theatre), the O’Neill Medallion (Eugene O’Neill Society), the Distinguished Service to the Arts Award (Lawyers for the Creative Arts) and the Illinois Arts Council Governor’s Award EVENTS & ACCESSIBILITY AT GOODMAN THEATRE May 26, Soups, Stews, and Conversation – 6pm; pre-show mix-n-mingle with artists from the show, followed by 7:30pm performance; Enter promo code SOUPS when purchasing at GoodmanTheatre.org/conversation June 5, Artist Encounter – 5pm; an in-depth conversation with Playwright Rebecca Gilman & Director Robert Falls, moderator TBD June 8, American Sign Language Interpreted Performance –7:30pm; Enter the promo code SIGN when purchasing June 12, Touch Tour Presentation – 12:30pm; a presentation detailing the set, costume and character elements; Audio Described Performance – 2pm; the action/text is audibly enhanced for patrons via headset, enter promo code AUDIO when purchasing June 19, Open Captioned Performance – 2pm; an LED sign presents dialogue in sync with the performance; Enter the promo code OPEN when purchasing Visit Goodman Theatre.org/Access for more information about Goodman Theatre’s accessibility efforts. TICKETS & DISCOUNTS Tickets ($10-$40) –GoodmanTheatre.org/Soups; 312.443.3800; Fax: 312.443.3825; TTY/TDD: 312.443.3829 MezzTix – Half-price day-of-performance mezzanine tickets available at 10am online (promo code MEZZTIX)  $10Tix – Student $10 advance performance tickets; limit four, with valid student ID (promo code 10TIX) Group Sales – Discounted tickets for parties of 10+ – 312.443.3820 Gift Certificates – Available in any amount (GoodmanTheatre.org/GiftCertificates) Box Office Hours –12noon - 5pm; on performance days, the office remains open until 30 minutes past curtain) About Goodman Theatre Called America’s “Best Regional Theatre” by Time magazine, Goodman Theatre has won international recognition for its artists, productions and programs, and is a major cultural, educational and economic pillar in Chicago. Founded in 1925 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), Goodman Theatre has garnered hundreds of awards for artistic achievement and community engagement, including: two Pulitzer Prizes, 22 Tony Awards (including “Outstanding Regional Theatre” in 1992), nearly 160 Joseph Jefferson Awards and more. Under the leadership of Artistic Director Robert Falls and Executive Director Roche Schulfer, the Goodman’s artistic priorities include new plays (more than 150 world or American premieres in the past 30 years), reimagine

OPENING: The Hypocrites World Premiere of Sean Graney & Emily Casey's Johanna Faustus

Chi, IL LIVE Shows On Our Radar:

Johanna Faustus

From Christopher Marlowe's The Tragical History of Doctor Faustus

Co-adapted by Emily Casey and Sean Graney

Directed by Sean Graney

Don't miss this limited run! Here at ChiIL Mama and ChiIL Live Shows, we've been fans of Sean Graney's adaptations and unique vision for years. He has a depth and insight embedded with a rare, playful streak, that makes his productions utterly unique and entirely compelling. The Hypocrites are one of our favorites on the Chicago theatre scene and we highly recommend checking them out.

What would you trade for happiness?

In the spirit of Sean Graney’s previous hits including 12 Nights and Romeo Juliet, six actors tell a modern Faust story. The performers are also the design team, with purposeful limited resources they will enact the tale using the barest elements. In this new adaptation, Faust is a woman questioning her choices that brought her to success but also isolation. 

Limited Engagement May 20 - May 29, 2016

Fri 5/20/2016
at 8:00 PM

Sat 5/21/2016
at 3:00 PM

Sat 5/21/2016
at 8:00 PM

Sun 5/22/2016
at 3:00 PM

Fri 5/27/2016
at 8:00 PM

Sat 5/28/2016
at 3:00 PM

Sat 5/28/2016
at 8:00 PM

Sun 5/29/2016
at 3:00 PM

Price: $36

The Den Theatre's Heath Main Stage

1329 N Milwaukee Ave, Chicago IL 60622

Box Office: 773-398-7028

www.the-hypocrites.com

Johanna Faustus is an hour-long modern Faust story told by six actors who also serve as the design team in the spirit of Graney’s previous hits 12 Nights and Romeo Juliet. The tale is enacted using the barest elements with purposeful limited resources. In this new adaptation, Faust is a woman questioning whether success can really bring power. What would you trade for satisfaction?

Starring and Designed by Breon Arzell, Kate Carson-Groner, Whitney Dottery, Dana Omar, Sasha Smith, and Lauren Vogel.

Johanna Faustus will conclude The Hypocrites’ 2015-16 season with a limited engagement May 20 – 29, 2015 at The Den Theatre’s Heath Main Stage, 1329 N. Milwaukee Ave. in Chicago’s Wicker Park neighborhood.

Emily Casey and Sean Graney

CREATIVE BIOGRAPHIES

Emily Casey’s (Co-Adapter) past credits include All Our Tragic (The Hypocrites, Getty Villa), Sailress Billi/Captain Cat Coran in HMS Pinafore (The Hypocrites and Actor’s Theatre of Louisville), Yum-Yum/The Mikado in The Mikado (The Hypocrites, Steppenwolf Garage, American Repertory Theatre), Pirates of Penzance (The Hypocrites, Actor’s Theatre of Louisville, American Repertory Theatre), Frederick (Chicago Children’s Theatre), The Casuals (Jackalope Theatre), Woody Sez (Northlight Theatre), Scapin (Hope Summer Repertory Theatre).  She holds a BA in Theatre from Hope College.  www.emily-casey.com

Sean Graney (Co-Adapter/Director) has directed over 30 productions for The Hypocrites since 1997, including the critically acclaimed All Our Tragic. He recently returned from a Fellowship at the Radcliffe Institute for Advanced Study at Harvard University. In 2004, Graney was a participant in the NEA/TCG Career Development Program for Directors. He has won four Joseph Jefferson Citation awards for the Direction and Adaptation for Sophocles: Seven Sicknesses, and Directing of Equus and Machinal. He has directed Edward II (Chicago Shakespeare Theater), The Hairy Ape (Eugene O’Neill Festival at Goodman Theatre), The Comedy of Errors, The Mystery of Irma Vep and What the Butler Saw (Court Theatre), Yankee Tavern (Milwaukee Rep) and The Elephant Man (Steppenwolf for Young Audiences). Graney currently serves as the Hypocrites’ Artistic Director.

About The Hypocrites

Artistic Director Sean Graney created The Hypocrites in 1997. The Hypocrites, one of Chicago’s premier off-Loop theater companies, specializes in startling and thoroughly entertaining adaptations of classic plays and stories, mounting bold productions that challenge preconceptions and redefining the role of the audience through unusual staging (such as promenade and in-the-round) and direct engagement. The mission is to explore recognizable stories—mixing the familiar and the strange—to make theater that thrills and provokes, defying expectations with humor, staging, and surprise. The company has a reputation in Chicago for creating exciting, surprising, and deeply engaging theater as it re-interprets well-known works for contemporary audiences, reveling in the absurd while revealing the core of what makes classics classic. 

The company has grown significantly in the past few years, receiving acclaim for productions at the Steppenwolf Garage, Goodman Theatre, Museum of Contemporary Art, DCASE Storefront and Chopin Theater. The company’s smash-hit production of Our Town, directed by David Cromer, transferred in 2009 to Off-Broadway, Los Angeles and Boston. The Pirates of Penzance has appeared at Actors Theater of Louisville and American Repertory Theater (A.R.T.). A.R.T. has also brought Romeo Juliet, 12 Nights and The Mikado (forthcoming). The American Theatre Wing, best known as the creator of the Tony Awards, presented The Hypocrites with one of the 2013 National Theatre Company awards. The critically acclaimed fall 2013 production of All Our Tragic was brought back by popular demand in June 2015. Graney’s critically acclaimed ALL OUR TRAGIC, an epic 12-hour adaptation of all 32 surviving Greek tragedies, was honored with six 2015 Equity Joseph Jefferson Awards, including Best Play (midsized), Best New Adaptation and Direction for Graney and the prestigious Ensemble Award. 

The Hypocrites on the Road 

The Hypocrites continue to make a national imprint, with remounts of Graney’s wildly popular musical adaptations from the Gilbert & Sullivan canon set for engagements across the U.S. THE PIRATES OF PENZANCE and THE MIKADO will play the The Olney Theatre Center near Washington, D.C. (July 14 – August 21, 2016). 

Want More Hypocrites? Check out ChiIL Mama (16+ features on The Hypocrites) & ChiIL Live Shows' (11+) past Hypocrites features. Just click and scroll down. 

Click HERE for The Hypocrites home site for more information, and to book your tickets.

SAVE THE DATES: American Theater Company (ATC) Announces Season 32 Led By New Artistic Director Will Davis

AMERICAN THEATER COMPANY ANNOUNCES 

2016-17 SEASON

LED BY NEWLY APPOINTED ARTISTIC DIRECTOR WILL DAVIS

World premiere of T. by Dan Aibel

World premiere of We’re Gonna Be Okay by Basil Kreimendahl

Regional premiere of acclaimed Men On Boats by Jaclyn Backhaus

Reimagined classic Picnic by William Inge

Plus a new season-long partnership with the Chicago Inclusion Project

SEASON SUBSCRIPTIONS ON SALE NOW

American Theater Company (ATC) proudly announces Season 32, led by its newly appointed Artistic Director Will Davis and continuing the theater’s dedication to developing new works. The 2016-17 season kicks off this September with the world premiere of Dan Aibel’s T., an exploration of the competitive ice skating saga between Nancy Kerrigan and Tonya Harding, directed by Margot Bordelon, Sept. 23-Oct. 30, 2016. In the New Year, ATC presents Jaclyn Backhaus’ Men On Boats, making its regional premiere at ATC Jan. 6-Feb. 12, 2017, under Will Davis’ direction after he remounts his acclaimed New York production Off Broadway at Playwrights Horizons this summer. Next spring brings another world premiere at ATC, Basil Kreimendahl’s We’re Gonna Be Okay, March 17-April 23, 2017. The production is directed by Bonnie Metzgar and was originally developed at ATC in collaboration with The Araca Group during AracaWorks: Chicago 2015. The final production of ATC’s 2016-17 Season is a reimagined classic, Pulitzer Prize winner Picnic by William Inge, under Davis’ direction May 19-June 25, 2017. Season subscriptions are on sale now and range from $60-$150, with special pricing available for advance purchases before July 31, 2016. To purchase a subscription or for more information, visit www.atcweb.org or call the ATC Box Office at 773-409-4125.

“With Season 32, ATC is opening up a dialogue with theatricality and style. I want ATC to become a home for wild new plays and old plays done in new ways that experiment with form. We're deepening our commitment to the mission question ‘What does it mean to be an American?’ by using it as a spring board to ask identity questions not just about the plays we curate and produce, but also how those works get made and who brings them to life,” says Artistic Director Will Davis. “As one of the first trans identified artists to run a professional theater, I feel both responsible and honored to make ATC an organization dedicated to access and inclusion, and to move our company towards a place of openness and curiosity about how we champion and celebrate truly new work for the American theater.”

ATC also announces a new season-long partnership with Chicago Inclusion Project, whose work creates inclusive theater experiences that bring together Chicago artists and audiences normally separated by physical ability, gender identity and/or ethnic background. The two companies will partner around casting for ATC's Season 32, giving diverse theater artists access to roles they might traditionally have been excluded from. Together with the Chicago Inclusion Project, ATC will continue its commitment to presenting works that boldly reflect the diversity of stories and experiences in America today.

2016-17 SEASON SUBSCRIPTION AND TICKET INFORMATION:            

The American Membership                                     $150 (available until Oct. 31)

Includes reserved seating

Early Bird 4-Ticket Membership                             $120 (before July 31)

4-Ticket Membership                                                 $135 (Aug. 1-Oct. 31)

Early Bird 3-Ticket Membership                             $90 (before July 31)

3-Ticket Membership                                                 $105 (Aug. 1-Oct. 31)

Under-35 Membership

4-Ticket Membership                                                  $80 (available until Oct. 31)

3-Ticket Membership                                                  $60 (available until Oct. 31)

ATC is offering the new American Membership in Season 32 for $150, which offers the member a reserved seat at each production in the season. ATC is transitioning to general admission seating in Season 32. Under 35 Memberships range in price from $60-80. Early Bird 3- and 4-ticket subscriptions range in price from $90-$120 and are available until July 31, 2016. Regular subscriptions range in price from $105-$135 and are available Aug. 1-Oct. 31, 2016. All Memberships allow you to choose your performance dates upon purchase. To purchase a subscription or for more information, please contact the ATC Box Office at 773-409-4125 or visit www.atcweb.org.

Past world premiere productions at ATC include Stephen Karam’s Pulitzer Prize- and Tony Award-nominated The Humans and Ayad Akhtar's Pulitzer Prize-winning Disgraced, both of which enjoyed acclaimed Broadway runs. Last spring ATC presented the world premiere of The Project(s), a documentary play about Chicago’s public housing residents written by late Artistic Director PJ Paparelli and Joshua Jaeger. In the 2015-16 Season, ATC produced the co-world premiere of Thomas Bradshaw’s Fulfillment with The Flea Theater in New York and the world premiere of Bruise Easy by Dan LeFranc, playwright of ATC’s blockbuster world premiere The Big Meal, which went on to an acclaimed Off Broadway run at Playwrights Horizons.

AMERICAN THEATER COMPANY’S 2016-2017 SEASON:

World Premiere

T.

Written by Dan Aibel

Directed by Margot Bordelon

September 23–October 30, 2016

“Ice Follies” read the cover of Time Magazine on January 24, 1994, after ice skating medalist favorite Nancy Kerrigan was struck in the leg with a police baton by Shane Stant. In his darkly funny and unrelenting play, Dan Aibel explores the lengths one will go to for fame. Margot Bordelon returns to Chicago to direct this world premiere play named for Tonya Harding, the first woman ever to complete a triple axel jump in competition. Nancy Kerrigan never saw her coming.

Regional Premiere

Men On Boats

Written by Jaclyn Backhaus

Directed by Will Davis

January 6–February 12, 2017

Ten explorers set out on four boats to map the raging rapids of the Green and Colorado Rivers on the government’s first sanctioned expedition in the American West. Playwright Jaclyn Backhaus and director Will Davis team up again on this play, originally produced by Clubbed Thumb and returning to Playwrights Horizons in New York this summer, in Davis’ first production as ATC’s artistic director. Performed by a genderfluid cast of women and folks otherwise defined, Men On Boats takes back 1869.

World Premiere

We’re Gonna Be Okay

Written by Basil Kreimendahl

Directed by Bonnie Metzgar

March 17–April 23, 2017

Mag has a horse inside her, the spirit of a horse anyway. It’s the Cuban Missile Crisis, and President Kennedy said that “…the greatest danger of all would be to do nothing” so Efran and Leena and Mag and Sul are thinking about doing something big. Two families wrestle with macrame, female empowerment and a shared property line in Basil Kreimendahl’s We’re Gonna Be Okay.  Bonnie Metzgar directs this world premiere play first workshopped through ATC’s partnership with The Araca Group (Disgraced).

Picnic

Written by William Inge

Directed by Will Davis

May 19–June 25, 2017

Closeted and dogged by an acute sense of failure for most of his life until he ended it, William Inge wrote some of the great lyrical plays of the American mid-century, and Picnic was his masterpiece, his playground and, quite possibly, his fantasy. In this loving reimagining, ATC Artistic Director Will Davis puts Inge at the center of his Pulitzer Prize-winning play and animates what is both sacred and profane about small town life against the backdrop of dust bowl hymns and love songs. Part séance, part love letter to a ghost, this Picnic explores a life lived at the periphery of one’s own desire.

  

ARTIST BIOS:

Dan Aibel's plays have been developed and/or produced by the Detroit Rep, the Sundance Institute, Syracuse Stage, the Blank Theater (Los Angeles), Flashpoint Theatre Co. (Philadelphia), the Source Theatre (Washington, D.C.) and Outsider's Inn Collective (Seattle). In New York he has worked with Page 73, Rattlestick and The New Group. His play The Meaning of Lunch was seen in Chicago at Stage Left as part of Leapfest 7. A 2014 Sundance Theatre Lab fellow, Dan's plays have been published by Smith & Kraus and Playscripts. He lives in New York.

Jaclyn Backhaus is an Indian-American playwright and co-founder of Fresh Ground Pepper. Recent New York productions include Men On Boats (NYT Critics’ Pick, Clubbed Thumb’s Summerworks, The Kilroys' 2015 List), People Doing Math Live! (Under The Radar Festival's INCOMING! Series at The Public Theater), The Incredible Fox Sisters (Live Source, The New Ohio), and You On the Moors Now (Theater Reconstruction Ensemble, upcoming with The Hypocrites in Fall 2016). She has received commissions from Playwrights Horizons and Ars Nova and is the 2016 Tow Foundation Playwright-in-Residence at Clubbed Thumb. Her work has been developed and showcased with the Bonnaroo Music and Arts Festival, Playwrights Horizons, The Public and Joe’s Pub, The Ice Factory Festival, (not just) 3 New Plays, The Civilians R&D Group, SPACE on Ryder Farm, Ars Nova’s ANTFest, and The Falcons. She hails from Phoenix, Arizona.

Margot Bordelon is a freelance director who specializes in new work. Recent projects include Jiehae Park's peerless at Yale Repertory Theater, Anna Ziegler's A Delicate Ship for Playwrights Realm (NYT's Critics' Pick), and Joshua Conkel's Okay, Bye at Steppenwolf Theater. In New York, she's directed for Atlantic Theater, NYTW, Clubbed Thumb, Ars Nova, Dodo Theater Collective, Target Margin, The Lark, Juilliard, The Bushwick Starr, Theater Masters, and Stella Adler Institute, among others. Margot moved to the East Coast after spending six years in Chicago working as a director, writer, and performer. She is a founding member of Theatre Seven of Chicago, where she conceived and directed We Live Here; Lies & Liars; and Yes, This Really Happened to Me (all with Cassy Sanders). Margot spent four seasons working at Lookingglass Theatre, where she served as Literary Manager and Company Dramaturg. In Chicago she also worked for Collaboraction, Timeline, Pavement Group, Live Bait, Around the Coyote, Bailiwick, Hell in a Handbag, and Steppenwolf Theatre. She spent three years as a storyteller for 2nd Story, and her autobiographical work has been seen numerous times on the Victory Gardens stage. Theater BFA, Cornish College of the Arts. Directing MFA, Yale School of Drama.

Will Davis is a director and choreographer focused on physically adventurous new work, and the newly appointed artistic director of American Theater Company. Recent projects include: an upcoming production of Evita for the Olney Theatre Center remade and reconsidered; Men on Boats by Jaclyn Backhaus for Clubbed Thumb's Summerworks, receiving a remount at Playwrights Horizons in August; Orange Julius by Basil Kreimendahl; Mike Iveson’s Sorry Robot for PS122’s COIL Festival; and two productions of Colossal by Andrew Hinderaker for Mixed Blood Theater and the Olney Theatre Center, for which he won a Helen Hayes award for outstanding direction. Davis has developed, directed and performed his work with New York Theatre Workshop, Clubbed Thumb, the New Museum, the Olney Theatre Center, the Alliance Theatre, the Playwright's Realm, the Fusebox Festival, New Harmony Project, the Orchard Project, the Ground Floor Residency at Berkeley Rep, Performance Studies International at Stanford University, and the Kennedy Center. He is an alum of the Soho Rep Writer/Director Lab, the NYTW 2050 Directing Fellowship and the BAX (Brooklyn Art Exchange) artist in residence program. He holds a BFA in Theatre Studies from DePaul University and an MFA in Directing from UT Austin.

William Inge (1913-1973), a playwright, teacher, and novelist born in Independence, Kansas, wrote a string of successful plays throughout the 40s and 50s. His play Come Back, Little Sheba earned him the title of most promising playwright of the 1950 Broadway season. This success was followed in 1953 by Picnic (winner of the 1953 Pulitzer Prize) and again in 1955 by the highly revered Bus Stop. Inge’s fame continued to grow as The Dark at the Top of the Stairs, a reworking of his first play Farther Off from Heaven opened on Broadway in 1957. The Dark at the Top of the Stairs, considered to be Inge’s finest play, is one in which he draws most directly from his own past. He spent the final years of his life writing two novels: Good Luck, Miss Wyckoff in 1970 and My Son Is a Splendid Driver in 1971. Inge committed suicide on June 10, 1973 at the age of 60.

Basil Kreimendahl is a resident playwright at New Dramatists. Basil’s plays have won the Rella Lossy Playwright’s Award and a National Science Award at The Kennedy Center. Basil has had a Jerome Fellowship and a McKnight Fellowship from the Minneapolis Playwright’s Center, and an Arts Meets Activism grant from the Kentucky Foundation for Women for theatre work with the trans community. Orange Julius was developed at the O’Neill National Playwrights Conference, included in La Jolla Playhouse’s DNA new work series and The Kilroy’s List. Basil was commissioned by Actors Theatre of Louisville for Remix 38 in the 2014 Humana Festival of New Plays. Basil's plays have also been developed or produced by New York Theatre Workshop, The LARK, ATC, The Playwright’s Center, Victory Gardens, About Face Theatre, Actors Theatre of Louisville, Inkwell, Rattlestick Theater, Labrynth Theater, and The Oregon Shakespeare Festival. Basil’s work has been published by Howlround, Dramatic Publishing, Playscripts, Inc., and included in Xlibria’s Becoming: Young Ideas on Gender and Identity. MFA University of Iowa, 2013.

Bonnie Metzgar is a Chicago-based playwright, director, dramaturg and producer. Recent directing credits include American Theater Company’s production of Let Me Down Easy by Anna Deavere Smith, The Secretaries by the Five Lesbian Brothers at About Face and Walk Across America for Mother Earth by Taylor Mac for Red Tape as part of the 2015 Garage Rep at Steppenwolf. She is currently writing a commission for Sideshow Theater’s Freshness Initiative and was a member of the Goodman's 2014-15 Playwrights Unit. From 2008-2013, Metzgar served as Artistic Director of About Face Theatre and was proud to work on behalf of LGBTQ artists at a theater dedicated to advancing the national dialogue on sexuality and gender. In 2013-2014, Metzgar was awarded the Carl Djerassi Fellowship in Playwriting at the University of Wisconsin, Madison. Her plays have been finalists for the Eugene O’Neill National Playwrights Festival, and selected for the Great Plains Theater Conference in Omaha.  Previously, Metzgar produced the 365 Festival with Suzan-Lori Parks and was Associate Producer at the Public Theater where she founded Joe’s Pub. Metzgar is on the National Advisory Committee for Howlround and has taught at a number of universities including Brown, University of Chicago and currently at Purdue and DePaul. She received her MFA in Playwriting from the University of Iowa and her BA from Brown.

About American Theater Company

American Theater Company (ATC) challenges and inspires its community by exploring stories that ask the question, "What does it mean to be an American?" ATC’s Ensemble includes Patrick Andrews, Kareem Bandealy, Jaime Castañeda, Kelly O’Sullivan, Tyler Ravelson, and Sadieh Rifai.

American Theater Company is partially supported by a grant from the Illinois Arts Council, a state agency, and CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events, the Lloyd A. Fry Foundation, Polk Bros. Foundation, the MacArthur Fund for Arts and Culture at Prince, and the Shubert Foundation.

About the Chicago Inclusion Project

The Chicago Inclusion Project is a collective of artists, committed to creating inclusive theater experiences by bringing together Chicago artists and audiences often separated by ethnic background, economic status, gender identity, physical ability and countless other barriers. By deliberately choosing the unexpected, both in play choices and non-traditional casting, cultivating a diverse audience by bringing new combinations of artists to as many communities in Chicago (and its surrounding suburbs) as possible, choosing facilities for the multiple projects that are handicap accessible and keeping price of tickets affordable, The Chicago Inclusion Project programming aims to unite diverse collections of Chicagoans. For more information, visit www.thechicagoinclusionproject.org.

OPENING: Trap Door Theatre's NO MATTER HOW HARD WE TRY OR WE CAN EXIST ON THE BEST TERMS WE CAN

Chi, IL LIVE Shows On Our Radar:

NO MATTER HOW HARD WE TRY

OR WE CAN EXIST ON THE BEST TERMS WE CAN

Written by Dorota Masłowska 

Translated by Artur Zapałowski

Directed by Max Truax

Featuring: Tiffany Bedwell, Marzena Bukowska, Simina Contras, Hallie Ecker, Michael Garvey, Johnny Graff, Emily Nichelson, Beata Pilch, and Kelsey Shipley.

Dorota Masłowska’s NO MATTER HOW HARD WE TRY is a scathing satire about the decaying Polish national identity in the aftermath of war, occupation and the commodifying forces of Western capitalism. 

Three generations of Polish women live together in squalor, escaping their desperate lives through the fantasies provided by television and fashion magazines.

The Playwright DOROTA MASŁOWSKA is a Polish writer born in 1983. Her first novel translated into English as SNOW WHITE AND RUSSIAN RED, was published while she was still a teenager and made her an instant literary sensation in her native country. The novel detailed the growing pains of marginalized small-town youth. In 2005, Masłowska published her second book, THE QUEEN’S PUKECOCK, a 150 page rap poem in prose. Both of these books were adapted for the stage in Poland, Germany and Great Britain. Masłowska wrote her first play, A COUPLE OF POOR-POLISH SPEAKING ROMANIANS, in 2006 (Trap Door staged it in 2009) and her second one, NO MATTER HOW HARD WE TRY, OR WE CAN EXIST ON THE BEST TERMS WE CAN, in 2008. In 2012, Masłowska published another novel, HONEY, I KILLED OUR CATS, and in 2014 released her first music album, THE SOCIETY IS MEAN, a mixture of punk, rap and dance music with lyrics commenting on current social issues. Masłowska ’s writing is characterized by her ironic, pessimistic worldview and extraordinary linguistic power; as a postmodern writer she confronts, disturbs and subverts sacred ideas of selfhood and nationhood.

The Director MAX TRUAX is a Resident Director at Trap Door, where he has directed productions of  THE BALCONY by Jean Genet, THEY ARE DYING OUT by Peter Handke, an operatic interpretation of HAMLETMACHINE by Heiner Muller, NO DARKNESS ROUND MY STONE by Fabrice Melquiot, and A COUPLE OF POOR, POLISH-SPEAKING ROMANIANS, also by Dorota Masłowska. His production of  A COUPLE OF POOR, POLISH-SPEAKING ROMANIANS  performed at the Fun Underground Festival in Arad, Romania and at the Bagatela Theatre in Krakow, Poland.  Max is a freelance director and the Artistic Director of Oracle Productions, where he recently directed NO BEAST SO FIERCE, THE PRESIDENT, and THE MOTHER.   His production of THE MOTHER received several Jeff Awards including awards for Best Production and Best Ensemble. Max studied visual art, performance art and choreography at Oberlin College and received his MFA in Theatre Directing from California Institute of the Arts.     

Set Designer Joanna Iwanicka/ Lighting Designer Richard Norwood / Costume Designer Rachel Sypniewski / Sound Designer Steve Labedz/Video Design Paul Deziel/Stage Manager Deirdre Connelly/ Makeup Designer / Zsófia Ötvös Graphic Designer Michal Janicki/ 

Opens: Thursday, May 12,  2016 at 8PM 

Closes: Saturday, June 25, 2016 at 8PM 

Runs: Thursdays, Fridays, Saturdays at 8PM

Special Talk Back: On SATURDAY MAY 14th following the performance, there will be a talk back and reception with guest playwright from Poland DOROTA MASŁOWSKA  and the cast focusing on the play’s theme and director MAX TRUAX’s process and vision. Wine and cheese reception to follow.

Admission: $20 on Thursdays and Fridays, with two-for-one admission on Fridays, $25 on Saturdays

Where: TRAP DOOR THEATRE 1655 West Cortland Ave. Chicago, IL 60622

For Information/Reservations: 773-384-0494. To purchase online www.trapdoortheatre.com

SAVE THE DATES: THODOS DANCE CHICAGO'S NEW DANCES 2016 IS JULY 16 &17

AT THE ATHENAEUM, 

TRADITION OF SELF-CREATED 

NEW WORKS PAVES WAY FOR 

POST-PERFORMANCE DANCE CAREERS

Every year, Thodos Dance Chicago cultivates new dance creation through its nationally renowned New Dances series, Chicago's earliest and most extensive in-house choreography project, and always a highlight of the city's summer dance season.

Now in its 16th year, New Dances is an annual opportunity for Thodos's dancers to take off their dance shoes, step off the stage and call their own shots as choreographers. 

(top, from left) Thodos Dance Ensemble members John Cartwright, Tenley Dorrill, Abby Ellison, Alex Gordon, (bottom) Hattie Haggard, Jessica Miller Tomlinson, Brennen Renteria, Briana Robinson and guest choreographer Shannon Alvis are creating world premiere works for Thodos Dance Chicago's New Dances 2016, July 16 and 17 at the Athenaeum Theatre. 

  

New works that debuted at last summer's New Dances 2015 included (top, from left) 

Jessica Miller Tomlinson's Something To Do With Five, Tenley Dorrill's Waiting For What, (bottom, from left) Taylor Mitchell's All You Need Is and Kevin McGinnis's Miriam. 

TDC 2015-2016 Excerpts from Thodos Dance Chicago on Vimeo.

Collectively, New Dances has spawned more than 140 world premieres, launched the choreographic careers of more than 75 Chicago-based dance artists, and created a platform for 300+ dance artists to showcase their skills and build their reputations. 

Past New Dances works have subsequently entered the Thodos Dance repertory, been showcased at festivals including Jacob's Pillow and Dance Chicago, and been remounted by the Joffrey Ballet and Hubbard Street Dance Chicago.

As always, Thodos Dance Chicago's New Dances 2016 promises to be another wildly diverse program boasting nine, fresh, homegrown world premiere works created by the ensemble's own dancers. Performances are Saturday, July 16 at 

7:30 pm, and Sunday, July 17 at 3 p.m., at the Athenaeum Theatre, 

2936 N. Southport Ave., Chicago. Tickets are $14-$40. For tickets, visit athenaeum.org or call the Athenaeum box office, (773) 935-6875.

                                                                          

New Dances 2016 will feature world premieres by TDC company members John Cartwright, Tenley Dorrill, Abby Ellison, Alex Gordon, Hattie Haggard, Jessica Miller Tomlinson, Brennen Renteria and Briana Robinson. 

Each is already making all production decisions about his or her work, from submitting written creative proposals, to developing budgets, casting their works from within and outside the company, collaborating with costume and lighting designers, contributing to marketing plans and scheduling their own rehearsal time.

"Members of Thodos Dance Chicago are far more than performers - they are creative artists selected to join the company based on their passion and talent for choreography," explains TDC Founder and Artistic Director Melissa Thodos. 

"We are unique in our strong commitment to support dance creation as no other dance organization offers as comprehensive of an in-house choreography initiative to its artists as ours, in part to help assure they are fully equipped to pursue a post-performance career in dance."

In total, each dancer/choreographer is given a three-month development period with more than 30 hours of studio time - unprecedented in the field - to bring their choreographic vision to life with their hand-picked ensemble of dancers.

Thanks to their New Dances experiences, past TDC dancer/choreographers have gone on to set works on the Joffrey Ballet, Hubbard Street, River North, Goodman Theatre, Paramount Theatre, Dutch National Ballet Project, Dance Kaleidoscope, Atlanta Ballet, Dance Works Chicago, Pittsburgh Ballet Theatre, Idaho Dance Theatre, Grand Rapids Ballet, Giordano Dance Chicago, Eisenhower Dance Ensemble and the second companies of Alvin Ailey and American Ballet Theater.

Likewise, Thodos' artists are mentored throughout the process by a panel of high-profile Chicago dance professionals who gather for two private showings of each work to provide feedback, clarity, ideas and encouragement. New Dances 2016 panelists are:

Jeff Hancock, founding member of River North Dance Chicago and former Hubbard Street Dance Chicago dancer; 

Kristina Isabelle, artistic director of Kristina Isabelle Dance Company and director of HighJinks Productions;

Kristina Fluty, former dancer with Mad Shak, founder of Kinespark Consulting and a professor at Columbia College Chicago; 

Zachary Whittenburg, Manager of Communication at Hubbard Street Dance Chicago, and former dancer with Hubbard Street, BJM Danse Montréal and Pacific Northwest Ballet.

                                                                         

In addition to eight exciting and diverse brand new works created from within the ensemble, each year Melissa Thodos selects a guest choreographer to create a new work for the project. The New Dances 2016 guest choreographer is Shannon Alvis, former dancer with Hubbard Street Dance Chicago and Nederlands Dans Theater, currently on the faculty of Joffrey Academy.

Check out the behind the scenes sizzle reel for

TDC's Tenley Dorrill's New Dances 2015 new work Waiting for What.

Choreographer Spotlight: Tenley Dorrill from Thodos Dance Chicago on Vimeo.

About Thodos Dance Chicago

In 1992, Melissa Thodos, a young Evanston-born, Chicago-based dancer and choreographer, was frustrated with the lack of opportunities for dancers to work in what in her mind was the obvious environment for a well-rounded dance professional: A place to perform. A place to create. And a place to educate. Fast-forward 24 years, and Thodos is the only female choreographer and director to have helmed her own mid-sized, contemporary dance company in Chicago for more than two decades with this unique mission.

Today, Thodos Dance Chicago (TDC) is an ensemble of twelve versatile dance artists with a captivating style that uses a variety of dance forms. The company's unique mission of inspiring expression through dance education, dance creation and dance performance has established TDC as an innovative presence in American contemporary dance.

In addition to performing works by Melissa Thodos and resident artists, TDC performs works created by other renowned choreographers: Bob Fosse, Ann Reinking, Sybil Shearer, Lar Lubovitch, Shapiro & Smith, Jon Lehrer, Garfield Lemonius, Zachary Whittenburg, Lucas Crandall, Brian Enos, Amy Ernst, Ron De Jesús, Gustavo Ramírez Sansano, Ahmad Simmons, KT Nelson, Kevin Iega Jeff and Robyn Mineko Williams.

Thodos Dance Chicago's 12 ensemble members, who each teach, choreograph and perform for the company, include Caitrin Bellavance, John Cartwright, Tenley Dorrill, Abby Ellison, Alex Gordon, Hattie Haggard, Thomas Jacobson, Jessica Miller Tomlinson, Shelby Moran, Brennen Renteria, Briana Robinson and Luis Vasquez, plus performing trainee Richard Peña.

Thodos Dance Chicago continues to expand its artistic and institutional boundaries under the guidance of Founder and Artistic Director Melissa Thodos, Executive Director Gail Ford, Booking Director Rick Johnston, Artistic Associate Laura Gates, Resident Lighting Designer Nathan Tomlinson, Education and Outreach Associate

Kate Weatherly, Board President Sharon Lear, a dedicated board of directors and the support of thousands of contemporary dance enthusiasts both in Chicago and nationwide. 

The company is supported by the The Sono and Victor Elmaleh Foundation, The Garden of the Phoenix Foundation, the Illinois Arts Council-a state agency,

Target, The Gaylord and Dorothy Donnelley Foundation, the MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation, The Arts Work Fund, The Morrison-Shearer Foundation, The Elizabeth F. Cheney Foundation, The Service Club of Chicago, Project 120, the City of Chicago Department of Cultural Affairs & Special Events and many individual and corporate sponsors. 

For more information, visit thodosdancechicago.org.