Shows On Our Radar: SUPPORT GROUP FOR MEN at GOODMAN THEATRE Through JULY 29

Chi IL Live Shows On Our Radar:

SUPPORT GROUP FOR MEN, 

ELLEN FAIREY’S OF-THE-MOMENT SUMMER COMEDY DIRECTED BY KIMBERLY SENIOR, 

PREMIERES AT GOODMAN THEATRE 

JUNE 23 – JULY 29

***SPECIAL EVENTS INCLUDE JUNE 27 “COCKTAILS AND COMEDY,” HOSTED BY THE SCENEMAKERS BOARD OF YOUNG PROFESSIONALS; AND JULY 1 “ARTIST ENCOUNTER” OPPORTUNITY TO MEET THE PLAYWRIGHT AND DIRECTOR***

“We are brothers, we are men. We do not give advice or comment on other people’s feelings or situations. We only talk when we have the stick.” These are the rules of Support Group for Men, a new comedy by Ellen Fairey (Graceland, TV’s Nurse Jackie, Masters of Sex, The Sinner) about what it means to be a man in today’s America. Directed by Kimberly Senior, Support Group for Men explores shifting social and gender roles through the lens of four Chicago guys—Delano (Anthony Irons), Brian (Ryan Kitley), Roger (Keith Kupferer) and Kevin (Tommy Rivera-Vega)—who gather weekly to vent about middle-aged maladies in a Wrigleyville apartment. Also cast are Jeff Kurysz, Sadieh Rifai and Eric Slater, and the creative team includes Jack Magaw (sets), Noël Huntzinger (costumes), Jen Schriever (lighting) and Richard Woodbury (sound). 

Support Group for Men appears June 23 – July 29, 2018 (opening night is July 2 at 7pm) in the Goodman’s Albert Theatre. Tickets ($25 - $80; subject to change) are available at GoodmanTheatre.org/SupportGroup, by telephone at 312.443.3800 or at the box office (170 N. Dearborn).

“Hilarious, warm-hearted and honest, Ellen Fairey’s Support Group for Men is the perfect summertime entertainment—a witty, timely exploration of who we are, who we thought we were, and who we can become,” said Goodman Theatre Artistic Director Robert Falls. “When this play appeared as part of our 2016 New Stages Festival, audiences were immediately captivated by its humor and intrigued by its insights. Ellen's obvious empathy and affection for her characters, rendered through their earnest but sometimes painful journey to enlightenment, is at once laugh-out-loud funny and incredibly perceptive. We are thrilled to welcome back director Kimberly Senior—a perfect match for this world premiere.”

Fairey returns to Chicago 10 years after Graceland—her break-out play that, in part, inspired Support Group for Men. Her work has been hailed as “a must-see for anyone who follows important new plays” (Chicago Tribune), and as a writer “with bracing wit and stylistic delicacy” (Variety).

“I began writing Support Group for Men almost eight years ago, and in the time since, the national conversation around gender has come to the forefront in a way I never could have imagined,” said playwright Ellen Fairey. “It’s incredibly exciting, meaningful and at times challenging. I’m no longer just writing about a bunch of middle-aged guys trying to figure their stuff out; I’m writing about a group of men who find themselves in a world where everything has changed, and will continue to change—and what it means when ‘to be a man’ finds itself on the sociological chopping block.”

The recipient of an Edgerton Foundation New Plays Award, Support Group for Men is generously sponsored by Winston & Strawn LLP, Corporate Sponsor Partner. In addition, the National Endowment for the Arts awarded the play a $50,000 “Art Works” grant—the NEA’s largest funding category for creations of art that meet the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts and/or the strengthening of communities through the arts.

SPECIAL EVENTS

“Cocktails & Comedy” for Young Professionals – June 27 at 5:30pm | Catch35 (35 W. Wacker) |$65

Nosh, network and support new play development. This Scenemakers Board fundraiser includes a pre-show reception with live jazz music at Catch35, and a performance of Support Group for Men at 7:30pm.

“Artist Encounter” with Ellen Fairey and Kimberly Senior – July 1 at 5pm | The Alice Center at Goodman Theatre

Tickets are free for members; $10 for general public. Join Support Group for Men playwright Ellen Fairey and director Kimberly Senior for a discussion on the world premiere production's sartorial take on gender, politics and Chicago's Wrigleyville neighborhood.

TICKETS AND DISCOUNTS

Tickets ($25-$80) – GoodmanTheatre.org/SupportGroup; 312.443.3800; Fax: 312.443.3825; TTY/TDD: 312.443.3829

Box Office Hours –12noon - 5pm; on performance days, the box office remains open until 30 minutes past curtain

MezzTix – Half-price day-of-performance mezzanine tickets available at 10am online (promo code MEZZTIX) 
$10Tix – Student $10 day-of tickets; limit four, with valid student ID (promo code 10TIX)

Teen Arts Pass (TAP) – $5 day-of-performance tickets for teens ages 13-19; subject to availability; limit two, with valid TAP identification. Sign up at TeenArtsPass.org (promo code TAP)

CityKey – CityKey Cardholders access half-price mezzanine tickets; limit four, with valid CityKey ID. Sign up at ChiCityClerk.com/ChicagoCityKey (promo code CITYKEY)

Group Sales are available for parties 10+; 312.443.3820
Gift Certificates – Available in any amount; GoodmanTheatre.org/GiftCertificates

ACCESSIBILITY

Touch Tour, July 21 at 12:30pm – A presentation detailing the set, costume and character elements

Audio Described Performance, July 21 at 2pm – The action/text is audibly enhanced for patrons via headset

ASL Interpreted Performance, July 25 at 7:30pm – Professional ASL interpreter signs the action/text as played 

Open Captioned Performance, July 28 at 2pm – LED sign presents dialogue in sync with the performance

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

ABOUT GOODMAN THEATRE

AMERICA’S “BEST REGIONAL THEATRE” (Time magazine), Goodman Theatre is a premier not-for-profit organization distinguished by the excellence and scope of its artistic programming and civic engagement. Led by Artistic Director Robert Falls and Executive Director Roche Schulfer, the theater’s artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics (celebrated revivals include Falls’ productions of Death of a Salesman and The Iceman Cometh). Goodman Theatre artists and productions have earned two Pulitzer Prizes, 22 Tony Awards, over 160 Jeff Awards and many more accolades. In addition, the Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle” and its annual holiday tradition A Christmas Carol, which celebrated its 40th anniversary this season, has created a new generation of theatergoers. The Goodman also frequently serves as a production partner with local off-Loop theaters and national and international companies by providing financial support or physical space for a variety of artistic endeavors.

Committed to three core values of Quality, Diversity and Community, the Goodman proactively makes inclusion the fabric of the institution and develops education and community engagement programs that support arts as education. This practice uses the process of artistic creation to inspire and empower youth, lifelong learners and audiences to find and/or enhance their voices, stories and abilities. The Goodman’s Alice Rapoport Center for Education and Engagement is the home of such programming, most offered free of charge, and has vastly expanded the theater’s ability to touch the lives of Chicagoland citizens (with 85% of youth participants coming from underserved communities) since its 2016 opening.

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

Today, Goodman Theatre leadership also includes the distinguished members of the Artistic Collective: Brian Dennehy, Rebecca Gilman, Henry Godinez, Dael Orlandersmith, Steve Scott, Chuck Smith, Regina Taylor, Henry Wishcamper and Mary Zimmerman. David W. Fox, Jr. is Chair of Goodman Theatre’s Board of Trustees, Cynthia K. Scholl is Women’s Board President and Justin A. Kulovsek is President of the Scenemakers Board for young professionals.

Biggest Winner at 2018 Non-Equity Jeff Awards Is Gender Parity

Recipients of the 45th Annual

Non–Equity Jeff Awards Announced

It was my great pleasure to cover the 45th Annual Non-Equity Jeff Awards on Monday night for ChiIL Live Shows. People watching was prime and so many excellent productions were recognized. 2018 was a banner year, with a move from plaques to trophies, the vivacious and hilarious Veronica Garza hosting, all female awards presenters, and excellent entertainment on stage. 

Here at ChiIL Live Shows, an impassioned speech ushering in the advent of "Performer" Jeff Awards versus Actor & Actress, by Dani Shay, of The CiviliTy of Albert Cashier, topped our list to love. It may seem like a small thing, but labels limit, and for trans performers, the gender fluid, and those who don't fit neatly into prescribed categories, this is a watershed moment. Kudos to the Jeff Awards for this equitable, forward thinking choice on semantics. 

I was thrilled to be seated by Jay Paul Deratany, Joe Stevens, and Keaton Wooden who won Best New Musical “The CiviliTy of Albert Cashier”– Permoveo Productions i/a/w Pride Films and Plays. It was certainly one of my favorites this year. The writing, acting, score and content were all outstanding. It was a victory on many levels to see them win. I was also elated to see Strawdog honored and many favorites I reviewed over the past year 

Here are all the winners:

The Jeff Awards announced recipients of the 45th Annual Non–Equity Jeff Awards on Monday, June 11, at the Athenaeum Theatre. Top honors were awarded to Steep Theatre Company’s Lela & Co. and Griffin Theatre Company’s Ragtime. 

Steep Theatre Company’s Lela & Co. 

Griffin Theatre Company’s Ragtime

Other productions receiving multiple awards included Theo
Ubique Cabaret Theatre’s Sweeney Todd: The Demon Barber of Fleet Street and
Interrobang Theatre Project’s Foxfinder. Strawdog Theatre Company received a
Special Award for “30 years of collaboration as an innovative and provocative
Ensemble.”


Strawdog

Between April 1, 2017 and March 31, 2018, there were 136 eligible Non–Equity
productions considered for Jeff Recommendation. Of those, 63 productions (or 46%) were recommended, including 15 world premieres. There were 45 productions that received at least one nomination, which represents the work of 32 theatre companies.

2018 NON–EQUITY JEFF AWARD RECIPIENTS
Credit for all photos goes to Joe Mazza & Brave Lux


ENSEMBLE
“Ragtime” – Griffin Theatre Company

PRODUCTION – MUSICAL
“Ragtime” – Griffin Theatre Company



PRODUCTION – PLAY
“Lela & Co.” – Steep Theatre Company


DIRECTOR – MUSICAL
Scott Weinstein – “Ragtime” – Griffin Theatre Company

DIRECTOR – PLAY
Robin Witt – “Lela & Co.” – Steep Theatre Company





PERFORMER IN A PRINCIPAL ROLE – MUSICAL
Jacquelyne Jones (Mrs. Lovett) – “Sweeney Todd: The Demon Barber of Fleet Street”– Theo Ubique Cabaret Theatre


Philip Torre (Sweeney Todd) – “Sweeney Todd: The Demon Barber of Fleet Street”– Theo Ubique Cabaret Theatre


PERFORMER IN A PRINCIPAL ROLE – PLAY
Cruz Gonzalez–Cadel (Lela) – “ Lela & Co.” – Steep Theatre Company
Michael B. Woods (Cyrano) – “Cyrano” – BoHo Theatre




PERFORMER IN A SUPPORTING ROLE – MUSICAL
Katherine Thomas (Sarah) – “Ragtime” – Griffin Theatre Company
Missy Wise (Blanche) – “Bonnie & Clyde” – Kokandy Productions


PERFORMER IN A SUPPORTING ROLE – PLAY
Owais Ahmed (Bashir) – “The Invisible Hand” – Steep Theatre Company
Stella Martin (Sherry) – “Nice Girl” – Raven Theatre Company




NEW MUSICAL
Jay Paul Deratany, Joe Stevens, and Keaton Wooden – “The CiviliTy of Albert Cashier”– Permoveo Productions i/a/w Pride Films and Plays


NEW PLAY
Loy A. Webb – “The Light” – The New Colony


MUSIC DIRECTIONJeremy Ramey – “Sweeney Todd: The Demon Barber of Fleet Street”– Theo Ubique Cabaret Theatre


CHOREOGRAPHY
Jenna Schoppe – “Yank! A World War II Love Story” – Pride Films and Plays


FIGHT CHOREOGRAPHY
Kyle Encinas – “The Elaborate Entrance of Chad Deity” – Red Theater Chicago


ORIGINAL MUSIC IN A PLAY
Jesse Case – “Foxfinder” – Interrobang Theatre Project


SOUND DESIGN
Justin Glombicki – “In the Soundless Awe” – Saltbox Theatre Collective


COSTUME DESIGN
Beth Laske–Miller – “Shockheaded Peter” – Black Button Eyes Productions


LIGHTING DESIGN
James Kolditz – “Sweeney Todd: The Demon Barber of Fleet Street”
– Theo Ubique Cabaret Theatre


SCENIC DESIGN
Eric Luchen – “Foxfinder” – Interrobang Theatre Project


MULTIPLE RECIPIENTS BY THEATRE



The Jeff Awards has been honoring outstanding theatre artists annually since it was established in 1968. With up to 55 members representing a wide variety of backgrounds in theatre (including producers, directors, actors, playwrights, designers, professors of theatre, entertainment lawyers and agents, and theatre lovers), the Jeff Awards is committed to celebrating the vitality of Chicago area theatre by recognizing excellence through its recommendations, awards, and honors. Opening night judges include not only the members but also Artistic & Technical theatre volunteers (the “A/T Team”), including Artistic Directors, producers, directors and artists from Chicago theatres. The Jeff Awards fosters the artistic growth of area theatres and theatre artists and promotes educational opportunities, audience appreciation, and civic pride in the achievements of the theatre community. Each year, the Jeff Awards judges over 300 theatrical  productions and host two awards ceremonies. Originally chartered to recognize only Equity productions, the Jeff Awards established the Non–Equity Wing in 1973 to celebrate outstanding achievement in non–union theatre. 

The next Equity Awards will be held on Monday, October 22, 2018, at Drury Lane Oakbrook.

REVIEW: Tiresias Was a Weatherman by the Organic Theater Company at the Greenhouse Theater Through July 8, 2018

Chi IL Live Shows On Our Radar:

Tiresias Was a Weatherman 

by the Organic Theater Company 

at the Greenhouse Theater 2257 N. Lincoln Avenue 

Review
By Catherine Hellmann, Guest Critic

According to the press release, “Jaime Mire’s new comedy
Tiresias Was a Weatherman deals with timely issues of today such as mental health, pharmaceuticals, predatory media, and extreme weather, in a world where a minimal scientific alteration to your brain could potentially save both you and the world.  Or at least that’s what they say…” 

John Arthur Lewis (Troy), Adam Zaininger (Sun), Laura Sturm (Joyce), Will Burdin (Wind), Colin Jackson (Thunder), and Joel Moses (Rain) in Organic Theater’s production of Tiresias Was A Weatherman, directed by Josh Anderson, associate director Anna Gelman, May 31 – July 6, 2018. 

All Production Photos by Anna Gelman.

The storyline reminded me of my favorite beach on the East side of Lake Michigan, Pier Cove. There is a pile of rocks along the beach that have inspirational quotes on them. The usual expressions of thanks, blessings, and encouragement are penned on the rocks...but one rock reads: “Take your meds,” which I think is awesome. Then all will be well, right? The emphasis on taking one’s meds is at the forefront of Mire’s play. 


Taylor Raye (Cindy) and John Arthur Lewis (Troy)

The taking of meds from “Crazy Pants Pharmaceuticals” (love that name!) can cause catastrophic meteorological effects, even deadly hurricanes. One of the main characters, a doctor named Troy, lost his only son, Paul, in the last huge storm. Troy, who seems to have no emotions, is later accused of using his dead son for publicity; he even refers to Paul’s autopsy as a “research cadaver.” Ouch. Troy needs a feelings chip...

Annie, Troy’s stepdaughter, is portrayed by Shaina Schrooten, who does a great job as the frustrated, emotionally distraught daughter of Laura Sturm’s Joyce. She misses her brother Paul terribly, and describes to her psychiatrist how losing a sibling is its own category of being orphaned. Like the character of Antigone, she just wishes for her deceased brother to be buried so he can rest in peace. “He deserves a burial,” she insists. Annie has some wonderful lines, like how she doesn’t consider pot to be a med on her health history paperwork---”it’s like toothpaste,” she explains.


John Arthur Lewis (Troy), Nyssa Lowenstein (Charlie), and Laura Sturm (Joyce)

Four actors personify the Sun, Wind, Rain, and Thunder. Some of their dialogue is expressed in rhymes like a Dr. Seuss book which makes their intentions less sinister. “We are the weather. We work well together!” But the plot is confusing. 

Was it just me being un-hip again? So I asked my date what I was missing. His response: “The Weather freaked out when meds weren't taken or taken on time, I think. I interpreted the weather as thought, like side effects ??? Does that make sense?  I say this because the weather was also encouraging Annie, a.k.a. Annabelle, to pop a pill. I wish I could be of more help but that's how I interpreted the weather.” This is one of those shows that you don’t want to take your parents to because if we were lost, mom and dad are really going to be clueless. 


Sara Copeland (Izzy) and Shaina Schrooten (Annabelle)

All of the actors are well-intentioned and do a commendable job. I was especially impressed with three actresses who are also in The Revolutionists,
which I reviewed last week. The two plays are showing in repertory at Greenhouse until July 8. Sara Copland, Laura Sturm, and Taylor Raye appear in both productions, which is admirable. As my amusing companion noted: ”How do they do that? I would be fucking up and saying my lines from the wrong play.” Taylor Raye is funny, offering some of the only humor in the show as a talk-show host who is a bit too admiring of her guest, the doctor.

John Arthur Lewis plays the doctor who has developed an experimental chip that can be implanted in a person’s brain to suppress and control emotions. Referred to as a “remote controlled brain inhibitor,” the talk show host is thrilled with the possibilities, but the doctor wants its uses to be kept in check. Troy must be his own test subject---he is so deadpan about everything.

I loved the costumes, which are all black and grey for the human characters, but bright colors for the Weathermen. The Weathermen are a talented group who also sing, sometimes in harmony. They had a clever list of medications: “fuck it all, Adderall,” and “closure is overrated, just get medicated.” 


Shaina Schrooten (Annabelle) and Adam Zaininger (Sun)

The play ends with Annie’s birthday. As she observes, birthdays “make us look at ourselves---or we are just furniture.”



This show runs in repertory with The Revolutionists (check out my review here) through July 8. 

Full ticket info and show details for both current Organic Theater Company Productions HERE

OPENING: Chicago Premiere of The Roommate at Steppenwolf Theatre Company June 21 – August 5, 2018

Chi IL Live Shows On Our Radar:

Tony Award Winner Phylicia Rashad

Directs Chicago Premiere of 

The Roommate

Written by Jen Silverman

June 21 – August 5, 2018

Featuring Ensemble Members Ora Jones and Sandra Marquez

In a Warm, Funny Story About a Chance Cohabitation That Sets Two Lives Spinning

Steppenwolf Theatre Company presents the Chicago premiere production of The Roommate by Jen Silverman, directed by Tony Award Winner Phylicia Rashad. A unique story that expresses how early-life choices can lead to mid-life challenges and the humorous, touching and unexpected rewards of bridging the divide, the Steppenwolf production will feature ensemble members Ora Jones as Robyn and Sandra Marquez as Sharon.

The Roommate begins previews June 21, 2018 and the production runs through August 5, 2018 in the Downstairs Theatre, 1650 N Halsted St. Press performances are Sunday, July 1 at 6pm and Tuesday, July 3 at 7:30pm; opening night is Sunday, July 1. Single tickets ($20-$93) are currently on-sale through Audience Services at 312-335-1650 or steppenwolf.org.

Sharon is Midwestern nice. But to Robyn, her new roommate from the Bronx, that just means very nosy and very, very talkative. A comical mismatch leads to a surprising and touching friendship in this new comedy about how early-life choices lead to mid-life challenges and the unexpected rewards of bridging the divide. The Roommate is a warm, funny story about a chance cohabitation that sets two lives spinning. Think The Odd Couple meets Breaking Bad. 

Jen Silverman’s The Roommate premiered at the Actor’s Theatre of Louisville in 2015 and has received subsequent productions at South Coast Rep, Williamstown and SF Playhouse. Additional work includes The Moors, Phoebe in Winter, The Dangerous House of Pretty Mbane (Barrymore Award) and Collective Rage: A Play in 5 Boops (Woolly Mammoth). She is a member of New Dramatists, and has developed work with the O’Neill, New York Theatre Workshop, Portland Center Stage, Berkeley Rep and the Royal Court in London. A recipient of the Helen Merrill and Yale Drama Series Awards, she’s also a two-time MacDowell Fellow and 16/17 Playwrights of New York (PoNY) Fellow at the Lark.



Phylicia Rashad (director), one of the entertainment world’s most extraordinary performing artists, has been bringing laughter to millions of television viewers around the world, moving theatre-goers to tears, thrilling movie fans, offering new insights to students by teaching at renowned learning institutions such as Howard University and Julliard, and breaking new ground as a director.

Phylicia Rashad’s directing credits include August Wilson's Gem of the Ocean at the Seattle Repertory Theatre, August Wilson's Ma Rainey's Black Bottom and Joe Turner’s Come and Gone at the Mark Taper Forum in Los Angeles (2014 NAACP Theatre Award for Best Director) and Fences at the Long Wharf Theatre and the McCarter Theatre. This spring Ms. Rashad makes her NYC stage directing debut with the comedy Our Lady of 121st Street, running off-Broadway from May 1 to June 10.

Ms. Rashad received both the Drama Desk and the Tony Award for Best Actress in a Play for her riveting performance in the Broadway revival of Lorraine Hansberry’s A Raisin In The Sun. She received the 2016 Lucille Lortel Award for Outstanding Leading Actress in a Play for her performance in Steppenwolf ensemble member Tarell Alvin McCraney's Head of Passes at the Public Theater, which played at the Mark Taper Forum this fall. She has performed on Broadway in Steppenwolf’s production of ensemble member Tracy Letts’s August: Osage County; Tennessee Williams’s Cat on a Hot Tin Roof (a role that she reprised on the London Stage), August Wilson’s Gem Of The Ocean, (Tony Award nomination) and Cymbeline at Lincoln Center.

Well-known to television audiences for her groundbreaking role of attorney Clair Huxtable on The Cosby Show, her recent film credits include Tyler Perry’s For Colored Girls and the 2015 Rocky spin-off and sequel Creed, and she currently has a featured guest-starring role in Empire.

Ora Jones (Robyn) is a Steppenwolf ensemble member and was recently seen in Studio Theatre’s production of Curve of Departure and on Broadway last season as Madame de Volanges in Les Liaisons Dangerueses at the Booth Theatre in New York. She also appeared as Mrs. Phelps in Matilda the Musical, both at the Shubert Theatre in New York, and in the first National tour. At Steppenwolf she is in the upcoming production of The Doppelgänger (an international farce) and appeared in The Wheel, Three Sisters, Middletown, The Brother/Sister Plays, The Unmentionables, The Violet Hour, The Crucible, Carter's Way and Morning Star. Some favorite Chicago roles include Katherine of Aragon in Henry VIII, Queen Charlotte in The Madness of George III, Maria in Twelfth Night, Lucienne in A Flea in Her Ear and Mistress Ford in The Merry Wives of Windsor for Chicago Shakespeare Theater; Mrs. Rittenhouse in Animal Crackers, Claire in Proof, Mrs. Fezziwig and Mrs. Cratchit in A Christmas Carol, Madeleine Beck in Boy Gets Girl and Elizabeth I in The Beard of Avon for Goodman Theatre; Jaclyn in Rasheeda Speaks for Rivendell Theatre; Rita Jeffries in My Kind of Town for Timeline Theatre; the Stage Manager in Our Town for Writers Theatre; Gwen in Execution of Justice for About Face Theatre; Bird/Turtle in A Year With Frog and Toad for Chicago Children's Theatre. Regional and other New York credits include performances at Long Wharf Theatre, Yale Repertory, Manhattan Theatre Club, Public Theatre, Weston Playhouse, Milwaukee Repertory and Next Act. Film and television appearances include Chicago Fire, Betrayal, Consumed, Were the World Mine and Stranger than Fiction.

Sandra Marquez (Sharon) joined the Steppenwolf ensemble in spring 2016 and is in the upcoming Steppenwolf production of The Doppelgänger (an international farce). She recently appeared in the Steppenwolf productions of Mary Page Marlowe and The Motherf**ker with the Hat. Other credits at Steppenwolf include A Streetcar Named Desire, Sonia Flew, and One Arm. At Teatro Vista, where she is a longtime company member, she directed Fade, My Mañana Comes, Breakfast Lunch & Dinner and Our Lady of the Underpass and has acted in numerous productions, including A View from the Bridge for which she received a Jeff Award. Last fall she completed a three-year arc playing Clytemnestra in what was billed as Court Theater's Iphigenia Cycle (Iphigenia at Aulis, Electra and Agamemnon). Film and television credits include Boss, Empire, Chicago Med, Chicago Justice and Timer. Marquez is on the theater faculty at Northwestern University. 

The Roommate production team includes John Iacovelli (scenic design), Samantha C. Jones (costume design), Xavier Pierce (lighting design) and Rob Milburn and Michael Bodeen (sound design). Additional credits include Laura Glenn (stage manager), Christine D. Freeburg (assistant stage manager), JC Clementz (casting director) and Hallie Gordon (artistic producer).

Dates: June 21 – August 5, 2018
Previews: June 21 – June 30, 2018
Press Performances: Sunday, July 1 at 6pm and Tuesday, July 3 at 7:30pm
           Opening: July 1, 2018
Regular Run: July 3 – August 5, 2018
Accessible Performances:
American Sign Language Interpretation: Sunday, July 22 at 7:30pm
Open Captioning: Saturday, August 4 at 3pm
Audio Description and Touch Tour: Sunday, July 29 at 1:30pm
Curtain Times: Tuesday – Friday at 7:30pm, Saturdays and Sundays at 3pm and 7:30pm

Ticket prices:
Previews: $20 – $54, Regular Run: $20 – $93. Prices subject to change
20 for $20: Twenty $20 tickets are available for all main series shows on the day of the performance at 11am (Mon – Sat) and 1pm (Sun), by phone only at 312-335-1650. Limit 2 per person.

Rush Tickets: Half-price rush tickets are available one hour before each main series show.

Student Discounts: Limited $15 student tickets are available online. (Limit 2 tickets. Must present a valid student ID for each ticket). For additional student discounts, visit steppenwolf.org/students.

Group Tickets: All groups of 10 or more receive a discounted rate for any performance.

Black Card Memberships are for audiences interested in extreme flexibility. Cards include six tickets for use any time, for any production including the LookOut Series. The tickets are valid for one year with the option to add additional tickets as needed. Perks include easy and free exchanges, access to seats before the general public, savings on single ticket prices and bar and restaurant discounts for pre- and post-show socializing.

Red Card Memberships are available for theatergoers under 30.

More info at steppenwolf.org/memberships

Audience Services:
For tickets or more information, contact Audience Services (1650 N Halsted St) at
312-335-1650 or steppenwolf.org.

Visitor Information
Steppenwolf is located at 1650 N Halsted St near all forms of public transportation, bike racks and Divvy bike stands. The parking facility ($12 or $14, cash or card) is located just south of our theater at 1624 N Halsted. Valet parking service ($14 cash) is available directly in front of the main entrance starting at 5pm on weeknights, 1pm on weekends and at 12noon before Wednesday matinees. Limited street and lot parking are also available. For last minute questions and concerns, patrons can call the Steppenwolf Parking Hotline at 312.335.1774.

Accessibility
Committed to making the Steppenwolf experience accessible to everyone, performances featuring American Sign Language Interpretation, Open Captioning and Audio Description are offered during the run of each play. Assistive listening devices and large-print programs are available for every performance and the Downstairs and 1700 Theatres are each equipped with an induction hearing loop. All theaters feature wheelchair accessible seating and restrooms, and Front Bar features a push-button entrance, all-gender restrooms and accessible counter and table spaces.

Sponsor Information
United Airlines is the Official and Exclusive Airline of Steppenwolf.

Front Bar: Coffee and Drinks
Connected to the main lobby is Steppenwolf’s own Front Bar: Coffee and Drinks, offering a warm, creative space to grab a drink, have a bite, or meet up with friends and collaborators, day or night. Open Tuesdays – Sundays from 8am to midnight, Front Bar serves artisanal coffee and espresso is provided by La Colombe and food prepared by Goddess and Grocer. The menu focuses on fresh, accessible fare, featuring grab-and-go salads and sandwiches for lunch and adding shareable small plates and desserts for evening and post show service. www.front-bar.com.



Steppenwolf Theatre Company 
is the nation’s premier ensemble theater. Formed by a collective of actors in 1976, the ensemble represents a remarkable cross-section of actors, directors and playwrights. Thrilling and powerful productions from Balm in Gilead to August: Osage County—and accolades that include the National Medal of Arts and 12 Tony Awards—have made the theater legendary. Steppenwolf produces hundreds of performances and events annually in its three spaces: the 515-seat Downstairs Theatre, the 299-seat Upstairs Theatre and the 80-seat 1700 Theatre. Artistic programing includes a seven-play season; a two-play Steppenwolf for Young Adults season; Visiting Company engagements; and LookOut, a multi-genre performances series. Education initiatives include the nationally recognized work of Steppenwolf for Young Adults, which engages 15,000 participants annually from Chicago’s diverse communities; the esteemed School at Steppenwolf; and Professional Leadership Programs for arts administration training. While firmly grounded in the Chicago community, nearly 40 original Steppenwolf productions have enjoyed success both nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Anna D. Shapiro is the Artistic Director and David Schmitz is the Executive Director. Eric Lefkofsky is Chair of Steppenwolf’s Board of Trustees. For additional information, visit steppenwolf.org, facebook.com/steppenwolftheatre, twitter.com/steppenwolfthtr and instagram.com/steppenwolfthtr. 

OPENING: THE GREEN BAY TREE in repertory with PINK ORCHIDS at PRIDE FILMS AND PLAYS

Chi IL Live Shows On Our Radar:

THE GREEN BAY TREE

Mordaunt Shairp

directed by Amy Sarno

A charming young man is forced to choose between the love of his fiancée, the lifestyle of his male mentor, and the prescription of his upbringing. This is the infamous comedy of manipulation that, in 1933, made a leading Broadway star of Laurence Olivier, opposite his then-wife Jill Esmond. THE GREEN BAY TREE (1933) was a scandalous hit in the West End and on Broadway.

A torrid British drama of homosexual lust that premiered in London in 1933, starring Laurence Olivier. Through clever use of unspoken implications, THE GREEN BAY TREE avoided censorship from the Lord Chamberlain's office in an era when any depiction of gay love was banned from public performance.

Widely considered to be the first modern play to deal with homosexuality, THE GREEN BAY TREE suggests a same-sex attraction from Dulcimer toward Julian but does it so subtly that the text escaped censorship from the British government of the 1930’s – an era in which homosexuality was still illegal in Great Britain. THE GREEN BAY TREE – whose title refers to an Old Testament Bible verse from Psalms in which wickedness is said to spread “like a green bay tree” – was revived in London in 2014.

Left: Bradley Halverson, Kristen Alesia, Alexander McRae. Photo by David Zak.

The Pride Films and Plays production will be directed by Amy Sarno, whose stage credits include directing the world premieres of THE EXISTENTIAL GOURMET by Mindi Dickstein, THE DIVINE MISS DEA translated by Jack Street, CONCRETE DUALISM AND YOU by Juan Insua, and MEDEA (INCULTURATED) by Amy Sarno. Sarno is also the former Artistic Director of Erasing the Distance. It will play in The Buena, Pride Arts Center, in repertory with PINK ORCHIDS, through July 8.



Sarno’s cast will include Bradley Halverson as the young man, Julian.  Halverson appeared as Czechowski in the extension of Pride Films and Plays’ YANK! and was previously in the cast of the Jeff award-winning musical of 2017, HIGH FIDELITY. His fiancée, Leonora, will be Kristen Alesia. Alexander McRae has been cast as Julian’s wealthy mentor, Dulcimer. Gary Smiley will play Julian’s father, Mr. Owen. Buzz Leer, seen most recently at Redtwist Theatre in OUR TOWN and I SAW MY NEIGHBOR ON THE TRAIN AND DIDN'T EVEN SMILE will play Dulcimer’s butler, Trump.

Sarno’s design team will include Evan Frank (scenic design), Noel Huntzinger (costume design), Blake Cordell (lighting and sound design), Hillarie Shockley (properties design), Richard Gale (dramaturg), and Jackson Dougherty (Stage Manager).

THE GREEN BAY TREE will open to the press in Wednesday, June 13, following previews on Monday, June 11 and Tuesday, June 12. It will run through July 8th, playing in repertory with PINK ORCHIDS, which will open on June 8 following previews on June 6 and 7. 



The “PAC Pride Series” will continue with Joe DiPietro’s FUCKING MEN playing from July 1 – August 25, a world premiere, HURRICANE DAMAGE by Kevin Brofsky playing from August 1 - 26 and the American Premiere of HOLDING THE MAN, by Australian playwright Tommy Murphy, from August 5 – 26, 2018.



Tickets for all events are on sale now at  www.pridefilmsandplays.com or by phone at 866-411-4111 or 773-857-0222

Mordaunt Shairp (playwright) was an English dramatist and screenwriter. Educated at St Paul's School, London, and Lincoln College, Oxford, he spent much of his life as a schoolmaster in London and wrote many plays for pupils to perform.  His adult plays dealt with darker interpersonal relationships and included THE CRIME AT BLOSSOMS as well as THE GREEN BAY TREE. Shairp also spent a short spell in Hollywood as a screenwriter, including THE DARK ANGEL, which starred Frederic March, and THE WHITE ANGEL.

Amy Sarno (director) Amy Sarno’s stage credits include directing the world premieres of THE EXISTENTIAL GOURMET by Mindi Dickstein, THE DIVINE MISS DEA translated by Jack Street, CONCRETE DUALISM AND YOU by Juan Insua, and MEDEA (INCULTURATED) by Amy Sarno.  Sarno received a Fulbright to create PLAN B, a verbatim play about domestic violence.  Her verbatim play, IMPRINTS, was produced by Wisconsin’s New Court Theatre. Sarno is also the former Artistic Director of Erasing the Distance. 

June 11 – July 8, 2018
Previews Mon. 6/11, Tues. 6/12 at 7:30 pm
Opening Weds. 6/13 at 7:30 pm
Beginning Sat. 6/16, Saturdays at 7:30 pm, Sundays at 3 pm, Mondays and Wednesdays at 7:30 pm through July 8. Extra performance Thursday, July 5 at 7:30 pm. No shows Sunday, June 24 or Wednesday, July 4

Buena Theater
Pride Arts Center
4147 N Broadway
Chicago, IL 60613

Tickets: Previews $15, Regular Run: Premium seats $30, General Admission $25, Seniors/Students/Military $23
Tickets available at www.pridefilmsandplays.com or by phone at 866-811-4111 or 773-857-0222.


ABOUT PRIDE FILMS AND PLAYS

Pride Films and Plays creates diverse new work (or work that is new to Chicago) with LGBTQ+ characters or themes that is essential viewing for all audiences. We accomplish this mission through fully-staged productions, writing contests and staged readings, and filming one short film each season.

PFP is the primary tenant in the Pride Arts Center (PAC), which connects and promotes other artists who share our values, creating a safe environment for all. PAC books one-night events or limited runs, cabaret, film, dance, comedy, and other events. PAC opened in 2016 and consists of two performance spaces: The Buena at 4147 N. Broadway which has 50 seats and The Broadway at 4139 N. Broadway which has 85 seats.
                                                                                                  
Pride Films and Plays 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, Proud to Run, the AmazonSmile Foundation, Arts and Business Foundation, Tap Root Foundation and Alphawood Foundation. 

PFP is a member of the Smart Growth Program of the Chicago Community Trust. Pride Films and Plays is a member of the LGBT Chamber of Commerce of Illinois and The League of Chicago Theatres.

For more information, visit www.pridefilmsandplays.com or call 1.800.737.0984.



ABOUT PRIDE ARTS CENTER

PRIDE ARTS CENTER has become an important part of the arts environment in the Buena Park neighborhood and beyond. In addition to performances by PFP, (www.pridefilmsandplays.com), PAC hosts monthly events including play readings, film screenings, cabaret nights, and variety shows. Guest productions are also included in the PAC schedule. Find a full calendar of everything happening at PAC here. http://pridefilmsandplays.com/calendar/

Cast Announced for Brown Paper Box Co.’s Regional Premiere of Pulitzer Prize Finalist EVERYBODY

Chi IL Live Shows On Our Radar:

Cast Announced for Brown Paper Box Co.’s 

Regional Premiere of Pulitzer Prize Finalist

EVERYBODY 


By Branden Jacobs-Jenkins
 Directed by Erin Shea Brady*



July 13–August 12, 2018


The Buena at Pride Arts Center

Brown Paper Box Co.’s regional premiere of EVERYBODY has found its cast! This modern riff on the medieval morality play Everyman follows Everybody (chosen from the cast via lottery at each performance) as they question and explore life’s most basic and universal elements of death, love, friendship, family, God. etc. Playwright Branden Jacobs-Jenkins (Gloria, An Octoroon) bases EVERYBODY on the 15th century morality play that instructs sinners on how to repent and seek redemption.


"This is play written for a company of nine performers of varying generations, gender- and ethnic-identities. The exact breakdown of roles should vary from performance to performance via lottery or some other element of chance." Branden Jacobs-Jenkins, playwright



For 20 performances, the majority of the cast’s roles will be decided by lottery live on stage. As the script says, “This is done in an attempt to more closely thematize the randomness of death while also destabilizing your preconceived notions about identity, et cetera, et cetera, et cetera.” At any given performance, audiences will see a version of the show that has never been performed, out of 120 possible variations.

“With EVERYBODY, Branden Jacobs-Jenkins gives us the vital opportunity to see five very different actors step into a variety of roles in each others' stories,” says director Erin Shea Brady. “The piece takes ‘different every night’ to a whole new level without resting on a gimmick. EVERYBODY explodes our preconceptions of theatricality to explore bias, conditioning, relationship, and representation — and at the core of it all, to ground us in our collective humanity.”

"Our staff got about 6 pages into reading EVERYBODY and immediately knew it was the perfect play to begin our new season,” says Artistic Director Kristi Szczepanek. “The opportunity to premiere such an exciting and timely play following its New York debut during BPBCo.’s ‘back to our roots’ season is an absolute honor.”



The cast for EVERYBODY features Kenny the Bearded, Hal Christine, Chelsea Dàvid, Alys Dickerson, Nora Fox, Alex Madda, Donovan Session, Francesca Sobrer, and Elle Walker. Hannah Green and Alexandria Moorman round out the cast as Understudies.


The staff and design team includes Erin Shea Brady* (Director), Michelle Benda (Lighting Designer), Zach Dries* (Photographer),  Sarah D. Espinoza (Sound Designer), Evan Frank (Scenic Designer), Kaitlyn Guerrieri* (Box Office Manager), Destiney Higgins (Assistant Director), Jeremy Hollis* (Production Manager), M. William Panek* (Casting Associate), Deanna Satin (Stage Manager), Charlie Sheets* (Graphic Designer), Gin To* (Dramaturg).

* denotes Brown Paper Box Co. members


Previews: Friday, July 13, 2018 @ 7:30pm and Saturday, July 14, 2018 @ 7:30pm
Opening Performance: Sunday, July 15, 2018 @ 7:30pm
Press Performance: Monday, July 16, 2018 @ 7:30pm 
Regular Run: Friday, July 20–Monday, July 23, 2018
                        Friday, July  27–Sunday, July 29, 2018
                       Thursday, August 2–Sunday, August 5, 2018
                       Thursday, August 9–Sunday, August 12, 2018

Tickets: On sale soon at www.BrownPaperBox.org

For more information, performance times, and ticketing information, please visit www.BrownPaperBox.org.

See EVERYBODY Again Punch Card Promotion

There are 120 possible variations to the randomness of recasting EVERYBODY by lottery night after night, so Brown Paper Box Co. is offering a See EVERYBODY Again punch card to see the show again with different performers in different roles. Nothing's guaranteed, but with 120 variations, odds are in the repeat viewer's favor!

After a first viewing, audience members can pick up a punch card that grants 50% Off a second visit and a Free Ticket for their third. Purchases must be made in-person at the Pride Art Center's Box Office the hour before the desired performance by the same attendee each visit. Seating is based on availability.



About Brown Paper Box Co.
Brown Paper Box Co. creates challenging and inspiring theatre that focuses on the text. By employing a smart, simple aesthetic in intimate spaces, we connect audiences directly to the heart of the story.